But in order to transform the depicted future from an idea to an ideal, I must conceive it as rooted in my nature, and in some degree dependent on my power. Attracted by the brilliancy of the crescent moon, I think what sport it would be to hang on one of its horns and kick my heels in the air. But no, that remains a mere picture. It will not become an ideal, for it has no relation to my structure and powers. But there are other imaginable futures,--going to Europe, becoming a physician, writing a book, buying a house, which, though not fully compatible with one another, still represent, each one of them, some capacity of mine. Attention to one or the other of these will make it a reality in my life. They are competing ideals, and because of such competition my future is uncertain. The ambiguous future is accordingly a central characteristic of a person. He can imagine all sorts of states of himself which as yet have no existence, and one of these selected as an ideal may become efficient. This first stage, then, in the formation of the purpose, where various depicted future possibilities are summoned for assessment, may be called our fashioning of an ideal. IV But a second stage succeeds, the stage of desire. Indeed, though I call it a second, it is really but a special aspect of the first; for the ideal which I form always represents some improvement in myself. An ideal which did not promise to better me in some way would be no ideal at all. It would be quite inoperative. I never rise from my chair except with the hope of being better off. Without this, I should sit forever. But I feel uneasiness in my present position, and conceive the possibility of not being constrained; or I think of some needful work which remains unexecuted as long as I sit here, and that work undone I perceive will leave my life less satisfactory than it might be. And this imagined betterment must always be in some sense my own. If it is a picture of the gains of some one else quite unconnected with myself, it will not start my action.