_The Beautiful._--Man's notion of beauty is the fruit of his delight in his own continued existence. Whatever makes this existence easy, or is associated, in any manner, with life or vigor, seems to him to be beautiful. "Man mirrors himself in things. He counts everything beautiful which reflects his likeness. The word 'beautiful' represents the conceit of his species.... Nothing is truly ugly except the degenerating man. But other things are called ugly, too, when they happen to weaken or trouble man. They remind him of impotence, deterioration and danger: in their presence he actually suffers a loss of power. Therefore he calls them ugly. Whenever man is at all depressed he has an intuition of the proximity of something 'ugly.' His sense of power, his will to power, his feeling of pride and efficiency--all sink with the ugly and rise with the beautiful. The ugly is instinctively understood to be a sign and symptom of degeneration. That which reminds one, in the remotest degree, of degeneracy seems ugly. Every indication of exhaustion, heaviness, age, or lassitude, every constraint--such as cramp or paralysis--and above all, every odor, color or counterfeit of decomposition--though it may be no more than a far-fetched symbol--calls forth the idea of ugliness. Aversion is thereby excited--man's aversion to the decline of his type."[8] The phrase "art for art's sake" voices a protest against subordinating art to morality--that is, against making it a device for preaching sermons--but as a matter of fact, all art must praise and glorify and so must lay down values. It is the function of the artist, indeed, to select, to choose, to bring into prominence. The very fact that he is able to do this makes us call him an artist. And when do we approve his choice? Only when it agrees with our fundamental instinct--only when it exhibits "the desirableness of life." "Therefore art is the great stimulus to life. We cannot conceive it as being purposeless or aimless. 'Art for art's sake' is a phrase without meaning."[9]