from the necessity for knowing what things are and what they can do, as from the demand for new and fresh impressions.”[332] Veritable thirst for knowledge, with its unappeasable questioning, gradually develops from this, making without difficulty the transition from the realm of play to that of genuine scientific investigation. This demand for novelty plays a conspicuous rôle in the life of an adult as well. The masculine half of the race exhibits a praiseworthy self-denial in ascribing this quality to the other sex exclusively, but the women are about right when they say that men are quite as curious as themselves. Without going into the merits of this controversy, we will confine our discussion to the province of curiosity in æsthetic enjoyment. It is no doubt true that the highest and most complete æsthetic pleasure is independent of the stimulus of novelty, as is proved by the fact that our appreciation of a work of art is undiminished by repeated examination, and it remains “herrlich wie am ersten Tag.” Yet there is a peculiar charm attaching to a first view of even the most perfect work of genius, which E. von Hartmann has likened to that of the first kiss, and which must be at least in part due to novelty. This advantage depends not entirely on the diminishing of the satisfaction by use, but also on a positive, independent pleasure in the apperception of a new thing, and new, original, in the sense of being a revelation, are the productions of genius. In the development of art, too, a disinclination to get into ruts, together with positive enjoyment of original work, is a decidedly progressive force, as opposed to the multiplication of reproductions and imitations. Before the revolution caused by a new thing has become an accomplished fact, behold! it is no longer new, and the danger is of achieving only the pre-classical, as it were, and not the classical. Of following the prophets, perhaps, but not the Messiah. 4. _Reason_ We need no chain of reasoning to prove that the logical faculty is involved in very many plays, even those of simple movement; but now, as heretofore, we will strictly exclude all uses of it except those in which it is the very object of the play, those in which it is playfully experimented with. Two bearings of the subject will engage our attention: first, causality; and, second, inherence. Both are prominent in the playful use of reason, while some special forms involve the use of judgment as well, as in the play of wit, for instance.