One illustration of the complexity of human culture is the fact that art has now been regarded as the symbol and ally of goodness, and now as its enemy. This paradox can, I think, be partly explained by making a distinction between the ethical and the moral point of view regarding conduct. From the one point of view, the good belongs to all free, creative acts that look toward the growth and happiness of individuals; from the other point of view, it consists in conformity to law, convention, and custom. It is evident that these two attitudes must sometimes come into open or secret conflict. For law and convention represent either an effort to fix and stabilize modes of conduct that have proved themselves to be good under certain conditions; or else, as is more often true than is admitted, an attempt to generalize the good of some special class or type of men and impose it as a norm for all; and obviously these efforts will, from time to time, be opposed either to the freedom of individuals, or to their growth, under changing conditions. Now in the sense defined, the spirit of art is fundamentally ethical and, at the same time, fundamentally non-moral. It is fundamentally ethical, for art is itself a freely creative and happy activity, and tends to propagate itself in spontaneity in other fields; it is an inspiration in every struggle for liberty and the remolding of the world. The artist and art lover, who value the expression of individuality in art, cannot fail to appreciate it outside of art. On the other hand, the spirit of art is fundamentally non-moral, for the sthetic attitude is one of sympathy--an attempt at once to express life and to feel at one with it; it demands of us that we take the point of view of the life expressed and, for the moment at any rate, refrain from a merely external judgment. Through art we are compelled to sympathize with the aspiration towards growth, towards happiness, even when it leads to rebellion against our own standards and towards what we call sin. The sympathy, realism, and imagination of art are antagonistic to conformist morality. By making us intimately acquainted with individuals, art leads to skepticism of all general rules. The puritan, therefore, who is an exponent of the extremest and narrowest conformist morality, is more nearly right in his interpretation of the relation between art and morality than more liberal people who, because of their love of art, seek to ignore or palliate the facts. Hence, in order to defend art, one must reckon seriously with the puritan.