Perhaps the problem to which I have already alluded may as well be faced here. How does it happen that Rousseau who attacked both science and literature as the chief sources of human degeneracy should be an arch-æsthete, the authentic ancestor of the school of art for art’s sake and at the same time by his sensitive (or æsthetic) morality play into the hands of the scientific determinist? If one is to enter deeply into the modern movement one needs to consider both wherein scientific and emotional naturalists clash and wherein they agree. The two types of naturalists agree in their virtual denial of a superrational realm. They clash above all in their attitude towards what is on the rational level. The scientific naturalist is assiduously analytical. Rousseau, on the other hand, or rather one whole side of Rousseau, is hostile to analysis. The arts and sciences are attacked because they are the product of reflection. “The man who reflects is a depraved animal,” because he has fallen away from the primitive spontaneous unity of his being. Rousseau is the first of the great anti-intellectualists. By assailing both rationalism and pseudo-classic decorum in the name of instinct and emotion he appealed to men’s longing to get away from the secondary and the derivative to the immediate. True decorum satisfies the craving for immediacy because it contains within itself an element of superrational perception. The “reason” of a Plato or an Aristotle also satisfies the craving for immediacy because it likewise contains within itself an element of superrational perception. A reason or a decorum of this kind ministers to another deep need of human nature--the need to lose itself in a larger whole. Once eliminate the superrational perception and reason sinks to the level of rationalism, consciousness becomes mere self-consciousness. It is difficult, as St. Evremond said, for man to remain in the long run in this doubtful middle state. Having lost the unity of insight, he will long for the unity of instinct. Hence the paradox that this most self-conscious of all movements is filled with the praise of the unconscious. It abounds in persons who, like Walt Whitman, would turn and live with the animals, or who, like Novalis, would fain strike root into the earth with the plant. Animals[108] and plants are not engaged in any moral struggle, they are not inwardly divided against themselves.