wears an aspect higher than a materialistic or intellectual one.  It calls forth the best in imagination; it enables us to feel that something of the power that dwells within the soul dwells also in all the manifestations of phenomena.[40] This fact is evident in all the poetry of the world, and without the perpetual presence of Nature to the soul in the form of wonder, reverence, and admiration, no poetry worthy of the name is possible.  Nature thus is of value in the fact that when its phenomena present themselves to a consciousness aware not only of its knowing aspect but also of its feeling aspect, the union of Nature and soul produces a feeling of reality which creates an ideal nature.  “The light that never was on sea or land” becomes now on sea and land; it illuminates the whole scene with a “halo and glory” which was concealed before.  But there must be present “an eye of the soul” united with the physical impressions before all this is possible.  Indeed, the effect of all this is nothing less than an ideal creation of a world consisting of Nature and the spiritual potencies of man.  It is evident that if the internal [p.124] factor, which represents itself in the form of morality or value, is absent, the picture of Nature is quite different.  And this is Eucken’s complaint in regard to much of the art of the present day:  the internal factor is absent.  Seriousness is not blended with freedom in it; or, in other words, the inward has no power to pass its quality into the outward.  But when the inward is present in the form of morality or value, then art becomes joyous, serious, helpful, and disinterested.  This last aspect of the disinterestedness of art was perceived clearly by Kant, and has formed an important contribution to the philosophy and even to the religion of the nineteenth century.  When a potency of the soul, gained in a province outside art (as is the case with morality or value), operates, there is no danger of art degenerating into mere subjectivism; otherwise there is a very grave danger.  Loosened from morality it becomes a mere play of decoration and fancy—­a mere superficial embroidery of an empty life; it can look on the human world and all its struggles with an indifferent and often cynical mood.  Why has all this happened?  Because the inward factor of the “strenuous mood” has been replaced by a sentimental factor based on nothing deeper than the satisfaction of the senses; and the result of this is found in feelings which are more psychical than spiritual in their nature.

But that art is necessary for any completion [p.125] of life is seen by the fact that its contribution to the soul is more than a thought contribution.  For the deeper life of the spirit of man is more than thought, although thought forms an essential element of it; this deeper life has wider demands than can be expressed in the form of logical propositions.  Eucken shows how true art is therefore indissolubly