crete embodiments of idea which we
call works of art, is conditioned on
the use of the imagination. Plato's
Dialogues were fashioned by it as
truly as Homer's poems; Hegel's
philosophy was created by it as defi-
nitely as Shakespeare's plays, and
Newton and Kepler used it as freely
as Dante or Rembrandt.

Upon the use of this supreme fac-
ulty we depend not only for creative
power, but for education in the high-
est sense of the word; for culture is
the highest result of education, and
the final test of education is its power
to produce culture. Goethe was in
the habit of saying that sympathy is
essential to all true criticism; for no
man can discern the heart of a move-
ment, of a work of art, or of a race
who does not put himself into heart
relations with that which he is trying

[[145]]

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v?