the strong and beautiful bridge with porches and colonnades, af fording a safe passage to the thousands who flowed like streams. in both directions without hindering each other.

"Remember the Snake in honor," said the Man with the Lamp; "thou owest her thy life; thy people owe her the bridge by which these neighboring banks are now animated and combined into one land. Those swimming and shining jewels, the remains of her sacrificed body, are the piers of this royal bridge; upon these she has built and will maintain herself."

Now there enter the temple the Lily's beautiful attendants, whom the hawk with the mirror has awakened to new life. With them is an unknown one, more beautiful than the others, who in sisterly sportfulness hastens with them through the temple and mounts the steps of the altar. Both the Man with the Lamp and the old Woman have renewed their youth and taken on a noble beauty, and they make anew their compact, that united they will live together for a thousand years to come.

We are at the end.

In union with Wisdom and the venerable principle of revered Majesty, Power has founded a new kingdom. Truth, transfigured as Beauty, stands by the side of the new monarch, his most trusted helper and companion, and, in imperishable youth, she ever urges him to place the strength of his rule upon the foundation of the culture of a noble morality, which, through the power of beautiful and pure love, streams everywhere from the royal pair throughout the whole people. Nearest to their throne stands the power to which they owe so much-the still-illumining, wonder-working light of Science; in closest union with Science is Religion; by means of the all-awakening and life-giving power of the ideal national government, which is at last established, both are filled with new and youthful vigor for renewed and active work, which will extend into far-distant epochs. In high honor in the new state is the power which receives the spiritual blessings thus won, fashions them with creative force, and spreads them abroad-namely, Literature; it stands forever now as the strong bridge which furnishes to all an unobstructed passage to these blessings. Since its noble powers first turned to the people and spread among them, its noble edifice has sprung up from the very midst of the people. Also the joyous songs of popular origin,

which died away before the breath of the new spirit, are awakened to new life with the new birth of the national genius, and the blow of the hawk's wing no longer terrifies the harmless little singer; and even the hawk is no longer hateful to the fair Lily. "Soaring high aloft above the dome, the hawk caught the light of the sun and reflected it upon the group which was standing upon the altar. The king, the queen, and their attendants, in the dusty conclave of the temple, seemed illuminated by a heavenly splendor, and the people fell upon their faces."

Thus, then, the many forces, of whose influence the Märchen treats, attain in beautiful union their common goal. Only of Mcps no further mention is made. The fair Lily, who, to the great disgust of the Youth, had played so eagerly with him, had at the entrance into the temple taken him upon her arm; from this point we lose sight of him altogether.

I cannot refrain from expressing here a conjecture which particularizes the general meaning of this symbol as given above. This Mops with which the fair Lily plays so gracefully and which the Youth finds so disgusting-might he not be a humorous and satirical reference to the beginnings of romanticism, which began plainly to develop about the middle of the nineties of the last century? At least it is certain that this arose from the transmission of the mysticism of the Church, which was shattered by the spirit of enlightenment, into the œsthetic realm; and this also is certain if Goethe, on the one hand, judged objectively enough to assign a certain æsthetic value to the romantic productions, on the other hand he certainly felt toward this movement as the Youth did when he saw Mops in the arms of the fair Lily.

However this may be, in the state now attained to its power there is no place for this mystical romanticism.

With regard to the last figure of which we have to speakwould that the course of events might correspond to the optimistic. way in which the Märchen lets him find his appointed end!

The great Giant, who knows nothing of the bridge, stupefied with sleep, reels over it, and causes with the shadow of his huge fists harm and confusion among the crowds of people who are surging back and forth. "The king, as he saw this mischief, grasped with an involuntary movement at his sword; but he bethought himself, and looked calmly at his sceptre, then at the

lamp and the rudder of his attendants." Against the pernicious figure of superstition power can do nothing, and, advised by prudence, the injured majesty of the state looks back upon historical tradition, and so checks the rash movement of his anger. These phantoms, restricted to narrow bounds by all the active and salutary forces of the rejuvenated nation, shall of themselves lose their injurious power, and henceforth show themselves serviceable and helpful to the whole.

"We and our gifts are powerless against this powerless monster,' said the Man with the Lamp. 'Be calm! He is doing hurt for the last time, and happily his shadow is not turned to us.'

"He was walking straight to the door of the temple, when all at once in the middle of the court he halted, and was fixed to the ground. He stood there like a strong colossal statue, of reddish glittering stone, and his shadow pointed out the hours, which were marked in a circle on the floor around him, not in numbers, but in noble and expressive emblems."

May the day soon come when such an end will overtake the phantoms which still cause so much mischief and confusion in our national life! Impenetrable are they to the rays of knowledge; the sword may not be unsheathed against them; but the healthy forces of the nation may shut them up within limits which shall be continually more restricted on all sides, until their power to harm is taken away; and, since they are inextirpably rooted in human nature, they may still serve, by the direction in which they extend, significantly, like heralds, to call attention to the changes and developments which arise and complete themselves in the nation's life.

THE SECRET OF KANT.'

BY GORDON CLARK.

Kant's "Critique of Pure Reason" was given to the world in 1781. At the end of a hundred and twelve years it may seem rather late to talk about Kant's "secret," as if the real outcome of his great book has not yet been adequately grasped and absorbed by the human mind. Such, however, is precisely the claim here made, and to show the fact is the aim of the present article. To waste no words in coming to the point, the secret of Kant is the

ANALYSIS OF PERCEPTION.

By this analysis of perception Kant also analyzed, once and for good,

MIND AND MATTER, TIME AND SPACE.

So "the secret of Kant" is pretty nearly the secret of the uni

verse.

But, in the haste to ride general results, the one vital affair in the "Critique of Pure Reason" was impatiently skipped over, even in Germany, and is not yet truly seen to have been established, although without Kant's analysis of perception the postKantian philosophy of Fichte, Schelling, and Hegel would go as well for nothing as one of Rip Van Winkle's drinks. In England, not longer ago than the latest edition of Mr. George Henry Lewes's "Biographical History of Philosophy," we were directly told, in the most innocent way, that Kant had never analyzed perception at all.

"He does not trouble himself" [said Mr. Lewes] "with investigating the nature of perception; he contents himself with the fact that we have sensations, and with the fact that we have ideas whose origin is not sensuous." 2

As this bit of writing is designed to effect a purpose, not to display erudition, and is partly at least for good readers who may not know German, the quotations from Kant are all taken from his "Critique of Pure Reason," as translated by J. M. D. Meiklejohn (Bohn's Philosophical Library, edition of 1860).

2 Lewes's Biog. History of Philosophy: Kant, § 3, ¶ 7.

Such a statement as this reminds one of the description of "the play of Hamlet with Hamlet left out." If that funny muddle, "the history of philosophy," had dealt with Shakespeare, perhaps we should have been informed that Hamlet was never, in any circumstances, a part of the piece.

But even the capital offence of Mr. Lewes, as a critic of philosophy, is hardly so bad as a conclusion lately reached by a philosophical writer in America, that Kant's work was substantially a local German affair, which the rest of the world has now outgrown. Our great and good American soldier, General Hancock, made no such misfire as this when he counted our national tariff another "local affair," of some interest indeed to certain States and sections. The truth is that the world has just begun its work with Kant, and that Kant himself, from the psychological standpoint, was the full result of everything that had preceded him— in Greece, in France, in Britain, and in his own country. The use he made of Aristotle, of Descartes and Locke, of Leibnitz, Berkeley, and Hume, leaves no doubt whatever, in this respect, when Kant has once been read with any real understanding of him.

First of all, be it said, Kant, both as savant and philosopher, had utterly absorbed the information and the conclusions of what may be called

SCIENTIFIC IDEALISM."1

This idealism had been chiefly developed by solid, materialistic Britons, though Hobbes and Descartes laid it down at nearly the

I Hair-splitters can easily play their part here, with some spectacular effect. Kant explicitly repudiated idealism of several sorts, and regarded his own idealism as realism -a conclusion, too, in which he was perfectly right. Phenomena are real-are sensuous objects, material things, in the full extent to which matter can exist. But what are "material things" made of? That is the question. According to Kant, every one of them is a compound of three elemental factors: First, the principle of "mind," as active "synthetical unity"; Second, the principle of " sense," as passive "susceptibility"; Third, the principle of the ultimate non-ego-the objective background of matter, the "noumenon," or, plurally speaking, "things in themselves." The impingement of some 66 66 noumenon" on sense"-the composite relation of these two-is constructed a relation by the synthesis of mind in its phase which Kant termed "appre hension." It was known and proved before Kant that matter is always a relation between its objective background and subjective sense-a relation in which the background is transformed into the matter itself. This idealism is what I term "scientific," because it is not confined to philosophers, but is held by scientists as well, so far as XXII--24