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Synthetic forms are actually theories already; they effect an adaptation of reality to the demands of practical use. If it is impossible to escape them, it is at least fitting not to employ them except with due knowledge, and when properly warned against the illusion of the false problems which they might arouse. Let us first of all consider thought in itself, in its concrete life.

Further, a beautification program for the entire region might keep some of the employee class busy for some time. And some of the ex-farmers among the lower classes might find it pleasant to work once again with the soil, instead of their normal work in the synthetic food labs or machine shops.

As not one reader in ten knows this, however, wrong impressions are likely to be made by the reviewer's remark. Mr. Spencer's name being especially associated with the "Synthetic Philosophy," the sentence quoted will suggest to many the thought that large portions of that work were written by deputy. This, of course, the reviewer did not mean to say.

He never aimed to be brilliant, unconsciously understanding that a great man's brilliancy is to be measured by the "wholeness" and synthetic cast of his career rather than by any fitful ebullitions. For that reason we look in vain through his messages for "points." His point was not to turn a sentence or an epigram, but to win an effect, regardless of the route to it.

But Chaos, for all this, is a unity; of all material forms it is the most ancient form; Cosmos however is the long-drawn tale beginning with the day when "The Spirit of God brooded on the face of the waters." Cosmos might have been Watts' synthetic pictorial philosophy; Herbert Spencer with his pen, and he with his brush, as it were, should labour side by side.

Chemical science, that bold revolutionary, promises to provide us with synthetic food-stuffs. The laboratory and the factory will take the place of the farm. Why should not physical science step in as well? It would leave the preparation of plastic food to the chemist's retorts; it would reserve for itself that of energy-producing food, which, reduced to its exact terms, ceases to be matter.

What most people relish is hardly music; it is rather a drowsy revery relieved by nervous thrills. The degree to which music should be elaborated depends on the capacity possessed by those it addresses. There are limits to every man's synthetic powers, and to stretch those powers to their limit is exhausting. Excitement then becomes a debauch; it leaves the soul less capable of habitual harmony.

Like Comte’s, it was based on science, and attempts to show how, starting with a nebular universe, the whole knowable world, psychical and social as well as physical, can be deduced. His Synthetic Philosophy perhaps did more than anything else to make the idea of evolution familiar in England.

The architectural setting provided for the figures and the pictures of the Sistine vault is so obviously conventional, every point of vantage has been so skilfully appropriated to plastic uses, every square inch of the ideal building becomes so naturally, and without confusion, a pedestal for the human form, that we are lost in wonder at the synthetic imagination which here for the first time combined the arts of architecture, sculpture, and painting in a single organism.

But about this time another man appeared on the scene, and were it not for this other man, who was introduced to Miss Evans by Spencer, the author of "Synthetic Philosophy" might not now be spoken of in the biographical dictionaries as having been "wedded to science."