activity to representative knowledge; for it is by imagination that symbols are translated over into a direct meaning and integrated with a narrower activity so as to expand and enrich it. When the representative creative imagination is made merely literary and mythological, symbols are rendered mere means of directing physical reactions of the organs of speech.
3. In the account previously given nothing was explicitly said about the place of literature and the fine arts in the course of study. The omission at that point was intentional. At the outset, there is no sharp demarcation of useful, or industrial, arts and fine arts. The activities mentioned in Chapter XV contain within themselves the factors later discriminated into fine and useful arts. As engaging the emotions and the imagination, they have the qualities which give the fine arts their quality. As demanding method or skill, the adaptation of tools to materials with constantly increasing perfection, they involve the element of technique indispensable to artistic production. From the standpoint of product, or the work of art, they are naturally defective, though even in this respect when they comprise genuine appreciation they often have a rudimentary charm. As experiences they have both an artistic and an æsthetic quality. When they emerge into activities which are tested by their product and when the socially serviceable value of the product is emphasized, they pass into useful or industrial arts. When they develop in the direction of an enhanced appreciation of the immediate qualities which appeal to taste, they grow into fine arts.
In one of its meanings, appreciation is opposed to depredation. It denotes an enlarged, an intensified prizing, not merely a prizing, much less—like depreciation—a lowered and degraded prizing. This enhancement of the qualities which make any ordinary experience appealing, appropriable—capable of full assimilation—and enjoyable, constitutes the prime function of literature, music, drawing, painting,
