in fact no last moment. A life seeking its goal is, therefore, indeed, essentially temporal, — but is so just as music is temporal, — except indeed that music is not only temporal, but temporally finite. For every work of musical art involves significant temporal series, wherein there is progression, and passage from chord to chord, from phrase to phrase, and from movement to movement. But just as any one musical composition has its value not only by virtue of its attainment of its final chord, but also at every stage of the process that leads towards this conclusion; and just as the whole musical composition is, as a whole, an end in itself; so every finite Internal Meaning wins final expression, not merely through the last stage of its life (if it has a last stage), but through its whole embodiment. And, nevertheless, as the music attains wholeness only through succession; so every idea that is to win its complete expression, does so through temporal sequences.
Since, at all events, no other than such a temporal expression of meaning in life is in any wise definable for our consciousness, our Idealism can only express its view of the relation of finite and absolute life by viewing the whole world, and in particular the whole existence of any individual Self, as such a temporal process, wherein there is expressed, by means of a Well-Ordered Series of stages, a meaning that finally belongs to the whole life, but that at every temporal stage of the process in question appears to involve, in part, a beyond, — a something not yet won, — and so a distinction both of the past and the future of this Self from the content of any one stage of the process when that stage is viewed as the present one.
