In the consummation of the life of a State the world-soul realizes itself in a moment analogous to this moment in art. The form perishes, nation, city, empire; but the creative thought, the soul of the State, endures. As the marble or poem represents the supreme hour in the individual life, the ideal long pursued imaged there, perfect or imperfect, so the State represents the ideal pursued by the race. It is the embodiment in living immaterial substance of the creative purpose of the race, of the individual, and ultimately of the Divine. The State is immaterial; no visible form betrays it. Athênê or Roma are but the arbitrary emblems of an invisible, ever changing life, most subtle, most complex, yet indivisibly one, woven each day anew from myriads of aspirations, designs, ideals, recorded or unrecorded. Those heroic personalities, a Hildebrand, a Napoleon, a Cromwell, a Richelieu, who usurp the attributes of the State, do but interpret the State to itself, rudely or faultlessly. Philip and Alexander, Baber and Akbar, are the men who respond to, who feel more profoundly than other men, the ideal, the impulse which beats at the heart of the race. The divine thought is in them more immanent than in other men. To Akbar the vision of the continent from Himalaya to either sea, all brought to the feet of Mohammed, of Islam, impersonated in himself, is an ethereal vision like that which leads Alexander eastward beyond the Tigris to spread far the name of Hellas. Akbar started as his grandfather had started, and Baber's faith was not less sincere.[10] But the contact with other races and other creeds diverted or heightened this first purpose of the Mongol, and at the pinnacle of earthly power, Akbar met and yielded to the temptation, which dazzled for a moment even the steady gaze of Napoleon. Apprehending the unity beneath the diversity of the religions of his various subjects, Hindoo, Persian, Mohammedan, Christian, Akbar dared the lofty enterprise and essayed to extract the common truth of all, selecting, as Julian had done, twelve centuries before him, the sun as the symbol of universal beneficence, and truth, and life. He failed, but failed greatly.
The distinctions of a great State, art, action, empire, supremacy in thought, supremacy in deed, supremacy in conception of the ideal of humanity, like rays emanating from the same divine centre, thither converge again. Any attempt to explain their succession and decay in terms of a mechanical law must thus lead either to the reserve of Machiavelli, to the outworn fantasies of Bossuet, or to such formulas as those of Ruskin and Gibbon, in which synchronous phenomena are woven into a chain of causes and effects.