Compare, for illustration, life as we live it from day to day with our
delineation of it as we recall it and tell it to an intimate companion;
and then compare that with the analysis and classification of it which
some psychologist or sociologist might make. Or compare the kind of
knowledge of human nature that we get from Shakespeare or Moliere with
the sort that we get from the sciences. In the one case, knowledge
attends a personal acquaintance with the experience, a bringing of it
home, a feeling for its values, a realization of the inner necessity
of its elements; in the other, it is a mere set of concepts. Or finally,
compare the knowledge of the human figure contained in an anatomist's
manual with a painting of it, where we not only see it, but in the
imagination touch it and move with it, in short live with it.

Intuition is the effect of artistic appreciation no less than of
artistic creation. If the artist's expression of his feelings and ideas
results in intuition, our appreciation of his work must have the same
value, for appreciation is expression transferred from the artist to
the spectator. By means of the colors, lines, words, tones that he
makes, the artist determines in us a process of expression similar to
his. Out of our own minds we put into the sense-symbols he has woven
ideas and feelings which provide the content and meaning he intends.
Hence all aesthetic appreciation is self-expression. This is evident
in the case of the more lyrical types of art. The lyric poem is
appreciated by us as an expression of our own inner life; music as an
expression of our own slumberous or subconscious moods. Yet even the
more objective types of art, like the novel or the drama, become forms
of self-expression, for we have to build up the worlds which they
contain in our own imagination and emotion. We have to live ourselves
out in them; we can understand them only in terms of our own life.