Yet in appreciation, as in creation, expression results in intuition.
Appreciation is no mere imagining, transitory and lawless like a
daydream. The activity of the imagination is so organized in a permanent
and perspicuous form that we not only live it, but possess it as an
object. The activities engaged in building up the work of art in my
own mind are not the whole of me; judgment remains free to watch and
synthesize those that are being crystallized there. In looking at a
portrait, for example, the process of interpreting the life represented
is ancillary to a total judgment of character. In the novel or drama,
no matter with what abandon I put myself into the persons and
situations, the expression of them in outward words and acts, and the
organization which the artist has imposed upon them, makes of them
permanent objects for reflection, not mere modes of feeling and
imagining to endure. Self-expression that does not attain to
objectivity is incomplete as art. Even music and lyric poetry are
something more than mere feeling. In all genuine art, experience takes
on permanence and form--a synthesis, a total meaning, supervenes within
the flux of impressions and ideas and moods, not excluding, but
embracing and controlling them. That is intuition.

The insight into experience which art provides is the more valuable
because it is communicable; to possess it alone would be a good, but
to share it is better. All values become enhanced when we add to them
the joy of fellow feeling. The universality of aesthetic expression
carries with it the universality of aesthetic insight. Merely private
and unutterable inspirations are not art. Beauty does for life what
science does for intelligence; even as the one universalizes thought,
so the other universalizes values. In expressing himself, the artist
creates a form into which all similar experiences can be poured and