is not an independent, factor in the experience of art; for it serves
intuition. It does so in two ways. The charm of the medium, by drawing
attention to itself, increases the objectivity of the experience
expressed. Even when the experiences felt into color and line and sound
are poignantly our own, to live pleasantly in any one of these
sensations is to live as an object to oneself, the life sharing the
externality of the medium--we put our life out there more readily when
it is pleasant there. And the charm of the medium serves intuition in
another way. When the activities of thought and feeling and imagination
released by the work of art are delightful, they become more delightful
still if the medium in which they function is itself delightful. To
imagine

Charm'd magic casements, opening on the foam
Of perilous seas, in fairy lands forlorn

is a pleasure by itself, but more pleasurable, and therefore more
spontaneous, because of the melody of sound in which it is enveloped.
And when the activities expressed are not pleasant, the expression of
them in a delightful medium helps to induce us to make them our own
and accept them notwithstanding. The medium becomes a charming net to
hold us, and because of its allurements we give ourselves the more
freely to its spirit within. The following, for example, is not an
agreeable thought:

To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death.