the painting, joy in the musical tones, happiness in the pictured face,
tenderness in the sculptured pose. We hear the feeling in the sounds
and see it in the lines and colors. The happiness seems to belong to
the face, the joy to the tones, in the same simple and direct fashion
as the shape of the one or the pitch of the others. The feelings have
become true attributes. It is only by analysis that we pick them out,
separate them from the other elements of idea or sensation in the
whole, and then, for the purpose of scientific explanation, inquire
how they came to be connected. And this connection is not one that
depends upon the accidents of personal experience. It is not, for
example, like the emotional significance that the sound of the voice
of the loved one has for the lover, which even he may some day cease
to feel, and which other men do not feel at all. It is rather typified
by the emotional value of a melody, which, through psychological
processes common to all men, becomes a universal language of feeling.
The work of art is a communicable, not a private expression.

As we have observed, the elements of feeling in the aesthetic experience
are of two broad kinds--either vague, when directly linked with the
sensuous medium, or else definite, when this linkage is mediated by
ideas through which the medium is given content and meaning. The former
kind, which I shall consider first, comprises all cases of the emotional
expressiveness of the medium itself,--of tones and word-sounds and
their rhythms and patterns, of colors and lines and space-forms and
their designs. The detailed study of this expressiveness I shall leave
to the chapters on the arts; here I wish merely to indicate the kind
of psychological process involved.

In many cases the psychological principle of association operates. The
tender expressiveness of certain curved lines, like those of the Greek