The process of objectification may, however, go further. It often
happens in the aesthetic experience that feelings are not objectified
alone, but carry with them the idea of the self--I come to feel
_myself_ as joyous or despairing in the sounds. The extent to which the
idea of the self thus follows the objectified feelings depends largely
upon the amount of their reverberation throughout the organism. When
this is small, and the feelings are vague and tenuous, as in color
appreciation, there is little or no definite projection of the idea
of the self; when, on the other hand, it is large and the emotions are
strong, as oftentimes in music, where breathing, circulation, hand and
foot are affected, then I myself seem to be there,--striving, pursuing,
struggling, in the sounds. I am where my body is. The projection of
the idea of the self is facilitated for the same reason when the body
is actually employed in the creation of the work of art, as in singing
and acting. It also occurs more readily when the life expressed in the
work of art is akin to the spectator's. Thus, an emotional and
suggestible woman, in watching a fine performance of "Magda," inevitably
puts herself in the place of the heroine if she has herself lived
through a similar experience. But when the life expressed is strikingly
foreign to our own, the projection of the idea of self is more
difficult; the duality between subject and object tends to remain.

These phenomena have excited special attention when, as in painting
and sculpture and the drama, a human being is represented. Suppose,
for example, I see a statue of a runner ready to start. I not only see
the form and color of the marble and recognize them as a man's; I also
feel emotions of excitement, tension, and expectation such as I should
myself feel were I too posed and waiting to run a race. And these
emotions I experience as the man's, and as his, not in a vague way,
but as definitely present in his sculptured form, even in particular