BOOK I. CH. II. PART III. § 18. Emotions arising from the form. chords of the whole piece. The latter kind of harmony depends obviously on representation. One chord or one note prepares another; discords must be resolved, that is, must lead up to concords; the whole piece is thus an evolution of harmonised sounds according to organic laws of growth. These two kinds of harmony may be called the harmony of simultaneously heard sounds and the harmony of melody or movement. Besides these there are those two kinds of harmony which have been already distinguished in § 11, as the harmony of pitch and the harmony of colour. Every note in our musical instruments is a coloured note. A chord is a harmony of colours, as a single coloured note is a harmony of pitches. Modern music, which like modern metaphysical philosophy depends upon the subjective side of phenomena being more systematically treated and examined, which subjective side in music is the emotion expressed peculiarly by colour and colour harmony in sound, and by tone of voice in spoken sound, -modern music is distinguished by taking as its fundamental principle the harmony of colours as distinguished from the mere harmony of pitches. The chord not the note is the unit, the individual, in its republic of sound. And this greater complexity and fulness of the unit is itself sufficient to give preponderance to colour harmony; since every added note increases it, while simple harmony or harmony of pitch is already at its maximum. Its laws once ascertained and applied, no increase of this harmony or of pleasure from it is possible; they become negative laws, limits, within or in obedience to which new combinations of sound may give new pleasure; a new pleasure which must arise from the melting BOOK I. CH. II. PART III. § 18. Emotions the form. together of concordant coloured sounds, just as the colour of a single note arises from the melting together of the harmonics with the ground tone. The combination of these chords themselves, their simul- arising from taneous execution whether on one or several instruments, or by voices in part-singing, gives the final extension to the principle of colour harmony. The chief pleasure and interest in music no longer lies in the melody alone, upon which it was necessarily thrown back when the simultaneous harmonies were meagre in colour; but the rich combinations of colour harmony take at least an equal place with it, serving as they do for the expression of strong and yet subtil emotion, as well as delighting the sense with fulness of harmonious sound. 7. The entire framework, then, of the æsthetic emotion or sense of beauty in music consists of a series of combined and analysable sounds, in which we may distinguish, first, the movement or melody, to which belong the intensity and the time measurement; secondly, the harmony in both its modes simultaneous and successive, in each of which it is a harmony of coloured sounds, and as such is again analysable into a harmony of pitches. The organic arrangement of these elements by the musical composer, the composition or structure of a piece of music, is its objective beauty, the representational and partly presentative framework of the æsthetic emotion which we experience in hearing it played or sung. The reflective emotions which are combined with this framework and with its æsthetic emotion constitute the poetry of music. These must be reserved for the Part which treats of the reflective emotions. The harmony of colour and of chords, BOOK I. CH. II. PART III. $ 18. Emotions arising from the form. and the combination of this kind of harmony with melody, is that in which these reflective emotions arise. 8. Music is not an imitative art. Its sounds imitate nothing; for, if you say that they imitate the sounds of the human voice, this is not imitation but repetition of sound; singing is itself music. Speech may in some cases be imitative, as for instance in onomatopoeic names; but usually it is not imitative but simply designative, the sound being, at present at least, whatever it may have been in the origin of language, arbitrarily attached to the representation of the thing. Music then is not imitative. Painting, on the other hand, really imitates objects which differ from it in the nature of the space they occupy; a surface is made to resemble a solid; and the correctness of the imitation is often a great part of the aesthetic pleasure. In painting you have a language with a meaning, the meaning lying in the representations of the object imitated, or called up by means of the picture. A piece of music on the contrary is the thing itself, contains its own meaning; the succession and combination of its notes are picture and thing pictured in one; there are no images behind them; they are the framework of the emotion and its only framework. Bearing this fundamental difference in mind, let us turn to the examination of objects of sight. Since they include representation by requiring time to perceive them in all their parts, we shall find in them the two modes statical and dynamical, just as in the case of music. But in objects of sight it is the statical element which is first offered to us; not the dynamical, as in hearing, where we have to isolate a BOOK I. CH. II. PART III. § 18. Emotions the form. portion of the movement from the rest, as an air, a piece of eight bars, a verse, a foot, in order to treat it statically at all. In objects of sight we see the representations at rest; in natural objects they move arising from of themselves, in works of art the movement is implied and inferred; this is what is technically called the "motive" of the picture or statue, namely, the point or incident in it which determines the action. The past and the future of the visible object is always present to the thought of the spectator. In works of architecture this element is wanting; they have no movement except such as we import into them by imagining arches as springing, spires as shooting upward, and so forth. Their life is to stand at rest, in contrast with the living beings which surround them; and this kind of permanency is shared with them by other works of art. It may be remarked too that architecture is not an imitative art, differing therein from painting and resembling music. Sculpture must be regarded as imitative, though in a far less degree than painting. It has a beauty of its own, which allies it to architecture and allows us to take pleasure in statues treated stiffly and nonrealistically, either as accompaniments to architecture or as standing alone. Its being actually in three dimensions, a solid capable of standing alone, makes a statue truly less imitative instead of more, as we might at first expect from its being thus more similar to the objects which it imitates. It acquires an independence, some of the independence of music and architecture, and disdains to serve merely as a language with a meaning behind it. Hence the repugnance excited by statues which are coloured so as to imitate the figures of real life. The slightest BOOK I. PART III. § 18. Emotions arising from the form. $ 19. Emotions arising from comparison. tinge of colour, purposely introduced, upon a statue makes it to some extent produce the effect of a beautiful toy; and the more so, the more completely it is coloured. 9. The movements of living beings are what answer to melody in music. These combine pleasure of enjoyment with pleasure of admiration, the former arising from ease and uninterrupted facility or power overcoming obstacles with little effort, the latter from proportion and beauty of shape preserved in the successive forms assumed in the movement. Dances are one of the chief modes in which these two pleasures are combined. But in pictures and statues which do not move it is a chief point of excellence that the movements antecedent and subsequent which are implied, and between which the moment given in the picture or statue stands, should be such as to be easy and natural consequences of that moment. In this respect, the aesthetic emotion of beauty in painting and sculpture passes over into one which is an imagination as well as a direct emotion. I conclude these remarks by repeating, that the æsthetic emotions, whether arising in sights or sounds, are carried up into reflection and combined with the reflective emotions, which constitute their poetry. They begin in the sensations of sight and hearing; then in direct representation they receive their emotional character as æsthetic emotions; and finally in combination with reflective emotions, such as love, revenge, pride, pity, and so on, they become the basis of poetry in all its kinds. § 19. 1. We now come to emotions which include a comparison between the objects in their framework. When one of these objects is comparatively |