between them
may exist at the same moment, in the same way that a woman may be a
man's wife, but also his cousin, his countrywoman, his school-board
representative, his landlady, and his teacher of Latin, without one
qualification precluding the others.

Now, in the arts of line, colour, and projection, the arts which
usually copy the appearance of objects existing outside the art, these
other qualities, these other relations between ourselves and the
object which exists in the relation of beauty, are largely a matter of
superficial association--I mean, of association which may vary, and of
which we are most often conscious.

We are reminded by the picture or statue of qualities which do not
exist in it, but in its prototype in reality. A certain face will
awaken disgust when seen in a picture, or reverence or amusement,
besides the specific impression of beauty (or its reverse), because we
have experienced disgust, awe, amusement in connection with a similar
face outside the picture.

So far, therefore, as art is imitative, its non-artistic emotional
capacities are due (with a very few exceptions) to association; for
the feelings traceable directly to fatigue or disintegration of the
perceptive faculty usually, indeed almost always, prevent the object
from affecting us as beautiful. It is quite otherwise when we come to
music. Here the coincidence of other emotion resides, I believe, not
in the _musical thing itself_, not in the musician's creation without
prototype in reality, resembling nothing save other musical
structures; the coincidence resides in the elements out of which that
structure is made, and which, for all its complexities, are still very
strongly perceived by our senses. For instance, certain rhythms
existing in music are identical with, or analogous to, the rhythm of
our bodily movements under varying circumstances: we know
alternations of long and short, variously composed regularities and
irregularities of movement, fluctuations, reinforcements or
subsidences, from experience other than that of music; we know them in
connection with walking, jumping, dragging; with beating of heart and
arteries, expansion of throat and lungs; we knew them, long before
music was, as connected with energy or oppression, sickness or health,
elation or depression, grief, fear, horror, or serenity and happiness.
And when they become elements of a musical structure their
associations come along with them. And these as