e, through familiarity, the insipid. While pleasure unspiced by
pain is still a novelty there is no reason thus to spice it.

XIII.

The question can, however, be tolerably settled by turning over the
means which enable music to awaken emotion--emotion which we recognise
as human, as distinguished from the mere emotion of pleasure attached
to all beautiful sights and sounds. Once we have understood what these
means are, we can enquire to what extent they are employed in the
music of various schools and epochs, and thus judge, with some chance
of likelihood, whether the music which strikes us as serene and
vigorous could have affected our ancestors as turbid and enervating.

'Tis a dull enough psychological examination; but one worth making,
not merely for the sake of music itself, but because music, being the
most emotional of all the arts, can serve to typify the good or
mischief which all art may do, according to which of our emotions it
fosters.

* * * * *

'Tis repeating a fact in different words, not stating anything new, to
say that all beautiful things awaken a specific sort of emotion, the
emotion or the mood of the beautiful. Yet this statement, equivalent
to saying that hot objects give us the sensation of heat, and wet
objects the sensation of wetness, is well worth repeating, because we
so often forget that the fact of beauty in anything is merely the fact
of that thing setting up in ourselves a very specific feeling.

* * * * *

Now, besides this beauty or quality producing the emotion of the
beautiful, there exist in things a lot of other qualities also
producing emotion, each according to its kind; or rather, the
beautiful thing may also be qualified in some other way, as the thing
which is useful, useless, old, young, common, rare, or whatever you
choose. And this coincidence of qualities produces a coincidence of
states of mind. We shall experience the feeling not merely of beauty
because the thing is beautiful, but also of surprise because it is
startling, of familiarity because we meet it often, of attraction
(independently of beauty) because the thing suits or benefits us, or
of repulsion (despite the beauty) because the thing has done us a bad
turn or might do us one. This is saying that beauty is only one of
various relations possible between something not ourselves and our
feelings, and that it is probable that other relations