470 PSYCHOL007. 



vistas of memory and association, and the stirring of oui 

 flesh with picturesque mystery and gloom, make a work of 

 ait romantic. The classic taste brands these effects as coarse 

 and tawdry, and prefers the naked beauty of the optical and 

 auditor}' sensations, unadorned with frippery or foliage. To 

 the romantic mind, on the contrary, the immediate beauty 

 of these sensations seems dry and thin. I am of course not 

 discussing which view is right, but only showing that the dis- 

 crimination between the primary feeling of beauty, as a 

 pure incoming sensible quality, and the secondary emotions 

 which are grafted thereupon, is one that must be made. 



These secondary emotions themselves are assuredly for 

 the most part constituted of other incoming sensations 

 aroused by the diffusive wave of reflex effects which the 

 beautiful object sets up. A glow, a pang in the breast, 

 a shudder, a fulness of the breathing, a flutter of the 

 heart, a shiver down the back, a moistening of the eyes, a 

 stirring in the hypogastrium, and a thousand unnamable 

 symptoms besides, may be felt the moment the beauty 

 excites us. And these symptoms also result when we are ex- 

 cited by moral perceptions, as of pathos, magnanimity, or 

 courage. The voice breaks and the sob rises in the strug- 

 gling chest, or the nostril dilates and the Augers tighten, 

 whilst the heart beats, etc., etc. 



As far as these ingredients of the subtler emotions go, 

 then, the latter form no exception to our account, but 

 rather an additional illustration thereof. In all cases of 

 intellectual or moral rapture we find that, unless there be 

 coupled a bodily reverberation of some kind with the mere 



likeactsof integrity performed iu Peru." The Beethoveu-rightness of which 

 Guruey theu goes on to speali, as something different from the Clemeuti 

 tightness (even when the respective pieces are only heard in idea), is prob 

 ably a purely auditory-sensaUonal thing. The Clementi-rightness also ; 

 only, for reasons impossible to assign, the Clementi form does not give the 

 same sort of purely auditory satisfaction as the Beethoven form, and might 

 better be described perhaps negatively as non-wrong, i.e., free from posi- 

 tively unpleasant acoustic quality. In organizations as musical as Mr. 

 Gurney's, purely acoustic form gives so intense a degree of sensible pleas- 

 ure that the lower bodily reverberation is of no account. But I repeat that 

 I see nothing in the facts which Mr. Gurney cites, to lead one to believe 

 in an emotion divorced from sensational processes of any kind. 



