But this girdle as a symbol of movable beauty has this particular feature, that the person adorned with it not only appears more graceful, but actually becomes so. The girdle communicates objectively this property of grace, in this contrasting with other articles of dress, which have only subjective effects, and without modifying the person herself, only modify the impression produced on the imagination of others. Such is the express meaning of the Greek myth; grace becomes the property of the person who puts on this girdle; she does more than appear amiable, it is so in fact. No doubt it may be thought that a girdle, which after all is only an outward, artificial ornament, does not prove a perfectly correct emblem to express grace as a personal quality. But a personal quality that is conceived at the same time as separable from the subject, could only be represented to the senses by an accidental ornament which can be detached from the person, without the essence of the latter being affected by it. Thus the girdle of charms operates not by a natural effect (for then it would not change anything in the person itself) but by a magical effect; that is to say, its virtue extends beyond all natural conditions. By this means, which is nothing more, I admit, than an expedient, it has been attempted to avoid the contradiction to which the mind, as regards its representative faculty, is unavoidably reduced, every time it asks an expression from nature herself, for an object foreign to nature and which belongs to the free field of the ideal. If this magic girdle is the symbol of an objective property which can be separated from its subject without modifying in any degree its nature, this myth can only express one thing--the beauty of movement, because movement is the only modification that can affect an object without changing its identity.