To suggest visual symbols in sound is to prostitute music, to drive it back into the sensationalism from which it has freed itself. It is, further, to confuse the mind by attempting to combine two incompatible media of technical expression. As animal passion is to love, so is Carrier’s “La Chasse” to a Bach prelude[10]. We see, then, that the psychological effect of the beautiful is to produce a creative impulse, based on the lack and the aspiration which give rise to a sense of yearning desire. We see that it is indeterminate, for it attempts to satisfy itself in very various ways. We see that in so far as it creates successfully, it finds some satisfaction. Now all this fits admirably with Croce’s theory of beauty. Beauty is for us the expression of that of which we have intuition. In realising the beauty of a symphony or picture we have ourselves re-created the intuition of the artist. In realising the beauty of a natural scene we have expressed an intuition of the reality that lies behind that scene; a creative act. We shall later go beyond Croce in this matter, referring our creative act to a re-creation of the intuition of God, and this will lead us to consider the aesthetic meaning of God’s creation; but for the time we need not pursue this thought. Our next business is, clearly, to analyse the yearning which precedes the creative act. We have said that this originates in dissatisfaction. What is this dissatisfaction? One other thing produces a feeling that is not merely analogous, but absolutely identical. When you love a person intensely and are uncertain if it is reciprocated, because no sign, or no sufficient sign, is given, you experience the same dissatisfaction, the same yearning and the same creative impulse. In primitive natures the impulse may fulfil itself in sexual excitement; in higher ones it is expressed in art. It is a commonplace to say that some of the world’s greatest creative work is done under the stimulus of love. The poems of lovers furnish the most prominent example, not only their love poems, but the poems inspired by their love, like the _Divina Commedia_; but we need not seek far for examples in the other arts. Beethoven’s Fourth Symphony was inspired by his love for the Countess Theresa von Brunswick. Tchaikovsky found inspiration in his Platonic love for Nadejda von Meck, whom he had never seen. His sad, abnormal friendships were an inspiration to Michael Angelo.