Let us repeat. The unsatisfyingness of beauty is due to the fact that you are taking and not giving. In order to give _something_, to others, though not to the object that roused in you the sense of beauty, you create by some technique. What is it you are receiving? An intuition, which you express to yourself creatively and to others through its effect on your character;--to which further, if you are an artist, you give external, technical expression. This intuition which you receive is the first stage of knowledge--of the knowledge of Reality. So far, agreeing with Croce, we agree with Bergson; and moreover we leave room for mysticism, since mysticism becomes the appreciation of relationship, and logic paves the way for suitable activity to develop our side of the relationship. The meaning of this becomes clearer when we consider Croce’s explanation of the process of perceiving beauty in the work of an artist, be it picture, symphony, or poem. He points out that in appreciating a work of art you enter into the mind of the creator, follow his intuition, and create the expression afresh for yourself. On the degree in which you can do this depends the fullness of your appreciation of the work. But when you see beauty in a natural object the matter is less clear. Croce would say that you are in the first stage of knowing that object, and he is unquestionably right so far. But can we not, using the analogy of the picture or the poem, go on to say that you are following out the idea of the creator of the natural object--that you are in touch with the Cosmic Idea, which is the Idea of a Personal God? If so, there is indeed room for mysticism, for mysticism becomes simply the realisation that you are in fact doing this. Moreover, Beauty and Love at once fall into relation. Beauty is not simply expression, but the expression of a relation, and it is incomplete because the relation is not yet reciprocal. Love is that relation itself. In another aspect, beauty is seen as the meeting-place for love, since it is the expression of an intuition of Reality, and Reality is rooted and grounded in love. Where there is limitation either of one or both of two persons, expression is needed to provide a meeting-place--speech or sign for the lesser artist, music, poetry, or picture for the greater. Each expression is a symbol of the reality it incarnates; in so far as it reaches out beyond its own immediate apprehension of that reality. All expression, all art, is symbolic and has a mystical aspect, else it would be either complete and all-embracing or devoid of real content. So far the symbolists are right.