_Form_ and _outline_ also have their influence. The sunken eye of grief, the hollow cheek of care and want, the bending form of sorrow, the erect position of dignity, the curvature of haughtiness and pride, are various modes of expressing the qualities and emotions of mind. But it is by the varied _sounds_ of voice chiefly that intellect glances abroad, and the soul is poured forth at the lips. The quick and animated sounds of cheerfulness, joy, and hope; the softer tones of meekness, gentleness, and love; the plaintive notes of sympathy, sorrow, and pain; the firm tone of magnanimity, fortitude, patience, and self-denial, all exhibit the pleasing and interesting emotions of the soul. Nor less expressive, though more painful, are the harsh sounds of anger, malice, envy, and discontent. Not only are certain forms, colors, motions, and sounds the medium by which we gain a knowledge of the intellectual operations and emotions of other minds, but they are the means by which we discover and designate those material objects which are causes of comfort, utility, and enjoyment. Thus it is by the particular form and color that we distinguish the fruits and the food which minister to our support. By the same means we discriminate between noxious and useful plants and animals, and distinguish all those conveniences and contrivances which contribute to the comfort of man. Of course, certain forms and colors are connected in the mind with certain emotions of pleasure that have attended them as causes of comfort and enjoyment. In what precedes, it appears that it is those emotions which are awakened by the apprehension of certain intellectual operations and emotions of intelligent minds which are most delightful; that all our ideas of such operations and emotions are gained by means of certain forms, colors, motions, and sounds; that we designate objects of convenience and enjoyment to ourselves by the same mode; that perceptions can recall the emotions which have been connected with them, even after the mind has forgotten the connection, and that perceptions recall associated emotions much more vividly than conceptions. In consequence of these considerations, the inference seems justifiable that the emotions of beauty and sublimity are not owing either simply to the _perceptions_ produced, nor to the _conceptions_ recalled by the principle of association. But they are accounted for in a great degree by the fact that certain colors, forms, motions, and sounds have been so often connected with emotions awakened by the apprehension of qualities in other minds, or of emotions which arise in view of causes of enjoyment to ourselves, that the _perception_ of these colors, sounds, forms, and motions recall such agreeable emotions, even when the mind can not trace the connection in past experience.