man who expresses it æsthetically; between the appearance, the cries and contortions of some one grieving at the loss of a dear one and the words or song with which the same individual portrays his suffering at another time; between the grimace of emotion and the gesture of the actor. Darwin's book on the expression of the emotions in man and animals does not belong to Æsthetic; because there is nothing in common between the science of spiritual expression and a _Semiotic,_ whether it be medical, meteorological, political, physiognomic, or chiromantic. Expression in the naturalistic sense simply lacks _expression in the spiritual sense,_ that is to say, the very character of activity and of spirituality, and therefore the bipartition into the poles of beauty and of ugliness. It is nothing but a relation between cause and effect, fixed by the abstract intellect. The complete process of æsthetic production can be symbolized in four stages, which are: _a,_ impressions; _b,_ expression or spiritual æsthetic synthesis; _c,_ hedonistic accompaniment, or pleasure of the beautiful (æsthetic pleasure); _d,_ translation of the æsthetic fact into physical phenomena (sounds, tones, movements, combinations of lines and colours, etc.). Any one can see that the capital point, the only one that is properly speaking æsthetic and truly real, is in _b,_ which is lacking to the merely naturalistic manifestation or construction also metaphorically called expression. The expressive process is exhausted when these four stages have been passed through. It begins again with new impressions, a new æsthetic synthesis, and the accompaniments that belong to it. [Sidenote: _Representations and memory._] Expressions or representations follow one another, the one drives out the other. Certainly, this passing away, this being driven out, is not a perishing, it is not total elimination: nothing that is born dies with that complete death which would be identical with never having been born. If all things pass away, nothing can die. Even the representations that we have forgotten persist somehow in our spirit, for without this we could not explain acquired habits and capacities. Indeed the strength of life lies in this apparent forgetting: one forgets what has been absorbed and what life has superseded. But other representations are also powerful elements in the present processes of our spirit; and it is incumbent upon us not to forget them, or to be capable of recalling them when they are wanted. The will is always vigilant in this work of preservation, which aims at preserving (we may say) the greater, the more fundamental part of all our riches. But its vigilance does not always suffice. Memory, as we say, abandons or betrays us in different ways. For this very reason, the human spirit devises expedients which succour the weakness of memory and are its _aids._ [Sidenote: _The production of aids to memory._]