characteristics: the lines will have aims, intentions, desires, moods; their various little dramas of endeavour, victory, defeat or peacemaking, will, according to their dominant empathic suggestion, be lighthearted or languid, serious or futile, gentle or brutal; inexorable, forgiving, hopeful, despairing, plaintive or proud, vulgar or dignified; in fact patterns of visible lines will possess all the chief dynamic modes which determine the expressiveness of music. But on the other hand there will remain innumerable emphatic combinations whose poignant significance escapes verbal classification because, as must be clearly understood, Empathy deals not directly with mood and emotion, but with dynamic conditions which enter into moods and emotions and take their names from them. Be this as it may, and definable or not in terms of human feeling, these various and variously combined (into coordinate scenes and acts) dramas enacted by lines and curves and angles, take place not in the marble or pigment embodying those contemplated shapes, but solely in ourselves, in what we call our memory, imagination and feeling. Ours are the energy, the effort, the victory or the peace and cooperation; and all the manifold modes of swiftness or gravity, arduousness or ease, with which their every minutest dynamic detail is fraught. And since we are their only real actors, these empathic dramas of lines are bound to affect us, either as corroborating or as thwarting our vital needs and habits; either as making our felt life easier or more difficult, that is to say as bringing us peace and joy, or depression and exasperation.