It is most natural, when speaking of the connection between feeling and rhythm, to refer to dance and the simplest vocal and instrumental music. But it goes without saying that the effects are the same in kind, although less in degree, when the time-sequence is impressed upon our mind in some more indirect way. Thus, by appropriating the element of rhythm, which enters into all poetry, we may in reciting or reading a verse partake of an emotional state in the same way as we do when joining, actively or “internally,” the movements of a dance. Similarly, the formative and decorative arts may, by compelling our eye to follow a regular arrangement of lines and figures, transmit to us an emotional excitement by the mediation of rhythm. Ornament, that purely popular art, may therefore be compared as to its psychological effects with simple popular dances and melodies.[129] In these three logically most primordial arts, viz. gymnastic dance, geometric ornament, and unmelodic, simply rhythmical music or singing, the unmotived “objectless” feeling is expressed in a medium which directly conveys to us its accompanying modifications of activity. Notwithstanding the meagreness of their intellectual content, these purely lyrical forms, if we may so call them, are therefore emotionally suggestive to a high degree. General and indistinct moods, such as a feeling of ease, of liberation from restraint, of assurance and power, etc., may by them be transmitted with unsurpassable fidelity. But their expressive power is also confined to such purely hedonic states. Whenever, therefore, the feeling forms a part of a differentiated and fully formed emotion, the impulse to social expression must avail itself of some more adequate means of transmission.