The intellectual justification of a feeling by representation of a cause and the orderly form of its direct or secondary expression are, however, in themselves insufficient to secure a response; the attention and goodwill of the audience must first be conciliated. A sympathetic rapport always presupposes a state of compliance in at least one of the parties involved. When seeking by means of a work of art to obtain a response to an overmastering feeling the artist is thus constrained to exercise persuasion upon his real or fictitious public. As M. Sully-Prudhomme has finely remarked, it is only by first caressing our senses that art rouses our feelings and awakens our thoughts.[138] Besides that element of beauty which can be immediately derived from the expressed content, and that element of gracefulness which follows as result of the psychical freedom attained by expression, there are in nearly all works of art qualities whose aim is exclusively to please. If we may risk a somewhat audacious parallel, we may say that the work of art, in the same way as a living organism, an animal or a plant, entices the attention and charms the senses with the beauty of its “means of attraction,” not for the sake of these attractions themselves, but for the secret they at the same time conceal and disclose. All these allurements might easily cause a superficial observer to lose sight of the simple fact which lies at the bottom of the artistic work, viz. the feeling-state which demands expression and response. We thus see why the impulse to attract by pleasing has been considered as synonymous with the art-impulse. As has already been remarked, such an interpretation cannot account for the coercive force of the artistic impulse. And equally with the theories based upon the epic or descriptive elements in art, it is incompatible with the principle of the unity of art. If the logical evolution of the art-forms is conceived in the way we have described, all the various manifestations of artistic activity can be derived from one common principle. And by the aid of this one principle we are able to explain the force of that impulse which, with similar coercive force, urges to creation within the various art-forms.