When such principles as we have tried to formulate are admitted, the world of aesthetic judgments can be organized and some consensus about the beautiful achieved. Without an approach to a consensus, the aesthetic impulse can never be content; for it is indefeasibly sociable. Agreement in judgments depends upon a common experience, and this also art can provide. For beauty is constituted of elementary reactions to sense stimuli which are well-nigh universal among men, and of symbols and meanings which can be learned like any language. The delight in harmony and balance, order and symmetry and rhythm, and again, the pleasure in the unique and well finished, are felt by every one. The entire form side of art, its structure or design, is based on fundamental and enduring elements of human nature. The symbolism of sensation, its musical expressiveness, as we have called it, is rooted likewise in reactions and interpretations that either are, or may become, through suggestion and training, common property. There are, of course, the people who have no feeling for tones, and through defective memory for tones, no appreciation of musical design; there are also those who are insensitive to color and line. In many cases, through the training of the attention, these defects can be overcome; yet, in others, they are permanent and incurable. This fact limits the universality of art; oftentimes, when two people are discussing a work, they are not talking about the same object; for a large part of its potentialities are lost to one of them. Nevertheless, the validity of empirical standards among those who are capable of appreciating the whole of a work of art is not touched by this fact. Those who can agree, ultimately will agree. As for art as representation, that is a language readily acquired. It is an easier and more natural language than ordinary speech. What is meant by the colors and lines of a painting or statue, or by the mimic of the drama, is immediately grasped by any intelligent person; for to make use of images of things in order to represent them is a universal habit among men. The painting and sculpture of the Chinese are intelligible to us; not so their speech. Of course, to some extent, the language of painting and sculpture is conventional; the limits of accuracy of imitation are not set by nature, except at the extremes, but by the tradition or practice of painters. Yet the convention is a simple one, easily understood and accepted. CHAPTER VIII THE AESTHETICS OF MUSIC In this and the following chapters which treat of the arts, I plan to make a concrete application of the aesthetic theory thus far developed. I want to show how the general principles which we have tried to establish can be used to explain the facts of our artistic experience. In doing this I shall hope to achieve a double purpose: first, to verify anew our theory of art, and second, to deepen and enlighten appreciation.