romantic tone poetry of a later day--which are more abundant in their associations, and hence richer in their emotional content, are difficult of translation for another reason: the rapidity of succession and subtlety of intermixture of the expressed feelings are beyond the reach of words, even of a poet's, which inevitably stabilize and isolate what they denote. But abstract and objectless emotions occur in other regions of experience beside the musical, even beyond the entire field of the aesthetic. All except the most healthy-minded and practical people are at times filled with vague fears, longings, and joys, the objects or causes of which they cannot formulate. Normally, feeling is directed towards definite objects and leads to action upon them, but may nevertheless become isolated from its proper connections, and function without issue. The extreme cases of this are the pathological states of mania and depression, where such feelings assume proportions dangerous to the existence of the individual. Intoxication and hysteria present analogous, though more transient phenomena. And one may observe the autonomous development of mere feeling even in the healthy life, as when one remains jolly after all occasion for it has ceased, or angry after the cause for anger has been removed. All feelings tend to acquire a strength beyond what is necessary for action and to endure after their proper objects and conditions have disappeared; hence the luxury of grief and revenge and sentimentality. In their most general character, musical emotions stand on a level with other purposeless emotions, except that they are deliberately induced and elaborated to an extent and complexity unmatched elsewhere. But while these emotions are morbid and evil outside of music, within music they are innocent. For outside of music they spring from dislocations of the practical and striving core of the personality, where, if persistently indulged in, they exacerbate the disturbance of which they are the sign, interfering with action and eventually endangering the health and happiness of the individual; while in music, being induced from the outside by mere sounds, they have no ground within the personality itself where they can take root, and hence exert only a harmless and transient effect upon the mind; they belong to the surface, not to the substance of the self, to imagination, not to the will. Or when, as sometimes happens, the deeper and perhaps morbid strata of the self are reached by the sounds, the feelings which are awakened from their sleep there, where they might be productive of evil dreams, find an orderly and welcome release in the sounds--they are not only aroused, but carried off by the music. This the Greeks understood when they employed music as a healer of the soul and called this effect catharsis.