But music does more than express the inexpressible in ourselves; it gives us entrance into a supernatural world of feeling. Except at the rare high moments of our lives, its joys and despairs are too exalted for us; they are not ours; they belong to gods and heroes. In music the superman is born into our feelings. Music does for the emotions what mythology and poetry do for the imagination and philosophy for the intellect--it brings us into touch with a more magnificent life, for which we have perhaps the potency, but not the opportunity here. And in doing this, music performs a great service; for, outside of love and war, life, which offers endless occasions for intense thought and action, provides few for passionate feeling. Thus far our study of the art has been confined to so-called absolute music. We must now complete our survey by a rapid consideration of the union of music with the other arts. Because of its abstractness, music, of all the arts, lends itself most readily to combination with others; yet even in the case of music the possibility of union is limited by the existence of a clear identity between the arts combined. Thus, music goes well with the temporal arts, poetry, the dance, and the drama, and particularly well with the first two because they are rhythmical; it will also unite with architecture, because that is another abstract art; but with the static, concrete arts like painting and sculpture, it will not fuse. One might perhaps accompany a picture with a single chord whose emotional meaning was the same as that of the color scheme and the objects represented, but not with more; for the aesthetic experience of the picture is instantaneous and complete, while that of the music requires time for its development and fruition; hence the two would soon fall apart, and a person would either have to ignore the music or cease to look at the picture.