But how shall music advance? How shall it set out to win new relations? It is at least conceivable that it takes the method of another art which we have just studied. To get new beauties, it does not say,--Go to, I will add to the beauties I already have! It makes new occasions, and by way of these finds the impulse it seeks. Renoir paints the baigneuse of Montmartre, and finds "the odd, beautiful huddle of lines" in so doing; Rodin portrays ever new subtleties of situation and mood, and by way of these comes most naturally to "the unedited poses." So a musician, we may imagine, comes to new and strange utterances by way of a new and strange motion or cry that he imitates. Out of the various bents and impulses that these give him he chooses the ones that chance to be beautiful. And in time these new beauties have become worn away like the trite metaphors that are now no longer metaphors, but part of the "funded capital." That was a ridiculous device of Schumann's, who found a motif for one of his loveliest things by using the letters of his temporary fair one's name--A B E G G; but it may not be so utterly unlike the procedure by which music grows. VIII But what provision must be made for the emotions of music? It cannot be that the majority of musicians, who are strangely enough the very ones to insist that music is merely the language of emotion, are utterly and essentially wrong. Nor has it been attempted to prove them so. The beauty of music, we have sought to show, grows and flowers out of tone-relations alone, consists in tone-sequences alone. But it has not been said that music did not arouse emotion, nor that it might not on occasion even express it. It is in fact now rather a commonplace in musical theory, to show the emotional means which music has at its command; and I shall therefore be very brief in my reference to them. They may be shortly classed as expressive by association and by direct induction. Expressive by association are passages of direct imitation: the tolling of bells, the clash of arms, the roar of wind, the hum of spinning wheels, even to the bleating of sheep and the whirr of windmills; the cadence of the voice in pleading, laughter, love; from such imitations we are REMINDED of a fact or an emotion. More intimate is the expression by induction; emotion is aroused by activities which themselves form part of the emotions in question. Thus the differences in tempo, reproduced in nervous response, call up the gayety, sadness, hesitation, firmness, haste, growing excitement, etc., of which whole experiences these movement types form a part.