This primitive imitative power of the word survives in the so-called onomatapoetic words, which aim simply at reproducing the sounds of nature. A second order of imitation arises through the associations of sensations. The different sensations, auditory, visual, olfactory, tactile, motor, and organic have common qualities, which they share with other more complex experiences; of form, as force or feebleness; of feeling, as harshness, sweetness, and so on. It is, indeed, another case of the form-qualities to which we recurred so often in the chapter on music. Clear and smooth vowels will give the impression of volatility and delicacy; open, broad ones of elevation or extension (airy, flee; large, far). The consonants which are hard to pronounce will give the impression of effort, of shock, of violence, of difficulty, of heaviness,--"the round squat turret, black as the fool's heart;" those which are easy of pronunciation express ease, smoothness, fluidity, calm, lightness, (facile, suave, roulade);--"lucent syrops, tinct with cinnamon," a line like honey on the tongue, of which physical organ, indeed, one becomes, with the word "tinct," definitely conscious. In fact, the main point to notice in the enumeration of the expressive qualities of sounds, is that it is the movement in utterance which characterizes them. That movement tends to reproduce itself in the hearer, and carries with it its feeling- tone of ease or difficulty, explosiveness or sweetness long drawn out. It is thus by a kind of sympathetic induction rather than by external imitation that these words of the second type become expressive. Finally, the two moments may be combined, as in such a word as "roaring," which is directly imitative of a sound, and by the muscular activity it calls into play suggests the extended energy of the action itself.