Finally, the pleasures of sense are distinguished from the perception of beauty, as sensation in general is distinguished from perception; by the objectification of the elements and their appearance as qualities rather of things than of consciousness. The passage from sensation to perception is gradual, and the path may be sometimes retraced: so it is with beauty and the pleasures of sensation. There is no sharp line between them, but it depends upon the degree of objectivity my feeling has attained at the moment whether I say "It pleases me," or "It is beautiful." If I am self-conscious and critical, I shall probably use, one phrase; if I am impulsive and susceptible, the other. The more remote, interwoven, and inextricable the pleasure is, the more objective it will appear; and the union of two pleasures often makes one beauty. In Shakespeare's LIVth sonnet are these words: O how much more doth beauty beauteous seem By that sweet ornament which truth doth give! The rose looks fair, but fairer we it deem For that sweet odour which doth in it live. The canker-blooms have full as deep a dye As the perfumed tincture of the roses, Hang on such thorns, and play as wantonly When summer's breath their masked buds discloses. But, for their beauty only is their show, They live unwooed and unrespected fade; Die to themselves. Sweet roses do not so: Of their sweet deaths are sweetest odours made. One added ornament, we see, turns the deep dye, which was but show and mere sensation before, into an element of beauty and reality, and as truth is here the co-operation of perceptions, so beauty is the co-operation of pleasures. If colour, form, and motion are hardly beautiful without the sweetness of the odour, how much more necessary would they be for the sweetness itself to become a beauty! If we had the perfume in a flask, no one would think of calling it beautiful: it would give us too detached and controllable a sensation. There would be no object in which it could be easily incorporated. But let it float from the garden, and it will add another sensuous charm to objects simultaneously recognized, and help to make them beautiful. Thus beauty is constituted by the objectification of pleasure. It is pleasure objectified. PART II THE MATERIALS OF BEAUTY _All human functions may contribute to the sense of beauty._ Sec. 12. Our task will now be to pass in review the various elements of our consciousness, and see what each contributes to the beauty of the world. We shall find that they do so whenever they are inextricably associated with the objectifying activity of the understanding. Whenever the golden thread of pleasure enters that web of things which our intelligence is always busily spinning, it lends to the visible world that mysterious and subtle charm which we call beauty.