Such phrases are no doubt easily misunderstood. Let me, therefore, hasten to add that by an “expressive” message I do not mean a message which can be expressed in words. A work of art can never be transferred from one medium into another, as from marble to music. Even when words are the medium employed, perfect translation is impossible. One poet may paraphrase, in a different language, the work of another; and a new work of art may thus be produced. But however closely it follows the original, it will never be the same. On the other hand, if the medium used be (for example) colour, or sound, or stone, the work of art cannot be translated into words at all. It may be described; and the description may better the original. Yet it cannot replace it. For every work of art is unique; and its meaning cannot be alternatively rendered. But are we, therefore, to conclude that it has no meaning? Because its message cannot be translated, has it therefore no message? To put these questions is to answer them. Many people, however, who would travel with me so far would refuse to go further. They would grant that a work of art must be due to genius, and not, in the first instance, to mechanism or to chance. But whether, in the last resort, mechanism or chance has produced the genius, they would regard as, from the æsthetic point of view, quite immaterial. Music and poetry must have a personal source. But the musician and the poet may come whence they will. And perhaps, in very many cases, this is so; but not, I think, in all, nor in the highest. If any man will test this for himself, let him recall the too rare moments when beauty gave him a delight which strained to its extremest limit his powers of feeling; when not only the small things of life, but the small things of Art—its technical dexterities, its historical associations—vanished in the splendour of an unforgettable vision; and let him ask whether the attribution of an effect like this to unthinking causes, or to an artist created and wholly controlled by unthinking causes, would not go far to impair its value. To such an appeal it is not difficult to raise objections. It may be said, for example, that, under the stress of emotions like those I have described, no man troubles his head about problems of cosmology; thought is merged in feeling; speculation is smothered. But though this is true, it is not wholly true. As no pain, I suppose, is so intense as to exclude all reflections on its probable duration, so no rapture is so absorbing as to exclude all reflections on its probable source. I grant that at such moments we do not philosophise; we do not analyse a problem, turning it this way or that, and noting every aspect of it with a cool curiosity. Nevertheless, for those accustomed to reflect, reflection is never wholly choked by feeling. Nor can feeling, in the long run, be wholly unaffected by reflection.