expression than apt instruments of it. The answer to such a view is what we have just given.
It is the qualities of the media which give them the capacity to serve as embodiments of feeling; and sonorous language, the medium of poetry, has its peculiarities and definite capacities precisely like the others.
Here, I cannot but think, we are obliged to part company, with some regret, from Benedetto Croce. He is possessed, as so often is the case with him, by a fundamental truth, so intensely that he seems incapable of apprehending what more is absolutely necessary to its realisation. Beauty, he sees, is for the mind and in the mind. A physical thing, supposed un-perceived and unfelt, cannot be said in the full sense to possess beauty. But he forgets throughout, I must think, that though feeling is necessary to its embodiment, yet also the embodiment is necessary to feeling. To say that because beauty implies a mind, therefore it is an internal state, and
