properties and experiences. This applies both to music and to language.
All this later argument of ours, starting from the importance of medium and technique, has aimed at exhibiting in detail the double process of creation and contemplation which is implied in the aesthetic attitude, and the impossibility of separating one factor of it from another. And it is the same question as that stated in other words, how a feeling can be got into an object. This is the central problem of the aesthetic attitude; and, as we have seen, the best material for solving it for us who are not great artists comes from any minor experience we may have at command in which we have been aware of the outgoing of feeling into expression. We must think not merely of the picture in the gallery or the statue in the museum, but of the song and the dance, the dramatic reading, the entering into music, or the feel of the material in the minor arts, or simply, of the creative discovery of the right word.
The festal or social view of art will
