This consideration of the symbolic transference of emotion raises another question. In the case of sense-perception, we may ask whether the æsthetic emotion associated with it is derivative from it or merely concurrent with it. For example, the sound waves by their causal efficacy may produce in the body a state of pleasurable æsthetic emotion, which is then symbolically transferred to the sense-perception of the sounds. In the case of music, having regard to the fact that deaf people do not enjoy music, it seems that the emotion is almost entirely the product of the musical sounds. But the human body is causally affected by the ultra-violet rays of the solar spectrum in ways which do not issue in any sensation of colour. Nevertheless such rays produce a decided emotional effect. Also even sounds, just below or just above the limit of audibility, seem to add an emotional tinge to a volume of audible sound. This whole question of the symbolic transfer of emotion lies at the base of any theory of the esthetics of art. For example, it gives the reason for the importance of a rigid suppression of irrelevant detail. For emotions inhibit each other, or intensify each other. Harmonious emotion means a complex of emotions mutually in-
