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tion between his feeling and its object (I 350). Sympathy also has alternative forms: in projective sympathy, I feel out toward the other person; in assimilative sympathy, I draw him into myself (1 356).
(3) Contemplative feeling is sympathy with sympathy. Three persons are involved. When I enjoy contemplating an old man watching his grandchild playing with a toy, the child's joy in the toy, the grandfather's sympathetic joy, and my contemplative joy are on different levels. I am interested in the child's feeling reflected in the grandfather's as an eternal emotion or value. I no longer feel the distinction between my feeling and the child's; I become impersonal (I 353). The expression of the object is detached from the particularity of fact as an eternal value. Beauty is such an eternal value, seen not as a quality of the object or another object beside it but as the reality to which the object itself is somehow adjectival (I 352). All feeling involves identification of subject and object, but in contemplative feeling both identity and difference are explicit. Subject merges into object and object is dissolved in subject (I 359).
(4) Artistic enjoyment is sympathy with sympathy when one or both of the persons sympathized with is imaginary (I 353). Feeling depicted in art is contemplated as sympathized with by the Heart Universal, the felt person in general, in which the person contemplating the feeling merges his personal heart. In the enjoyment of the beauty of a natural object, the third person, who feels the object, is someone in general (1 354). The beauty of an object involves expression, detachment from the object, and eternity-projections respectively of primary, sympathetic, and contemplative feeling; though the feelings of the three persons may be different emotional levels in the same individual (I 355). Artistic enjoyment has alternative directions. In the projective or dynamically creative direction, the feeling becomes objective yet without getting entangled in fact, transfiguring fact into value-freedom in spite of enjoying contact. In the assimilative, abstractive, or contemplative direction, the feeling is subjective detachment in which the value of the object is abstracted and reposefully enjoyed-enjoyment of reality in spite of detachment (I 357). In either case the enjoyer identifies himself with the eternal value (I 356). This artistic or aesthetic enjoyment is the highest feeling. realization of eternal value, "identification with the aesthetic essence without loss of freedom" (I 355).
Non-Indians, generally impressed by the beauty and refinement. of Indian art, are sometimes perplexed by the striking ugliness of
113 For the child read of distinction (I 350, 5th line from bottom).
