 Earlier than Batteux, Jean-Baptiste Du Bos (1670–1742) had similarly construed music as an imitative art in his Critical Reflections on Poetry and Painting (1719). Du Bos attempts to show that, in vocal music, melody, harmony, and rhythm all contribute to the imitation of impassioned speech. Instrumental music imitates natural sounds instead. While he recognizes that music may charm the senses, Du Bos thinks that the only valuable response to music is the one that comes from its appreciation as an imitation. Music may still please without imitating, but it is only when it imitates that it really moves. Consequently, Du Bos condemns music that fails to be imitative.