 While some have suggested that Bosanquet’s account of the embodiment of a feeling in a work of art is unclear (Kobayashi 2009: 166), Bosanquet would likely reply that such a concern is addressed by his view that a work of art is a “concrete universal”—that it possesses an organisation and a unity that shows a relation of interdependence among its parts, and it presents certain general principles in a concrete form. 