Hanslick’s strongest claim against the aesthetics of feeling involves a subtle conceptual analysis of the structure of emotions. Hanslick observes that these cannot be identified by means of the feeling state they produce in us, as the same emotion may arouse different states, and two different emotions may share a similar one. The additional component that allows us to discriminate between different emotions is conceptual content. In Hanslick’s example, hope requires a concept of a future, bett