TABLE XI. COLOR-PASSIVE TOUCH RESULTS. M.

TABLE XII. COLOR-PASSIVE TOUCH RESULTS. F.

Evidently no dynamic explanation of this difference is possible. It has been impossible to reveal the cause of this particular difference; in all other respects, however, the subjects agree in the general tendencies revealed.

There remain the combinations of colors and passive touches. These combinations are shown in Tables XI and XII.

In these tables the same general tendency to estimate both higher when colors and passive touches are combined appears. M. raises the colors more than F., and F. raises the touches more than M. This is perfectly regular, as the following table shows:

The whole results are recapitulated for both M. and F. in Table XIII.

TABLE XIII. RECAPITULATION

From this last table certain conclusions may be drawn.

(1) When Colors and Tones were combined, both were lowered in the appreciation of both subjects. The percentages show: (a) That about the same number of colors was lowered, 59.6% for F. and 59% for M. (b) That about the same average displacement of colors occurred, .26+ for F. and .29+ for M. (c) That about the same number of tones was lowered, 77% for F. and 81% for M. (d) That the tones were lowered more for M., -.74+ for F., and 1.08+ for M.

(2) When Colors and Active Touches were combined, for F. both are lowered; for M. both are raised. The colors are lowered only very slightly, .13 for F, while for M they are raised .43+; and conversely, the active touches are lowered .38+ for F, and raised only .17+ for M. Still, it appears clear that with F. there was an interference,—and both colors and active touches are lowered while the same combinations with M. are mutually reënforcing.

(3) When Colors and Passive Touches were combined, the appreciation of both was raised for both F. and M. The result shows: (a) That the percentages of colors and passive touches raised are practically the same for both F. and M. (b) That the color displacement is greater for M. than for F., being +.72+ for M. and only .40+ for F. (c) That there is only a slight difference in the displacement of the passive touches.

(4) When Tones and Active Touches were combined, the appreciation of both was raised for both F. and M. It appears (a) that the displacement for F. is very slight, .45+ and .23+, when compared with the displacement for M., 1.71+ and .31+. But, (b) that the displacement of tones is greater than that of the active touches for both F. and M. (c) That this same relatively great displacement of tones occurred in the opposite direction when colors and tones were combined.

(5) When Tones and Passive Touches were combined, the appreciation of both was raised for F,—the tones being raised more than the passive touches. This combination was not tried with M. for lack of time.

From time to time some special tests of these general tendencies were applied. From the results already set forth, one could predict that there was a strong probability that when the tone-series was combined with a constant touch-series, active or passive, the appreciation of the tones would be raised. This was tried by allowing the subject M. to rub his hand over the somewhat rough pillow of a tilting board. The results showed that the appreciation of twenty-five out of twenty-seven tones was raised. Other predictions were similarly verified.

Of course, any experiment of this nature is exposed to a great many chances of error. The subjects may be fatigued, or depressed generally. But the wide range of different readings taken is a reasonable assurance that the chances of error are minimized. And it is to be noted, also, that individual differences of appreciation do not vitiate the results. In getting the "standards" no less than 2000 judgments were given by each subject, while for the tables each subject gave no less than 4000 judgments. The curves made from these data show the effect of each separate combination by their variation from the standard. The tables and analyses and conclusions already introduced show, in general, that our appreciation of each of several stimuli in combination is different from our appreciation of the same stimuli when taken separately. The results show that this appreciation may be either raised or lowered; that is to say, our feeling of values is not constant for a given stimulus under all conditions.

From Table XIII I have found the average displacement of each series to be as follows:

• Tones, .90.
• Colors, .37.
• A. Touches, .28.
• P. Touches, .23.

This shows that passive touches are subject to the least displacement, while active touches, colors, and tones are respectively subject to a greater variation. The sight-touch world is more stable than the auditory world. With M. the tones go over a full point both below and above the standard.

This report does not treat of the particular effects of a qualitative nature that follow from the possible combinations of series of stimuli of different feeling values,—such as the effect of an agreeable touch upon a slightly disagreeable tone, or upon an indifferent color, and so on. All such effects can be traced by rearranging the data already collected, and this may be done in a subsequent paper which may enter also into the theoretical discussion of the whole problem.

THE COMBINATION OF FEELINGS

BY C. H. JOHNSTON

The problem at issue in the present investigation concerns the combination of feelings. On the basis of theories as different in many respects as those of Wundt, of Titchener, of Lipps, etc., the feeling-state is always a unity. The affective process for Wundt must be always "coextensive with consciousness." When he chooses to speak of a "mixed feeling," it never for him signifies a "mosaic in consciousness," but is always a new Totalgefühl, which "swamps consciousness as a whole."

Titchener also believes that with every affective experience an inevitable and pervasive "tilting" of the whole organism occurs. W. McDougall, in his recent Physiological Psychology, makes the general statement that always a "massive state of feeling results" when many sensations are simultaneously excited, and that in such case we cannot "introspectively distinguish the feeling-tone of each sensation."

We started to examine by experiment and by introspection which feeling-effect really results from a combination of various impressions with affective tone, and whether it is really impossible that various feelings coexist and remain distinguishable. In case they can coexist, the question arises: What mutual influences can be discovered?

For the main part of our study the simplest possible feelings were chosen, because here presumably the subjects will not be forced to grapple with complex personal psychoses, necessarily confusing from their very richness. It was thought that here they could be more nearly normal, naïve, less artificial, and able to a maximum to rid themselves of preconceived personal opinions and unaccountable associations. Here, with simplest stimulations, unsophisticated necessarily, the hope at any rate is that work with a good number of subjects of distinct emotional temperaments may bring to light certain fresh simple introspective facts, which may in their turn offer valuable considerations concerning the psychology of feeling.

Throughout the course of the experiment, except in the advanced stage when more complex states were under consideration, sounds, colors, odors, simple figures, and tactual surfaces were used. In the late stage of the investigation sentences and pictures more or less morally and æsthetically suggestive served to furnish for study the complex feeling-states.

The progress of the investigation divides itself naturally into the following four distinct parts.

I. From every experience of each individual the investigator sought to obtain from the subject's own introspection at the time as adequate a description as possible of the particular feeling provoked by the chosen stimulus. The feelings studied in this first period of the investigation are entirely those which heretofore have not been at all classified except in terms of the objects which call them forth. Part I is concerned with single stimuli affecting only one kind of sense-organ, visual, tactual, auditory, or olfactory as the case may be.

Two requests were made of each subject, viz:

(a) To describe as clearly as possible how the particular experience felt.

(b) To report always all the accompanying physiological or physical processes which seemed to mean, to result from, or apparently only accidentally to accompany the stimulus judged by him to have a feeling-tone.

The work of the experiment covers a period of two years, and fortunately several of the subjects were available for the whole period. No subject was used for more than two hours each week. In the preparatory training with sensations from only one sense-organ, the range of colors, odors, etc., was chosen as follows: Twenty colors, and as many tactual surfaces, etc., were presented in turn, and each subject was requested to make his judgment as to the relative degree of agreeableness or disagreeableness of the feelings arising in the several cases. The scale of numbers from 1 to 7 served in the traditional way to indicate approximately the hedonic value of the feeling-tones, 1 signifying highest degree of pleasure, 2 very pleasant, 3 slightly pleasant, 4 indifferent, 5 slightly unpleasant, 6 very unpleasant, and 7 the highest degree of unpleasantness. Though the personal differences were in some cases rather striking, the individual subject from day to day showed a relatively constant standard. This was done in order simply to be able to choose approximately the stimulus in the individual case likely to call up the kind of feeling one wished to study more in detail, and thus facilitate the progress of the investigation. In this preliminary stage pleasant or unpleasant seemed to the subjects more or less an exhaustive account of these faint feelings. This was a means of eliminating practically indifferent shades, as there is here no special interest in the psychology of color as such.

II. Following upon this preparatory training, the second part of the experiment consisted in a similar study of the mutual influences of simultaneous feelings accompanying sensations from different sense-organs. How does the feeling of pleasure obtained from contact with a smooth surface influence the feeling occasioned by the sight of a pleasant or unpleasant object? Here, for example, colors were exposed in a large black frame manipulated by means of shutters easily opened or closed, at the same time that a tactual surface was being applied, or a tone from a tuning-fork was being sounded.

The introspection method was essentially the same here as in Part I.

(a) First, the subject was requested, without the necessary distraction of directing his attention at all to the bodily processes, to give himself up to the situation and to report as accurately as he could the kind of affective state experienced.

(b) Next, as in Part I again, in a repetition of the same experience, he was requested to be on the lookout for any and all accompanying bodily changes. The problem here was to discover to what extent the more complex state now in question would correspond to the specific and noticeable bodily reactions such as were noted in Part I, where single experiences presumably resulted. If different feeling-elements are in experience at once, can one fix upon correspondingly different suggested actions? Does the organism react to more than one situation, or to two sources of stimulation at once? Is affection present only when the whole organism is, to use Titchener's expression, "tilted" one way? Is the Totalgefühl the single undifferentiated result always, or can we here also detect such phenomena as summation, fusion, inhibition, and partial or total mutual reënforcement of the different feeling-components? Do the new reactions which seem to mean the feelings always refer to actions so inclusive as to result in the inhibition of any other tendencies to response, or is there sometimes a clear strife between two simultaneously conflicting feelings, two kinds of relatively self-dependent reactions both going on at once? Or again, when the hedonic or algedonic characters of two given simultaneous stimuli, such as a soft, soothing, pleasant touch with an irritating, exhilarating, invigorating but also pleasant yellow color, do not differ as to their pleasant-unpleasant character, must one be pale and empty "intellectual perception" when the other is being enjoyed? These are some of the questions that suggest themselves at once.

Not at this point, however, considering the dimensionality of feeling, the four simple combinations were first studied; such, for example, as (1) a pleasant color with a pleasant touch, (2) pleasant color with unpleasant touch, (3) unpleasant color with pleasant touch, and (4) unpleasant color with unpleasant touch.

III. This part of the work was an attempt to estimate the average time-interval in which feeling-tones develop, and what influences other feelings given simultaneously or immediately beforehand have upon the time-development of the feeling-tone in question. Will certain feelings hasten and others retard a third feeling whose character remains unchanged when it crosses the limen of awareness? Does the feeling, for example, aroused by contact with a soft, soothing, yielding tactual surface, put one in such a state that he will more or less quickly obtain pleasure from the visual impression coming from a soft rich red color? What effect will a feeling already aroused by a low tone have upon the time development of the feeling one gets from looking at a deep green color? Are there, again, pleasant feelings of certain dimensions which will be hastened by other feelings, and still others which, by the same means, will be retarded? If so, under what general principle do they seem to fall?

Here the time-development of a certain feeling-tone is taken when there are no other influencing factors. Then the comparison of this rate is made with the later reported time-interval when that feeling, again aroused, has been immediately preceded or accompanied by a feeling-tone from another source of stimulation. Here also feelings for colors presented in a frame, without any special suggestion of form in connection with them, were in like manner compared as to their time-development with the affective states arising from those same colors presented again enclosed in cardboard frames of special character. Some of these forms were very pleasing, such as upright ovals, small circles, etc., while others, frames cut purposely into irregular shapes, were to most observers decidedly unpleasant.

IV. Here complex feeling-states were in question, and evidence was sought as to how much could be detected here that would tend to substantiate or to call in question what seemed to be the fundamental principles of feeling-relations where the states are very simple. Further complications, such as three and even more stimulations at once, were tested. After this, feelings aroused by looking at pictures of statues were studied and described as accurately as possible. "Perry Pictures" were used. Dying Alexander, Venus of Milo, the Dying Gladiator, the Laocoön group, and Apollo Belvedere, served to introduce sufficient variety. Then copies of these same statues were cut out from the card and presented to the subject with the same colors before studied used as background. These were allowed to play their part in the feeling aroused therefrom.

After this, pictures more or less morally as well as æsthetically suggestive were used. Millet's Angelus and his Shepherdess Knitting and Rosa Bonheur's Horse Fair afforded suggestion hints as to the contrasted motor significance of the complex states called forth. Here the attempt was made to find out in how far the feeling when once aroused is dependent upon the retained after-images or memory-images of the original visual stimulation, and what sort of feelings tend the longer to persist. Or again when both are taken in in quick succession, what sort of imagery and associations result. Are the resulting associations or images colored by both feeling-tones in any definite way? And if the feeling itself persists despite the loss of imagery, can it be referred merely to more internal sensations, or does there seem to be a necessity to consider it of purely central origin?

Such, in brief outline, has been the proposed method of study. In an experiment of this delicate nature there are clearly many things to guard against. There is danger that the investigator will unwittingly make suggestions to the subjects by his questions. There is a great danger of auto-suggestion on the part of the subject. The likelihood is also considerable that the subjects will fall into stereotyped forms of expression and general listlessness in introspection, where from week to week these simple experiences are being repeated for closer and closer examination. Again the special mood of the day will necessarily tend to affect all such feeling-attitudes toward slight stimulations supposed to have a feeling-tone. These and other dangers were recognized at the outset, and avoided as much as possible by such legitimate variations as could be introduced without changing the general purpose of the work. No subject was used when he felt, for whatever reason, unable to adapt himself to the conditions of the experiment. No subject knew anything of the recorded results of the others, and it was constantly urged that each person should wholly regard the present feeling in question, ignoring any remembered tone which that special stimulation had before afforded him.

It very soon became evident that the variations among individuals, especially as to the amount of feeling and the consequent ability to fix upon the special physical processes involved, were considerable. The subjects represent types. Hence, it seems necessary at once to mention briefly some characteristics of the persons themselves who have reported these various experiences. This was kept in mind throughout, and seems of decided significance in the interpretation of the recorded results. After an examination of the results of each individual, whatever remains that is common to all will be briefly summarized.

All the subjects were graduate students in Harvard University or in Radcliffe College. Seven of the twelve had had from one to five or more years' training in laboratory investigations. Two subjects were ladies, the rest were gentlemen.

Subject A was a man of bright cheerful pleasant even temperament, responsive, very musical, alert, physically vigorous, very careful in statement, and decided as to the distinctness of his emotional states. He uses his facial muscles a good deal while conversing.

Subject B is musical, sings a good deal, is not especially demonstrative, nor always able to become adapted to the necessarily oft-repeated stimulations from the same colors and tones. This subject is especially discriminating as to shades, and has decided preferences for certain colors.

Subject C usually found it difficult to find any decided feeling-tone for many of the stimuli used. This subject is rather reserved and undemonstrative as a rule. He is not at all musical, nor does he care for art. He is a rather cool but extremely careful observer, and is always guarded in his introspection.

Subject D is impulsive habitually, flashy, responsive, especially to any suggestion of an æsthetic nature, such as forms, and very decided as to his experiences. He walks with a quick nervous step, is sprightly always, vivacious in conversation and outspoken.

Subject E is rather non-emotional as he often says. He is very energetic, full of life, quick but not precise in all his movements, always on a tension, does not enjoy without effort anything so mild as the stimulations here used, and finds introspection of this affective nature difficult.

Subject F is careful, experienced in introspective work, musical, talks a great deal, enjoys this kind of work, has decided preferences, is athletic and energetic. This subject makes use of facial, arm, and shoulder gestures quite freely in general conversation.

Subject G has a penchant for talking a great deal, is decided in his likes and dislikes, musical, of an uneven temperament, sometimes cheerful, often cross, but always animated.

Subject H confesses he does not ever especially enjoy colors, nor respond with any sign of demonstration to any situations. He is steady, calm, apparently unruffled, and not an especially acute observer of his own states, proving in this experiment unusually undiscriminative as to simple experiences.

Subject I is rather morose, claiming to be habitually unmoved by even display of great passion or excitement. He finds it generally much easier to call up unpleasant than pleasant experiences, this being exceptional among the subjects. He is much slower than the average, and his feelings are not easily aroused. He is deliberative and confident as to his state of mind. He is nervous and often becomes fatigued before the hour's introspective work is over.

Subject J is nervous, of an uneven temperament, emotional, and quick to react to a situation of any kind, and, rather more than the others, subject to suggestion.

Subject K responds very quickly always, is habitually prompt and clear in statement, of an even temperament, and unusually interested in the experiment.

Subject L is unexperienced in this particular kind of work, but slow and careful. Though athletic, his movements are rather heavy. He is deliberate in speech and of an even, though rather undemonstrative temperament. He also is musical.

In order to verify my somewhat personal descriptions here recorded a questionnaire was given each subject to fill out according to his own personal judgment of his emotional disposition. This was done toward the close of the investigation, and the answers agree in the main with the descriptions offered above.

For the first month's preliminary practice, and with the purpose of stimulating curiosity and interest, and of testing the comparative richness of even slight feeling-experiences, a great variety of stimulations was used. Twenty different tactual surfaces from softest plush to very rough sandpaper served for the tactual impressions. Twelve different odors, as many colors differing in saturation and intensity, and tones from high and low tuning-forks, and noises variously produced, were employed as stimulations for the other senses. Besides these, circles, upright and horizontal ovals of various sizes, imperfect circles and ovals, and other irregular shapes were all presented in the same large black frame. When studied alone indifferent gray fillings were used. When complex states were in question colors served as fillings. When the subjects thus became accustomed to these very simple but very definitely felt experiences, in these for the most part habitually ignored affective elements of ordinary sensations, the investigation at once became narrowed to more careful and minute attention to a few of these feeling-tones. It was soon found also that odors could not easily be used in combination, since they effectively effaced all feeling-tones for the simultaneously given colors or touches. Five colors, fairly representative for all subjects of different kinds of feeling-tones, were chosen, and were used throughout the whole investigation. These were the following: a soft deep red, light brilliant yellow, deep pure green, saturated blue, and a dingy greenish-yellow. The dimensions of the exposed surfaces were six by six inches.

For tactual impressions of approximately equal value soft plush, velvet, and two kinds of sandpaper were used, and for tones high and low tuning-forks. All the above-named forms were used in connection with the chosen colors. The subjects differed considerably as to the amount of feeling that could be obtained from such material. The variation of kinds and of intensity in the same subject was sometimes noticeable from day to day, but not great. It is hardly necessary to give detailed quotations from each subject. The following summary of the results of the experimental work, however, contains nothing that was not frequently reported by a majority of the subjects. This, then, does not represent at all what was once or occasionally reported by individual subjects, but what after training seemed to be reliable and definite and constant feeling-states.

PART I

Section A. The following are the collected expressions which many subjects used to describe the feeling for this particular shade of red. It feels as if it would be soft. It suggests warmth. The feeling is one of seriousness, pleasantness, quietness, of free repose,—a full feeling of the sense of safety. It is soothing, rich, full of strength, and inviting. One feels restful, grave, calm, appeased. There is an agreeable longing and a tendency to lose one's self in the color. The feeling is one of comfort, luxury, satisfaction, expansiveness, tranquillity, and quiescence, with no accompanying feeling of weakness by exertion of effort or energy. There is neither marked tension on the one hand, nor collapse on the other. There is a sense rather of easy self-control and command of one's body, but with no aggressive sorrow nor joy element,—a feeling of being attracted, with nothing to suggest any obstacle to the adaptation.

Occasionally to all subjects this color, and, indeed, all colors, seemed "dead," arousing no feeling whatever. Here the color "ought to be pleasant," but is only "for the time potentially not actually actively pleasant." Still more rarely did this red appear to be unpleasant. Some subjects thought that this afforded the greatest amount of sensual pleasure. More than any of the other colors they think it appears to "give you something." It does not so much stimulate as furnish a content itself. It has a direct effect rather than a tendency to make one wish to do something and thus give pleasure from the activity itself. Only one subject failed to find this color pleasant. His early association of it with blood and ghastly scenes could not be overcome. Some others, when a glare or glaze appeared on the red, found in it slight suggestions of stimulation and excitement, but the general decision in the great majority of cases was that the feeling was a sort of emotional massiveness compared with the effects from other colors.

In marked contrast, for the most part, appears the characteristic feeling-tone for our chosen shade of yellow. Almost universally subjects find such words as these descriptive of the feeling here in question. It is cheerful, brisk, pleasant[84] also, bright, gay, light, sprightly, merry, jovial, easy to get, pleasantly irritating, stimulating, stirring, spurring, thrilling, invigorating, and produces agreeable discontent. It is jolly, nice, trim, neat, awakening, full of the sense of motion, soaring, and arouses a feeling of welcome strain, of pleasure in action, of alertness and self-assertion. Here, in contrast for the most part to the red, there is no feeling of sinking into the color. The impulse rather is to be free, to enjoy motor expression, even if of some vague sort. There is a felt necessity to do something, a "joy of overflowing or of exuberance," it is called. There is little present here of what we mean by a suggestion of sensual richness found above in the feeling for red. Here there is less of amount of pleasure, but much more of the general activity element. Some subjects feel the demand for greater saturation, and occasionally it is unpleasant for just this reason apparently. Subjects C and B frequently reported this. They think the feeling would be more "stable" and "grave" and "secure" and "soothing" and one would not feel "unruffled," if it could be "toned down." Most of the subjects, however, think that it belongs to the ultimate elemental feeling for yellow that it should have just this distinguishing characteristic.

It is more difficult to describe the feeling for green. It is almost always agreeable. Two subjects, however, never like it. Sometimes it is somewhat soothing in character, but more often it is exciting. The feeling seems to be between that for red and that for yellow, partaking on the whole of the characters of feeling for the latter rather than the former. For all subjects associations tend to color the feeling-tone for green especially, and hence introspection for the feeling of pure color is doubly difficult. The most prominent partial feeling-tone for it is "irritating."[85] The agreeableness or disagreeableness of this stimulating character is particularly inconstant, varying greatly for the same subject, as well as for different subjects.

The feeling for the blue seems still more to be dependent upon the person. Many like it. Many others dislike it decidedly. When it affords a pleasant feeling, it is described in some such terms as these: The feeling is spiritual, lofty, beautiful, serene. The subject himself feels immoveable. To other subjects it is too rich and intense and painful. To one subject who heartily dislikes it always, it is offensive or revolting, calling up a feeling akin to the emotion one has toward insincerity in general. To none does this feeling seem to have any great amount of sensual significance. Even when it is called "too rich," the incongruity between the richness itself and the ultimate qualitative significance of the blue is spoken of. Even when pleasant, the feeling is of an "airy pleasure," volatile, unstable, and not reliable, nor safe and secure as is the feeling for red. One feels that it is always apt to vanish, vague, intangible, and with little immediate definiteness of meaning. Subjects often desire to call it an intellectual, æsthetic, or ideal sort of feeling.

No color was universally unpleasant. Two subjects found this greenish-yellow almost always mildly pleasant. For most of the subjects, however, it was unpleasant. Here were reported feelings of contraction, of withdrawal, of disgust, of doubt, of hesitation, of stimulation without definiteness, dissatisfaction, slight feeling of nausea, of sea-sickness, of opposition, and the general feeling of offensiveness. The necessary, unpleasant aggressiveness, unrest, or discontent characterizes this feeling. This unpleasant critical attitude where a decision is wanted but not easily gotten, is called often the feeling of uncertainty.

In no sense is this investigation a study of the psychology of color; the only purpose here is to find certain clearly defined feelings for slight stimulations, in order to find in what way they relate themselves to other similarly simple feelings from a different source of stimulation.

In a similar manner, then, the investigation was conducted in the analysis and description of feeling-tones for tactual impressions.

For plush there was a feeling of pleasure, ease, safety, and content. The mood was one of a general enjoyment of sinking one's self into the situation, an agreeable self-surrender. Here also is a feeling of unbending one's self, of general expansiveness, of relaxation. One is soothed, enjoys a suggestion of freedom from disturbance, of a "regularity" of the experience, feels at the same time strength in the suggested repose, responds to pleasant reverberating thrills by the falling off from the accustomed muscular tonicity, and hence has a decided feeling of satisfaction. To some subjects the feeling aroused by the hard, polished, glazed tin surface, possessing no "yielding" character, corresponded more nearly to the feeling for the yellow color than for the red. To all red "went best" with the plush. No tactual feelings offered such distinguishable elements for analysis, nor were they as definitely described as the visual or olfactory or auditory impressions. The sensational elements were in many cases more pronounced. The feeling for the plush, however, much like that for the red color, suggests a "settling down to," or a "dropping forward toward," rather than an aggressive "taking in" of the feeling-material.

The feeling-tone with sensations from sandpaper is grating, irritating, stirring, stimulating. The feeling is one of contraction, of withdrawal, of uneasiness. One is full of "collapsing chills," of minute little pains, and there is a decided call for an opposite kind of behavior. The sense of weakness, of waste of power and energy, of being penetrated, of strained expectation, of unwelcome tension, and of slight "wasteful excitement" results. To some subjects, notably subject E, at times the whole feeling of stimulation as such predominated, and the total effect produced was agreeable, as it "satisfied a felt need of waking up." Here again one subject, subject B, throughout the whole period of two years, failed to find any element of pleasure in any tactual sensation that was pronounced or prolonged sufficiently to furnish material for introspection.

As regards simple tones from tuning-forks the subjects find little to say. All are pleasant, as a rule, and almost universally, low tones are most pleasant, richer in content, greater in amount of "general appeal," more soothing, and pleasantly stimulating. The feeling of the easy attitude called for contributes to the whole feeling. High tones, calling for more activity on the part of the subject, more strain, and greater stimulation, coupled with some rather unprepared-for irritating elements, are less pleasant, and also more limited in their general appeal to the whole organism. The noises variously produced were at first unpleasant, and the only assignable reason seemed to be that their suddenness came as a shock. If expected or continued they too became pleasant very often.

Feelings for forms seem to relate even more definitely to the activity element. The pleasure for the most part is described as being far less sensual, if indeed, so at all. Small upright ovals, 1½ × 1 in., are most pleasant, because somehow they are "more suggestive of definiteness." Circles one inch in diameter are next in order of value as to their feeling-tones. Horizontal ovals are less pleasant still, though for most subjects not unpleasant. Upright ovals are best, as the kind of action apparently called for by the aroused feeling is most agreeable and suitable to the subject's natural upright position of body. An explanation of this general result of introspection, as well as the preference for the particular size chosen almost without exception, is attempted in another part of this report, where are given in more detail the various kinds of bodily accompaniments. The feelings for those ovals have also the characters of stimulation, mild excitement, and a feeling of easy freedom in a pleasing kind of activity. Tension is always present as an agreeable element when reported at all. This element is coupled with the "feeling of assurance of certainty" which the whole situation calls for. It often seems clearly to suggest that one do something. Circles tend more to suggest inner stability and completeness. They stand on their own axes. Here there is a sense of satisfaction, complacency, and sufficiency. The feeling here of a call for immediate activity on the part of the subject is weak and indefinite, when not altogether absent. The subjects do not use for this experience such expressions as excitement, tension, irritation, quick contraction, or the impulse to self-assertion. Horizontal ovals are least pleasant, it seems to me, for obvious reasons. Here such noted elements as "felt unnaturalness," "difficulty of adapting one's self," "wrong direction of activity," which alone and in themselves would be unpleasant, are nevertheless more than counterbalanced by other and pleasing elements, such as symmetry, definiteness, partial stability, and other agreeable features. Often these latter features are not pronounced, and then the judgment is, that the total feeling is unpleasant.

Likewise as regards so-called bad forms, no single statement is unqualifiedly true of any considerable number of subjects. The decided feeling of irregularity, the "bulging-out" or the undesirable "pushing-in" of the figure, the feeling of weakness in one's own body corresponding, the feeling of instability which one tends himself to imitate in various ways, the total effect of lack of poise, all tend to make these figures on the whole unpleasant. But one cannot even here count upon the constancy of the subjects' feelings. At times, due perhaps to undercurrents of association processes of which even the subject himself is not clearly aware, the figure suddenly looms up as quite definitely pleasing, and full of vague suggestiveness and hidden richness of content. These varying characters of the feelings for forms come out interestingly later in the study of them when they are presented as frames for the above described colors.

Section B. The bodily processes noted by the subjects are numerous, and here also, just as with the amount of feeling above, the personal differences are striking. Some subjects detect a great many forms of organic commotion, others rarely find anything that can be said to be descriptive or explanatory of the feeling-state. To all of them at first this looking for bodily accompaniments destroyed the feeling itself. Only after considerable training was it possible for them to find any physiological processes that seemed at all significant. As a general statement the evidence would all tend to suggest that feelings for color are most readily and directly referred to the head, face, throat, and particularly to the forehead and to the eye-muscles. When, however, the feelings are particularly strong, they tend to pervade the whole organism. Red thus often brings about the suggestion of general bodily comfort, and yellow, when very strong, arouses the impulses calling for "spreading-out, aggressive movements," referred to arms, shoulders, and chest. Tones have in general the same reference to the head. Odors are always more organic, affecting more directly the respiration, muscles of the abdomen, and the more internal apparatus generally. Tactual impressions refer to the trunk rather than to the face, hand, arms, or legs. Forms seem to call forth imitative movements, and the actual or incipient motor impulses refer to the action of the eyes in motion, the position of the head, of the whole body, of the shoulders particularly, of the shaping of the cheeks, lips, etc., and of the similarly imitative actions in the hands and arms. The following is a list collected from the reported bodily references given for the feelings described in Part I, Section A.

(1) Free full respiration and free activity of all voluntary muscles; or, for other feelings, the checking of respiration and often the lack of impulse to move at all, with no suggestion, however, in most cases, of lassitude.

(2) Chest expansion and general relief pervading the whole body. The expansion or contraction is further modified by the degree of regularity and by the rate of the movements involved, as also by the ease or difficulty in the performance. So also, in the cases of feeling whose tone exists but is doubtful in character, the bodily situation seems to mean "lack of movement or change in any definite direction." The feeling-tone and its vividness are interdependent and reported as closely connected.

(3) A cringing all over and a "holding up of all activities."

(4) Abdomen contraction, chest and shoulders drawn in, hands clenched, and jaws set.

(5) A feeling at once in different parts of the body of both process of contraction and expansion.

(6) An incipient feeling of nausea in the digestive tract.

(7) A tendency to incline the head forward or backward, or to keep it rigid, or to turn it aside.

(8) For touch, waves, reverberations, pleasant penetrating thrills in the chest and abdomen especially, less frequently in the limbs, occur. Sometimes these suggest expansion of the whole frame; sometimes, even when also pleasant, the tendency to contraction and tension is noticeable, but in these latter cases the contraction seems to be rather definitely the calling into action of those general innervated muscles which refer to the bodily situation of one when he intends to go toward the pleasantly stimulating object.

(9) For unpleasant touch the reference or localization of the bodily response is, when reported definitely at all, generally in the back, described as chills not thrills, contractions always, contractions also which often suggest shivers of withdrawal. These feelings also are referred to the situation of the trunk of the body, and are felt to originate in the small of the back, and in the back of the shoulders. For two subjects there occur twitchings in the tendons of the hips and thighs, and movements of the knee-cap.

(10) The pervasive bodily collapse, which seems to accompany feelings characterized as depressing, altogether unlike the soothing feeling of unwearied repose given by certain soft rich colors or by low deep full tones or smooth yielding surfaces, is another form of organic response which is often spoken of.

(11) The direction of the stimulus with respect to the normal position of the body also seems to have something to do with the regularity of the response, and with the general forward or backward tendency. Tactual surfaces applied or tones sounded behind the subject do seem to make the bodily adjustment more confused, and less pleasant. All that subjects could say was that the position was felt as abnormal and correspondingly less pleasing.

(12) In many unpleasant feelings, where there was no specific localization possible, the "stiffening tendency of hardening one's self to a necessary experience" was frequently reported. In the case of other states of undifferentiated pleasure a "consenting bending forward of the whole body" was often detected.

(13) Many stimulations seem to demand that one draw one's self erect, square the shoulders, and "assume the attitude of alertness."

(14) Certain colors for almost every subject independently hint at sea-sickness. Others, as noted above, report the incipient suggestion of nausea in the digestive tract. Indeed, abdominal references are frequently reported by most of the subjects. The abdominal muscles become "eased up," or again there is a "sucking-in of the belly."

(15) The feeling of "being natural," of regularity, a universally popular feeling, is described as a pleasant relief from all tensions and habitual inhibitions, or a dropping of one's characteristic muscular tonicity.

(16) Other stimulations still, particularly certain delicate odors, for men, subjects C and E for example, seem to suggest what they call the "childish play impulse." They are called "simple, foolish, childish pleasures," ignored in ordinary life. They are slightly pleasantly irritating, and merely make one wish to do something. It is pure bodily restlessness, a general kinæsthetic enjoyment. Three subjects, especially, find here the frequent twitchings in the calves of the legs, in the knee-cap, and the more decided innervations which contract the tendons of the thighs and hips.

(17) Subject I frequently detected sensations of contraction in the tensor tympani connected with the pleasure derived from high tones. Others referred feelings for tones partly to the regions of the ears.

(18) The kinds of facial references are numerous. General contraction or expansion around the eyes, forehead, temples, sometimes to the whole head, and quite frequently it seemed as if the feeling referred to the very inside of the eyeball, to the iris and accommodation movements.

(19) Subjects A, D, F, and K noted specific incipient tendencies to smile, to smooth the brow, and to "unbend the face" as characteristic descriptions of certain oft-repeated experiences.