the rest of the chapter I shall use the word object of emotion indifferently to mean one which is physically present or one which is merely thought of.

The varieties of emotion are innumerable. Anger, fear, love, hate, joy, grief, shame, pride, and their varieties, may be called the coarser emotions, being coupled as they are with relatively strong bodily reverberations. The subtler emotions are the moral, intellectual, and æsthetic feelings, and their bodily reaction is usually much less strong. The mere description of the objects, circumstances, and varieties of the different species of emotion may go to any length. Their internal shadings merge endlessly into each other, and have been partly commemorated in language, as, for example, by such synonyms as hatred, antipathy, animosity, resentment, dislike, aversion, malice, spite, revenge, abhorrence, etc., etc. Dictionaries of synonyms have discriminated them, as well as text-books of psychology-in fact, many German psychological text-books are nothing but dictionaries of synonyms when it comes to the chapter on Emotion. But there are limits to the profitable elaboration of the obvious, and the result of all this flux is that the merely descriptive literature of the subject, from Descartes downwards, is one of the most tedious parts of psychology. And not only is it tedious, but you feel that its subdivisions are to a great extent either fictitious or unimportant, and that its pretences to accuracy are a sham. But unfortunately there is little psychological writing about the emotions which is not merely descriptive. As emotions are described in novels, they interest us, for we are made to share them. We have grown acquainted with the concrete objects and emergencies which call them forth, and any knowing touch of introspection which may grace the page meets with a quick and feeling response. Confessedly literary works of aphoristic philosophy also flash lights into our emotional life, and give us a fitful delight. But as far as the scientific psychology' of the emotions goes, I may have been surfeited by too much

reading of classic works on the subject, but I should as lief read verbal descriptions of the shapes of the rocks on a New Hampshire farm as toil through them again. They give one nowhere a central point of view, or a deductive or generative principle. They distinguish and refine and specify in infinitum without ever getting on to another logical level. Whereas the beauty of all truly scientific work is to get to ever deeper levels. Is there no way out from this level of individual description in the case of the emotions? I believe there is a way out, if one will only take it.

The Cause of their Varieties.-The trouble with the emotions in psychology is that they are regarded too much as absolutely individual things. So long as they are set down as so many eternal and sacred psychic entities, like the old immutable species in natural history, so long all that can be done with them is reverently to catalogue their separate characters, points, and effects. But if we regard them as products of more general causes (as 'species' are now regarded as products of heredity and variation), the mere distinguishing and cataloguing becomes of subsidiary importance. Having the goose which lays the golden eggs, the description of each egg already laid is a minor matter. I will devote the next few pages to setting forth one very general cause of our emotional feeling, limiting myself in the first instance to what may be called the coarser emotions.

The feeling, in the coarser emotions, results from the bodily expression. Our natural way of thinking about these coarser emotions is that the mental perception of some fact excites the mental affection called the emotion, and that this latter state of mind gives rise to the bodily expression. My theory, on the contrary, is that the bodily changes follow directly the perception of the exciting fact, and that our feeling of the same changes as they occur Is the emotion. Common-sense says, we lose our fortune, are sorry and weep, we meet a bear, are frightened and run;

we are insulted by a rival, are angry and strike. The hypothesis here to be defended says that this order of sequence is incorrect, that the one mental state is not immediately induced by the other, that the bodily manifestations must first be interposed between, and that the more rational statement is that we feel sorry because we cry, angry because we strike, afraid because we tremble, and not that we cry, strike, or tremble because we are sorry, angry, or fearful, as the case may be. Without the bodily states following on the perception, the latter would be purely cognitive in form, pale, colorless, destitute of emotional warmth. We might then see the bear and judge it best to run, receive the insult and deem it right to strike, but we should not actually feel afraid or angry.

Stated in this crude way, the hypothesis is pretty sure to meet with immediate disbelief. And yet neither many nor far-fetched considerations are required to mitigate its paradoxical character, and possibly to produce conviction of its truth.

To begin with, particular perceptions certainly do produce wide-spread bodily effects by a sort of immediate physical influence, antecedent to the arousal of an emotion or emotional idea. In listening to poetry, drama, or heroic narrative we are often surprised at the cutaneous shiver which like a sudden wave flows over us, and at the heart swelling and the lachrymal effusion that unexpectedly catch us at intervals. In hearing music the same is even more strikingly true. If we abruptly see a dark moving form in the woods, our heart stops beating, and we catch our breath instantly and before any articulate idea of danger can arise. If our friend goes near to the edge of a precipice, we get the well-known feeling of 'all-overishness,' and we shrink back, although we positively know him to be safe, and have no distinct imagination of his fall. The writer well remembers his astonishment, when a boy of seven or eight, at fainting when he saw a horse bled. The bload was in a bucket, with a stick in it, and, if memory does not

deceive him, he stirred it round and saw it drip from the stick with no feeling save that of childish curiosity. Suddenly the world grew black before his eyes, his ears began to buzz, and he knew no more. He had never heard of the sight of blood producing faintness or sickness, and he had so little repugnance to it, and so little apprehension of any other sort of danger from it, that even at that tender age, as he well remembers, he could not help wondering how the mere physical presence of a pailful of crimson fluid could occasion in him such formidable bodily effects.

The best proof that the immediate cause of emotion is a physical effect on the nerves is furnished by those pathological cases in which the emotion is objectless. One of the chief merits, in fact, of the view which I propose seems to be that we can so easily formulate by its means pathological cases and normal cases under a common scheme. In every asylum we find examples of absolutely unmotived fear, anger, melancholy, or conceit; and others of an equally unmotived apathy which persists in spite of the best of outward reasons why it should give way. In the former cases we must suppose the nervous machinery to be so 'labile' in some one emotional direction that almost every stimulus (however inappropriate) causes it to upset in that way, and to engender the particular complex of feelings of which the psychic body of the emotion consists. Thus, to take one special instance, if inability to draw deep breath, fluttering of the heart, and that peculiar epigastric change felt as 'precordial anxiety,' with an irresistible tendency to take a somewhat crouching attitude and to sit still, and with perhaps other visceral processes not now known, all spontaneously occur together in a certain person, his feeling of their combination is the emotion of dread, and he is the victim of what is known as morbid fear. A friend who has had occasional attacks of this most distressing of all maladies tells me that in his case the whole drama seems to centre about the region of the heart and respiratory apparatus, that his main effort during the

attacks is to get control of his inspirations and to slow his heart, and that the moment he attains to breathing deeply and to holding himself erect, the dread, ipso facto, seems to depart.

The emotion here is nothing but the feeling of a bodily state, and it has a purely bodily cause.

The next thing to be noticed is this, that every one of the bodily changes, whatsoever it be, is FELT, acutely or obscurely, the moment it occurs. If the reader has never paid attention to this matter, he will be both interested and astonished to learn how many different local bodily feelings he can detect in himself as characteristic of his various emotional moods. It would be perhaps too much to expect him to arrest the tide of any strong gust of passion for the sake of any such curious analysis as this; but he can observe more tranquil states, and that may be assumed here to be true of the greater which is shown to be true of the less. Our whole cubic capacity is sensibly alive; and each morsel of it contributes its pulsations of feeling, dim or sharp, pleasant, painful, or dubious, to that sense of personality that every one of us unfailingly carries with him. It is surprising what little items give accent to these complexes of sensibility. When worried by any slight trouble, one may find that the focus of one's bodily consciousness is the contraction, often quite inconsiderable, of the eyes and brows. When momentarily embarrassed, it is something in the pharynx that compels either a swallow, a clearing of the throat, or a slight cough; and so on for as many more instances as might be named. The various permutations of which these organic changes are susceptible make it abstractly possible that no shade of emotion should be without a bodily reverberation as unique, when taken in its totality, as is the mental mood itself. The immense number of parts modified is what makes it so difficult for us to reproduce in cold blood the total and integral expression of any one emotion. We may catch the trick with the voluntary muscles, but fail