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§ 58. Distinction of functions in

tion, are those elements of all consciousness which have been distinguished in "Time and Space" as the formal and material elements; namely, time and space the formal, and feeling the material element. the cerebrum. Accordingly, these elements it is which determine the processes in question, which must be conceived as processes which abstract more or less, but never entirely, from one or from the other of these elements. Redintegrations which turn on the formal element, or in which the time and space relations of the object in view are the motive interest, are processes of reasoning, or judgment; those which turn on the material element are processes of passion or choice; and between the extremes of these two modes of redintegration there will naturally arise an intermediate mode, in which the two elements combined in equal proportion are the motives of the process. The formal and material elements, which in presentative perception are so inextricably bound up together, thus become in redintegration of pure representations, which is the final and completing process of consciousness, developed and distinguished; the whole consciousness more specialised, and yet more organised, as it becomes more complex; and at the same time its unity of nature, its unity of principle of development, preserved from first to last.

10. Assuming in the next place, that the separate processes supporting separate modes of consciousness tend to a separate localisation, we shall be inclined to localise separately the phenomena or states of consciousness which are the accompaniments and results of the three processes of redintegration now distinguished. As accompaniments of the processes, or as the processes themselves described in terms of

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$ 58.

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the speculative functions and their objects, the posterior to the affective, and the intermediate to the contemplative. Accordingly, we may place the most abstract images and reasonings, such as the mathe- the cerebrum. matical, at the anterior extremity, the most abstract emotions and passions at the posterior; while the contemplative emotions will occupy the middle portion. Farther than this there seems no ground at present to venture, by attempting, for instance, to assign portions of the cerebral surface to particular emotions or particular images; although it may be true that the point at which we now stop is not destined to be the final limit of science in this direction.

NOTE REFERRED TO AT § 53. 6.

There is a singular circumstance in dreams, which may be paralleled with the phenomenon of seeing things upright though the image of them is thrown inverted on the retina. There is an account of a dream given by M. Alfred Maury in his work Le Sommeil et les Rêves, p. 133, which I will quote at length. "Mais

un fait plus concluant pour la rapidité du songe, un fait qui établit à mes yeux qu'il suffit d'un instant pour faire un rêve étendu, est le suivant: J'étais un peu indisposé, et me trouvais couché dans ma chambre, ayant ma mère à mon chevet. Je rêve de la Terreur; j'assiste à des scènes de massacre, je comparais devant le tribunal révolutionnaire, je vois Robespierre, Marat, Fouquier-Tinville, toutes les plus vilaines figures de cette époque terrible; je discute avec eux; enfin, après bien des événements que je ne me rappelle qu'imparfaitement, je suis jugé, condamné à mort, conduit en charrette, au milieu d'un concours immense, sur la place de la Révolution; je monte sur l'échafaud; l'exécuteur me lie sur la planche fatale, il la fait basculer, le couperet tombe; je sens ma tête se séparer de mon tronc; je m'éveille en proie à la plus vive angoisse, et je me sens sur le cou la flèche de mon lit qui s'était subitement détachée, et était tombée sur mes vertèbres cervicales, à la façon

du couteau d'une guillotine. Cela avait eu lieu à l'instant, ainsi que ma mère le confirma, et cependant c'était cette sensation externe que j'avais prise, comme dans le cas cité plus haut, pour point du départ d'un rêve où tant de faits s'étaient succédé. Au moment où j'avais été frappé, le souvenir de la redoutable machine, dont la flèche de mon lit représentait si bien l'effet, avait éveillé toutes les images d'une époque dont la guillotine a été le symbole." M. Maury cites this instance chiefly to show the extreme rapidity of dreams. But must we not also conclude from it, that dreams, when suggested by external agency, and referred to past time, are suggested in inverted order of time, which is corrected and changed into the real order of history by a process harmonising them with the order of events in actual life? Just as we judge of the top and bottom of a visible image by associating it with sensations of touch, and as we arrange the events of ancient history in real historical order, though we reason back to them, retracing that order, from events which have been their effects, so in dreams we see the events in real historical order though they are suggested to us successively in that order precisely reversed. The image of death by the guillotine was the last thing in the apparent order of the dream; the movements supporting that image were the first things in the real order of suggestion. And we can hardly suppose, as M. Maury might seem to do from his concluding words, that the image of the guillotine called up the image of the Revolution generally, and that then this image developed itself into a special story or sequence of events, because, in the first place, the dream did not appear to begin but to end with the guillotine, and, in the second place, because this would give no reason for the person guillotined being the dreamer himself; the general image of the Revolution might just as well end with the execution of any one else, or without an execution at all. It seems that we must either suppose an inverse order of suggestion, or suppose what is at least unlikely, first, that the image of the guillotine should have immediately suggested the image of the Revolution generally or of prominent scenes in it, and secondly, that the story into which this image developed itself should have ended with the execution of the spectator himself.

CHAPTER IV.

COMBINATION OF FEELINGS AND FORMATION OF

CHARACTER.

Fürwahr! es ist Homunculus.

Goethe.

§ 59. 1. THE statical analysis of feelings has been completed in Chapter ii., and their dynamical analysis, the analysis of redintegration, in Chapter iii. But the most difficult and complicated part of our task remains still before us, the analysis and classification of Character. Character may be defined, at least provisionally, as that combination of feelings and emotions, and that mode of redintegration of emotions and their frameworks, which together are dominant or preponderant in any individual person. The first question is this, What feelings and emotions are found usually in combination, or, What are the affinities of feelings? The second, What modes of redintegration are found usually in combination with each of those groups of feelings which are connected by affinity? The answer to both these questions together is the answer to the question, What

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are the chief kinds or classes of character. The problem consists, therefore, in combining the two analyses, statical and dynamical; and the result will be an analysis and a classification of individuals, of men as complete wholes; an analysis, because the character will be analysed into its favourite modes of working, and its favourite kinds of feeling; and a classification, because all kinds of characters will be grouped together under several heads, according to these affinities and modes. This double analysis and classification will complete the First Book, the analytical part, of the whole enquiry.

2. The character of any individual consists, strictly speaking, in the kind of his favourite representations and his favourite modes of redintegrating them. Of the three portions of the nervous organism, distinguished in § 52, supporting severally presentations, mixed representations, and pure representations, character attaches primarily and immediately to the last alone; for it is in these representations only that selfconsciousness arises; and therefore it is the organ of these representations only which supports the character of the self-conscious individual. Sever the connection between this organ and the organs of sense and motion below it, and then, although these lower organs might continue to have sensations and mixed representations, and to produce movements and sounds, their perceptions would no longer be known as perceptions of, their movements would no longer be dependent as effects upon, the reflecting consciousness seated in the organ of pure representation. When we enquire into character, we mean the character of the self-conscious individual; no other than this can be the object of Ethic. But in prac