[125] May 30, 1906.
[126] L. Binswanger, 'Versuch einer Hysterieanalyse,' Jahrbuch für Psychoanalytische Forschungen, Bd. 1. 1909.
[127] Their word has often been accepted. Levitation as experienced by the saints has been studied by Colonel A. de Rochas, Les Frontières de la Science, 1904; also in Annales des Sciences Psychiques, January-February 1901. 'Levitation is a perfectly real phenomena,' he concludes, 'and much more common than we might at first be tempted to believe.'
[128] It seems to become less frequent after middle age. Beaunis states that in his case it ceased at the age of fifty. I found it disappear, or become rare, at a somewhat earlier age.
[129] H. Piéron, 'Contribution à la Psychologie des Mourants,' Revue Philosophique, December 1902.
[130] See e.g. Galton, Inquiries (Everyman's Library edition), pp. 79-112. Among more recent writings on this subject may be mentioned Bleuler, art. 'Secondary Sensations,' Tuke's Dictionary of Psychological Medicine; Suarez de Mendoza, L'Audition Colorée; Jules Millet, Audition Colorée; and especially a useful summary by Clavière, 'L'Audition Colorée,' L'Année Psychologique, fifth year, 1899. A case of auditory gustation is recorded by A. M. Pierce, American Journal of Psychology, 1907. It may be noted that Boris Sidis has argued (Psychological Review, January 1904) that all hallucinations are of the nature of secondary sensations.
[131] Ferrero, in his Lois Psychologiques du Symbolisme (1895), deals broadly with symbolism in human thought and life.
[132] Revue Philosophique, November 1902.
[133] 'Richard Wagner et Tannhauser' in L'Art Romantique.
[134] The motor imagery suggested by music is in some persons profuse and apparently capricious, and may be regarded as an anomaly comparable to a synaesthesia. Heine was an example of this, and he has described in Florentine Nights the visions aroused by the playing of Paganini, and elsewhere the visions evoked in him by the music of Berlioz. Though I do not myself experience this phenomenon, I have found that there is sometimes a tendency for music to arouse ideas of motor imagery; thus some melodies of Handel suggest a giant painting frescoes on a vast wall space. The most elementary motor relationship of music is seen in the tendency of many people to sway portions of their body—to 'beat time'—in sympathy with the music. (This phenomenon has been experimentally studied by J. B. Miner, 'Motor, Visual, and Applied Rhythms,' Monograph Supplement to the Psychological Review, vol. v., No. 4, June 1903). Music is fundamentally an audible dance, and the most primitive music is dance music.