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.