Section B. Introspection here as to the physiological accompaniments referring exclusively to one of the two or more existing feeling-tones is still more meagre, but at times very definite. When the elements of a total feeling fuse there is of course no reference to the particular processes which bring this about. It is then simply a general response to a situation. When, however, distinct, or opposing feeling-tones are present and detected, they do often mean opposing inclinations to action. The yellow color can retain its exciting tone, and refer clearly to such activities as opening wide the eyes, incipient smiling tendencies, and general alertness of facial expression, when a soothing touch is also felt as suggesting a toning-down of the body and a general relaxation of the muscles of the abdomen. This is the most frequently noticed effect. Tactual impressions are accompanied by pervading organic feelings in the trunk, while visual and auditory stimulations, in their incipient stages, at least, have the more pronounced effect upon facial muscles of expression, and general sensations in the head. When any of these feelings are particularly strong, however, the sensations, whose feeling-tones seem to constitute the feeling in question, tend to pervade the entire system and to usurp the whole bodily activity. The motor tendencies noticed above for the irregular forms are also reported when the color itself remains pleasant. Yellow, possessing more of this activity itself, is least pleasant when exposed in these forms. The opposition of tendencies is noticed, yellow meaning its own peculiar kind of aggressive movement, and the bad form at the same time calling for that irregular kind of unpleasant adjustment. Red does not "intrude itself" nor demand action, and is always less strikingly in opposition to the form than is the case with yellow or green or blue. Forms, almost perfect, relate themselves to feelings of tension. One feels that he cannot quite take them as perfect figures, and this strain and inability to take them for what they suggest provokes a decidedly unpleasant feeling. Very irregular forms become "grotesque" or ludicrous, and the bodily change is indicated as a "jumble of partially carried out reactions."

In many cases sensations or motor tendencies are noted all over the body during the existence of these complex states. At such times they are not recognized as referring to either feeling-tone in particular. When also a favorite color is presented to a subject who is experiencing a disagreeable feeling from sandpaper, the touch is so pervasive usually that he feels that this "controls the whole response" and inhibits any reaction, or even any suggested reaction to the color. When there does fail to be even any possible incipient motor suggestion, as a rule the feeling-tone for the object is extremely vague if it exists at all, and the object appears for the time "dead" or "valueless." Subjects speak of their own inability to respond in such cases. It is not at all as if the color is definitely bad, but rather as if one cannot do two different things with the same muscular apparatus at once. As often, as has before been noted, does the opposite occur. Colors in definitely characterized forms illustrate the relations of similar activities when feeling-tones occur together. Yellow is preferred in upright ovals, for both accentuate the same demand for activity, and calling for the same kind of response, tend to fuse into a single object. Yellow and plush do not harmonize, and in many cases where both retain their feeling-tones, distinct activities in different parts of the body are aroused simultaneously. With the circles the feeling-tone for yellow does not agree with that for form. The yellow becomes almost unpleasant at times. Circles are "heavy," "stable," "on their own axes." A yellow thus enclosed seems "too fat," too "unnaturally heavy," not free and light, and the effect is less pleasing. Circles suit the red better than they do the yellow or the green or the blue, and tend to be seen as one object, or to fuse, more readily than red in an upright oval form. The feeling-tones for red and for upright ovals are both very pleasant, but not as much in harmony, and consequently usually taken as two different feelings.

As a general result of introspective analysis at this point, when different feeling-tones did occur together, they were described in terms similar to those used when each alone was experienced. The bodily references, when found, were of the same character, the only difference being that there was much difficulty in determining to which feeling-tone the response referred. In many instances, however, again it seemed quite certain that different kinds of adaptation in different parts of the body were suggested which seemed to correspond to distinct affective qualities. Also distinct feeling-tones, each of which alone could call forth a similar kind of action, when given together tended to accentuate the total unified response. The upright ovals mean alertness and soaring motions with a general suggestion of drawing the shoulders up. The yellow color accentuated this. The circle with the soothing red, or the fusion of feelings for red and plush, pleases in quite another fashion.

PART III

In attempting to measure the rate at which feeling-tones for those slight stimulations develop when no disturbing factors are consciously present, an interval of from one and one half to two and one half seconds seemed to be required. At such a time the feeling was experienced as having reached its maximum. There was no marked difference for different subjects, nor any constantly noticeable difference among the kind of stimulations used. A possible exception was found for Subject I, but this was probably due, as he himself thought, to his inability to adapt himself easily to the requirement of the experiment.

After this was sufficiently tested, the interval which was required for one feeling-tone to arise when another was already present, was in the same manner tested. The interval in all cases was too long to be measured by means of a chronometer. A stop-watch was used.

While the subject was consciously enjoying a sound from a tuning-fork or a tactual impression from some chosen texture surface, one of the colors was presented to him. The time-interval thus ascertained as necessary for the new feeling-tone to reach its maximum was compared in each case with the time-interval when the color alone was presented. Various combinations were here employed also. Colors in forms in addition were studied in comparison with the same colors presented without regard to the enclosing forms. No definite results could be obtained in most cases. It was thought that the repose one feels for plush might appreciably hasten the feeling-tone for the red and probably retard that for the more exciting yellow. The evidence is not directly conclusive. This was not found to be the case in much more than half of the tests. It did, however, in the great majority of the cases with all subjects, retard the time-interval for the development of the unpleasant character of ordinarily disagreeable colors. Given at such times also the normally unpleasant colors not infrequently appeared themselves as slightly agreeable. In these cases the interval was also appreciably longer, suggesting evidence that new processes of some sort were set up. A pleasant low tone hastened the arousal of a pleasant feeling-tone for red quite perceptibly for three subjects, and had no influence upon the other subjects. The feeling-tone for yellow under the same circumstances was for two subjects retarded regularly, with no marked effect either way for the others. The same low tone retarded all the unpleasant colors, as did the plush, in many cases causing them to appear as pleasant.

The effect of forms, as enclosures for colors, upon the time-rate was more marked and constant. Subject I again was always disturbed when colors were presented to him in definite forms. For him feeling-tones never arose so quickly when the form-element entered. For the other six subjects, available for this part of the work, upright ovals considerably increased the whole state of pleasure whether or not fusion of the different elements resulted. For them the feeling-tone for every pleasing color was hastened from two fifths to four fifths of a second. These same forms retarded the unpleasant colors whenever one element of the experience seemed to be opposed to the other. Occasionally here also the color appeared as itself directly and unaccountably pleasant, the prepared situation of the subject being such, apparently, that the ordinary character of the color did not appear at all. This was very frequently the case for all subjects.

The irregular unpleasant forms generally retarded the feeling-tone for the enclosed color when that color appeared to have lost some of its accustomed agreeableness. When, however, the contrast in feeling-character between the form-element and the color-element as such was noted as marked, the feeling-character of the color was more often hastened than retarded. These same forms in almost every case (of nearly two months' work for seven subjects) hastened the feeling-tone for the corresponding disagreeable color. Often again pleasant colors changed the feeling-tones for these irregular forms. In such cases the influence could not be attributed to the effect of unpleasant forms upon feeling-tones.