[71] James, Principles of Psychology, ii. pp. 462, 463.
[72] James, l.c. pp. 444, 445. It is to be remarked, however, that in the more elaborate statement of his theory, which Professor James has given in The Psychological Review, 1894, he pays due attention to the influence by which “expression” may change the tone of an emotion. Cf. especially p. 519 about fear: “when the running has actually commenced, it gives rise to exhilaration by its effects on breathing and pulse, etc., in this case, and not to fear.”
[73] The interesting contributions to the psychology of acting, which have been brought together by Mr. William Archer in his Masks or Faces, do not give us much reliable information as to the part which the “expressional movements” play in a deliberate stirring up of an emotion. Even if we were to accept all the testimonies of actors and actresses as a testable evidence, we could scarcely decide whether the emotional state of an actor who plays his part in perfect sincerity is chiefly a result of his losing himself in the fictitious situation, or whether this state follows as a retroaction exercised by the artificial performance of weeping, laughing, sobbing, etc. Cf. Archer, Masks or Faces, pp. 133-136. Some interesting remarks on this point can also be found in Dugald Stewart’s Elements of the Philosophy of the Human Mind, iii. pp. 168, 185.
[74] James, Principles of Psychology, ii. p. 444.
[75] Cf. Lehmann, Hauptgesetze, pp. 107-111, where the pain-element of anger is emphasised in opposition to Professor Lange’s description of this emotion.
[76] A detailed account of the various stages of anger has been given by me in Förstudier till en konstfilosofi, pp. 73-77. Cf. also Lange, Nydelsernes fysiologi, pp. 16-19, and Lange, Ueber Gemuethsbewegungen, pp. 28-35.
[77] Cf. Marshall, Pain, Pleasure, and Æsthetics, p. 246; Sully, The Human Mind, ii. p. 91; Hamilton, Lectures, ii. p. 483. It cannot be denied, however, that terror often becomes intensified as a painful feeling in proportion as the heart-beatings, the quiverings, and all the other active manifestations increase.
[78] Marshall, Pain, Pleasure, and Æsthetics, p. 226; cf. Sully, The Human Mind, ii. p. 34.
[79] Lehmann, Hauptgesetze, pp. 195, 196.
[80] Taylor, Te Ika A Maui, p. 175, on the Tangi feasts in New Zealand; Welcker, Kleine Schriften, i. pp. 26-31; Sittl, Gesch. d. griech. Literatur, i. p. 24. For a sympathetic interpretation of such feasts of sorrow see Réclus, Les primitifs, pp. 239, 240. Cf. also the remarks of Lobeck, Aglaophamus, i. pp. 688-690, and Groos, Die Spiele der Menschen, p. 38.