, pp. 22-23. For analogous facts from
contemporary musicians, see Paulhan, _Rev. Phil._, 1898, pp. 234-35.

[98] For the sake of brevity and clearness I do not give here the
observations and evidence. They will be found at the end of this
work, as Appendix D.

Under the title "An experimental test of musical expressiveness,"
Gilman, in _American Journal of Psychology_, vol. IV, No. 4, and vol.
V, No. 1 (1892-3), has studied from another point of view the effect
of music on various listeners. Eleven selections were given; I note
that three or four at the most excited visual images--ten (perhaps
eleven), emotional states. More recently, the _Psychological Review_
(September, 1898, pp. 463 ff.) has published a personal observation of
Macdougal in which sight-images accompany the hearing of music only
exceptionally and under special conditions. The author characterizes
himself as a "poor visualizer;" he declares that music arouses in him
only very rarely visual representations; "even then they are
fragmentary, consisting of simple forms without bond between them,
appearing on a dark background, remaining visible for a moment or two,
and soon disappearing." But, having gone to the concert fatigued and
jaded, he sees nothing during the first number: the visions begin
during the _andante_ of the second, and accompany "in profusion" the
rendering of the third. (See Appendix D.) May we not assume that the
state of fatigue, by lowering the vital tone, which is the basis of
the emotional life, likewise diminishes the tendency of affective
dispositions to arise again under the form of memory? On the other
hand, sensory images remain without opposition and come to the front;
at least, unless they are reenforced by a state of semi-morbid
excitation.

CHAPTER III.

THE MYSTIC IMAGINATION

Mystic imagination deserves a place of honor, as it is the most complete
and most daring of purely theoretic invention. Related to diffluent
imagination, especially in the latter's affective form, it has its own
special characters, which we shall try to separate out.

Mysticism rests essentially on two modes of mental life--feeling, which
we need not study; and imagination, which, in the present instance,
represents the intellectual factor. Whether the part of consciousness
that this state of mind requires and permits be imaginative in nature
and nothing else it is easy to find out. Indeed, the mystic considers
the data of sense as va