This distinction
between what is simple or complex in its present nature, and what is
originally so, is sometimes overlooked by psychologists. Whether the
feelings and ideas here referred to are now simple or complex, cannot, I
think, yet be very certainly determined. To take the idea of space, I
find that after practice I recognize the ingredient of muscular feeling
much better than I did at first. And this exactly answers to Helmholtz's
contention that elementary sensations as partial tones can be detected
after practice. Such separate recognition may be said to depend on
correct representation. On the other hand, it must be allowed that there
is room for the intuitionist to say that the associationist is here
reading something into the idea which does not belong to it. It is to be
added that the illusion which the associationist commonly seeks to
fasten on his opponent is that of confusing final with original
simplicity. Thus, he says that, though the idea of space may now to all
intents and purposes be simple, it was really built up out of many
distinct elements. More will be said on the relation of questions of
nature and genesis further on.

[106] I may as well be frank and say that I myself, assuming free-will
to be an illusion, have tried to trace the various threads of influence
which have contributed to its remarkable vitality. (See _Sensation and
Intuition_, ch. v., "The Genesis of the Free-Will Doctrine.")

[107] I purposely leave aside here the philosophical question, whether
the knowledge of others' feelings is intuitive in the sense of being
altogether independent of experience, and the manifestation of a
fundamental belief. The inherited power referred to in the text might,
of course, be viewed as a transmitted result of ancestral experience.

[108] I here assume, along with G.H. Lewes and other competent dramatic
critics, that the actor does not and dares not feel what he expresses,
at least not in the perfectly spontaneous way, and in the same measure
in which he appears to feel it.

[109] The illusory nature of much of this emotional interpretation of
music has been ably exposed by Mr. Gurney. (See _The Power of Sound_, p.
345, _et seq._)

[110] The reader will note that this impulse is complementary to the
other impulse to view all mental states as analogous to impressions
produced by external things, on which I touched in the last chapter.

[111] Errors of memory have sometimes been called "f