(11) How do we know that a greater artist than Hearn would have printed his pages in the conventional way? What means has an author, who does print in the conventional way, of emphasising the points at which he wishes feeling-attitudes to arise? (12) You should analyse some sentiments at first hand. Ask a friend to write out a number of descriptions, statements, questions, that have evoked in his own experience the sentiments (say) of belief and doubt, or of honour and ambiguity. Let him arrange them in pairs: belief-doubt, honour-ambiguity. Then take a pair, and read the two statements in quick succession. You will be surprised to find how matter-of-course and indifferent your attitude is; but presently some member of a pair will grip you, start you thinking; and you will then have the opportunity to observe. Write out (or better, dictate) a full report. References J. Sully, The Human Mind, ii., 1892, ch. xvi.; An Essay on Laughter, 1902, ch. v.; W. Wundt, Lectures on Human and Animal Psychology, 1896, Lect. xxv., § 4; Ethics, i., 1897, ch. iii.; T. Ribot, The Psychology of the Emotions, 1897, chs. vi. ff.; E. B. Titchener, Text-book of Psychology, 1910, 500 ff.; E. L. Thorndike, The Original Nature of Man, 1913, 41, 102 f., 140 f. Special References: F. Boas, The Mind of Primitive Man, 1911; J. H. Leuba, A Psychological Study of Religion, 1912; L. Hearn, Japan, An Attempt at Interpretation, 1904; A. C. Haddon, Evolution in Art, 1895; G. Santayana, The Sense of Beauty, 1896; G. Moore, Modern Painting, 1898. CHAPTER XII SELF AND CONSCIOUSNESS The savage commonly fancies that the link between a name and the person denominated by it is a real and substantial bond. In fact, primitive man regards his name as a vital portion of himself, and takes care of it accordingly.—Sir JAMES FRAZER