Accordingly our metronome experiments have brought to light three pairs of feelings--pleasure and pain, strain and relaxation, excitation and quiescence. At the same time it has been shown that only very seldom do these forms of feeling appear isolated. Several of them are generally combined together into one feeling-compound. We may call this latter the aggregate feeling, and the former the partial feelings. It is evident that between these two a similar relation exists as between ideas and pure sensations. Besides this, the contrasts of each pair of feelings--e.g. pleasure and displeasure--include the possibility of all these contrasts balancing each other, so that a state almost free from feeling may result. Just as, on the other hand, several partial feelings very often join together to form one aggregate feeling, so in more complicated states of emotion contrasting feelings may be intertwined. They do not therefore in all cases compensate one another. They sometimes join together to make contrasting combinations. Simple cases of such contrasting combinations or disjointed moods can be brought about in a simple form by means of the metronome. We arrange the time of the beats so that the feeling of strain just begins to become painful, while at the same time the feeling of relaxation, and partly also the strain directed on this, still causes pleasure. Let us now leave rhythmical acoustical impressions and consider any other sense. We find everywhere the same pairs of feelings that we produced by means of the metronome. It is very striking how the feeling-character always follows in the same directions, if we give successive impressions that give rise to contrasting feelings. Red is exciting, while blue in contrast to it is quieting. In the same way a deep and a high tone contrast. At the same time, the feeling-contrast is here a mixed one, as the expressions "serious" and "solemn" for deep tones, and "bright" and "lively" for the high ones, show. It would seem as if with the deepest tones pleasure and displeasure combine together to that total impression of seriousness, and to this a quieting feeling is added when the deep tone stands in contrast to preceding high tones. The feelings joined to the impressions of the senses of touch and smell and taste are in general more uniform and simpler. Here we have as contrasts the strong displeasure of a sensation of pain, and the feeling of pleasure of a weak sensation of tickling. Similarly with the pleasant impression of a sweet and the unpleasant impression of an intensely bitter or sour taste, and so on. It is obvious, however, that already among the smells we find many that possess a composite feeling-quality, e.g. pleasant and at the same time exciting, as menthol-ether, or unpleasant and exciting, as ammonia and asafoetida. The organic or common sensations are also often of a mixed feeling-character. Yet pleasure and displeasure predominate here most of all.