according to its feelings. And so at bottom our will coincides with our "ego." Now this ego is neither an idea, nor a specific feeling, but it consists of those elementary volitional processes of apperception which accompany the processes of consciousness. They are always changing but they are always present, and in this way form the lasting substratum of our self-consciousness. The inner line of fortifications of this ego are the feelings, which represent nothing more than the reactions of apperception to outer experience. The next line consists of this experience itself--the ideas, of which the ones that are nearest to us, i.e. those of our own body, are most closely connected with the volitional processes that are at work in the apprehension of them. And so it happens at a naive stage of consciousness that they are combined together with the ego itself into one unity. We have now learned to recognise the emotions, dispositions, and volitional processes as psychical contents, all of which differ from each other in their characteristic processes. None of them, however, contain anywhere specific elements. They can all of them be analysed into the same forms of feelings. Although the volitional process in especial is very peculiar, yet this peculiarity nowhere depends upon specific ideational or affective elements, but solely upon the mode of combination of these elements into emotions with their end stages again composed merely of general affective forms. Still there remains another question to be answered, which has not yet been settled by the reduction of all feelings to the above-mentioned six principal forms, viz. pleasure, displeasure, strain, relaxation, excitation, and quiescence. Is each of these forms perfectly uniform? Does it always return in the same quality? Or does it stand in a similar relation as the colour "blue" stands to the different shades of that colour, so that the principal form may not only appear in different grades of intensity, but also in various qualities? To answer these questions let us turn again to our metronome. It has again the advantage of illustrating our problem by means of a very simple example. Let us take two rows of beats in 4/4 time with the accents arranged differently as in A and B, obtained by the method of subjective rhythm as described above. [Illustration]