The reader should recall the procedure of that brain which is incapable of attention. A perception arouses a representation which summons into consciousness a thousand other associated representations. The healthy mind suppresses the representations which are contradictory to, or not rationally connected with, the first perception. This the weak-minded cannot do. The mere similarity of sound determines the current of his thought. He hears a word, and feels compelled to repeat it, once or oftener, sometimes to the extent of ‘Echolalia’; or it calls into his consciousness other words similar to it in sound, but not connected with it in meaning,[84] whereupon he thinks and talks in a series of completely disconnected rhymes; or else the words have, besides their similarity of sound, a very remote and weak connection of meaning; this gives rise to punning. Ignorant persons are inclined to call the rhyming and punning of imbeciles witty, not bearing in mind that this way of combining ideas according to the sound of the words frustrates the purposes of the intellect by obscuring the apprehension of the real connections of phenomena. No witticism has ever made easier the discovery of any truth. And whoever has tried to hold a serious conversation with a quibbling person of weak mind will have recognised the impossibility of keeping him in check, of getting from him a logical conclusion, or of making him comprehend a fact or a causal connection. When presentations are connected, not merely according to auditory impressions of simple similarity of sound, but also according to the other laws of association, those juxtapositions of words are effected which the ignorant designate as ‘original modes of expression,’ and which confer upon their originator the reputation of a ‘brilliant’ conversationalist or author. Sollier[85] cites some characteristic examples of the ‘original’ modes of expression of imbeciles. One said to his comrade, ‘You look like a piece of barley-sugar put out to nurse.’ Another expresses the thought that his friend made him laugh so much he could not restrain his saliva, by saying, ‘Tu me fais baver des ronds de chapeaux.’ The junction of words which by their sense have little or no relation to each other is, as a rule, an evidence of imbecility, although it often enough is sensational and mirth-provoking. The cleverness which in Paris is called _blague_, or _boulevard-esprit_, the psychologist discerns as imbecility. That this condition goes hand-in-hand with artistic tendencies is easy to understand. All callings which require knowledge of fact, and adaptation to it, presuppose attention. This capacity is wanting in imbeciles; hence they are not fitted for serious professions. Certain artistic occupations, especially those of a subordinate kind, are, on the contrary, quite compatible with uncontrolled association of ideas, reverie, or fugitive thought, because they exact only a very limited adaptation to fact, and