The _intensity_ of the feeling will depend upon the force or amount of the outgoing currents from the motor cells. This would enable one to explain that state of mind when a sensation only is experienced from a stimulus which ordinarily has a characteristic feeling-tone, but which feeling-tone in the special instance is lacking. Many cases have been cited above where one feeling seemed to efface another. The nerve-energy called for in arousing the unpleasant feeling-tone for the sandpaper inhibited the process of the discharge from the cells conditioning any response to the ordinarily pleasing red color. Others again can reënforce or at least not seriously interfere with each other. All cases already cited where two feeling-tones were detected as existing simultaneously are examples in point. It is quite clear of course that the intensity of feeling is not at all commensurate with the intensity of sensation. Commotion is not the only condition for emotion. Yet where there is no tendency to _do_ anything, as is so noticeable in the reported introspections above, there is no feeling. A mere shock, even though intense as a sensation, simply benumbs one. In thus describing any feeling for a particular stimulation, one should include, besides the original results of the chosen peripheral excitation, all the reënforcing factors that accumulate by reason of the sensory counterparts to this originally called-for movement. When one is, for example, feeling sandpaper, the feeling for the soft red, when it exists at all, is less intense. Subjects say, "It ought to be more pleasant than it is. The trouble is in me, not in the color." The suggested movement which conditions the intensity is lessened in amount, or partially inhibited. One could scarcely say, so far as the sensation is concerned, that it has lost some of its brightness, or that it is not strong enough to arouse its customary feeling-tone. This is distinctly reported as not the case. It is of course almost always recognized as the same shade of color. The recorded examples, showing that intensity of feeling is itself one dimension of a feeling-tone in no way necessarily related to the intensity of the sensation, are numerous.