The judgment of personal character seems to take place in much the same way. We estimate a man, I think, by imagining what he would do in various situations. Experience supplies us with an almost infinite variety of images of men in action, that is of impressions of faces, tones, and the like, accompanied by certain other elements making up a situation. When we wish to judge a new face, voice, and form, we unconsciously ask ourselves where they would fit; we try them in various situations, and if they fit, if we can think of them as doing the things without incongruity, we conclude that we have that kind of a man to deal with. If I can imagine a man intimidated, I do not respect him; if I can imagine him lying, I do not trust him; if I can see him receiving, comprehending, resisting men and disposing them in accordance with his own plans, I ascribe executive ability to him; if I can think of him in his study patiently working out occult problems, I judge him to be a scholar; and so on. The symbol before us reminds us of some other symbol resembling it, and this brings with it a whole group of ideas which constitutes our personal impression of the new man.[20] The power to make these judgments is intuitive, imaginative, not arrived at by ratiocination, but it is dependent upon experience. I have no belief in the theory, which I have seen suggested, that we unconsciously imitate other people’s expression, and then judge of their character by noting how we feel when we look like them. The men of uncommon insight into character are usually somewhat impassive in countenance and not given to facial imitation. Most of us become to some extent judges of the character of dogs, so that we can tell by the tone of a dog’s bark whether he is a biting dog or only a barking dog. Surely imitation can have nothing to do with this; we do not imitate the dog’s bark to learn whether he is serious or not; we observe, remember, and imagine; and it seems to me that we judge people in much the same way. These visible and audible signs of personality, these lines and tones whose meaning is impressed upon us by the intense and constant observation of our childhood, are also a chief basis of the communication of impressions in art and literature.