From these sources there spring a number of small errors of introspection which, to distinguish them from others to be spoken of presently, may be called passive. These would include all errors in detecting what is in consciousness due to the intricacies of the phenomena, and not aided by any strong basis. For example, a mental state may fail to disclose its component parts to introspective attention. Thus, a motive may enter into our action which is so entangled with other feelings as to escape our notice. The fainter the feeling the greater the difficulty of detaching it and inspecting it in isolation. Again, an error of introspection may have its ground in the fugitive character of a feeling. If, for example, a man is asked whether a rapid action was a voluntary one, he may in retrospection easily imagine that it was not so, when as a matter of fact the action was preceded by a momentary volition. When a person exclaims, "I did a thing inadvertently or mechanically," it often means that he did not note the motive underlying the action. Such transitory feelings which cannot at the moment be seized by an act of attention are pretty certain to disappear at once, leaving not even a temporary trace in consciousness. We will now pass to the consideration of other illusions of introspection more analogous to what I have called the active illusions of perception. In our examination of these we found that a pure representation may under certain circumstances simulate the appearance of a presentation, that a mental image may approximate to a sense-impression. In the case of the internal feelings this liability shows itself in a still more striking form. The higher feelings or emotions are distinguished from the simple sense-feelings in being largely representative. Thus, a feeling of contentment at any moment, though no doubt conditioned by the bodily state and the character of the organic sensations or coenaesthesis, commonly depends for the most part on intellectual representations of external circumstances or relations, and may be called an ideal foretaste of actual satisfactions, such as the pleasures of success, of companionship, and so on. This being so, it is easy for imagination to call up a semblance of these higher feelings. Since they depend largely on representation, a mere act of representation may suffice to excite a degree of the feeling hardly distinguishable from the actual one. Thus, to imagine myself as contented is really to see myself at the moment as actually contented. Again, the actor, though, as we shall see by-and-by, he does not feel all that the spectator is apt to attribute to him, tends, when vividly representing to himself a particular shade of feeling, to regard himself as actually feeling in this way. Thus, it is said of Garrick, that when acting Richard III., he felt himself for the moment to be a villain.