Instead of imagining a character simply, they realize it, objectify it. It is not like a hallucination, of which one witnesses the images unfolding before him, as a spectator would. He is rather like an actor who is seized with passion, imagines that the drama he plays is a reality, not a fiction, and that he has been transformed, body and soul, into the personality that he sets himself to play. In order to have this transformation of personality work it is sufficient to pronounce a word with some authority. I say to A----, "You are an old woman," she considers herself changed into an old woman, and her countenance, her bearing, her feelings, become those of an old woman. I say to B----, "You are a little girl," and she immediately assumes the language, games, and tastes of a little girl. Although the account of these scenes is quite dull and colorless compared with the sight of the astonishing and sudden transformations themselves, I shall attempt, nevertheless, to describe some of them. I quote some of M----'s _objectivations_: _As a peasant._--She rubs her eyes and stretches herself. "What time is it? Four o'clock in the morning!" She walks as if she were dragging sabots. "Now, then, I must get up. Let us go to the stable. Come up, red one! come up, get about!" She seems to be milking a cow. "Let me alone, Gros-Jean, let me alone, I tell you. When I am through my work. You know well enough that I have not finished my work. Oh! yes, yes, later." _As an actress._--Her face took a smiling aspect instead of the dull and listless manner which she had just had. "You see my skirt? Well, my manager makes me wear it so long. These managers are too tiresome. As for me, the shorter the skirt the better I like it. There is always too much of it. A simple fig leaf! Mon Dieu, that is enough! You agree with me, don't you, my dear, that it is not necessary to have more than a fig leaf? Look then at this great dowdy Lucie--where are her legs, eh?"