The temperament of the Negro, as I conceive it, consists in a few elementary but distinctive characteristics, determined by physical organizations and transmitted biologically. These characteristics manifest themselves in a genial, sunny, and social disposition, in an interest and attachment to external, physical things rather than to subjective states and objects of introspection, in a disposition for expression rather than enterprise and action. The changes which have taken place in the manifestations of this temperament have been actuated by an inherent and natural impulse, characteristic of all living beings, to persist and maintain itself in a changed environment. Such changes have occurred as are likely to take place in any organism in its struggle to live and to use its environment to further and complete its own existence. The result has been that this racial temperament has selected out of the mass of cultural materials to which it had access, such technical, mechanical, and intellectual devices as met its needs at a particular period of its existence. It has clothed and enriched itself with such new customs, habits, and cultural forms as it was able, or permitted to use. It has put into these relatively external things, moreover, such concrete meanings as its changing experience and its unchanging racial individuality demanded. Everywhere and always it has been interested rather in expression than in action; interested in life itself rather than in its reconstruction or reformation. The Negro is, by natural disposition, neither an intellectual nor an idealist, like the Jew; nor a brooding introspective, like the East Indian; nor a pioneer and frontiersman, like the Anglo-Saxon. He is primarily an artist, loving life for its own sake. His _metier_ is expression rather than action. He is, so to speak, the lady among the races. In reviewing the fortunes of the Negro's temperament as it is manifested in the external events of the Negro's life in America, our analysis suggests that this racial character of the Negro has exhibited itself everywhere in something like the rôle of the _wish_ in the Freudian analysis of dream-life. The external cultural forms which he found here, like the memories of the individual, have furnished the materials in which the racial wish, i.e., the Negro temperament, has clothed itself. The inner meaning, the sentiment, the emphasis, the emotional color, which these forms assumed as the result of their transference from the white man to the Negro, these have been the Negro's own. They have represented his temperament--his temperament modified, however, by his experience and the tradition which he has accumulated in this country. The temperament is African, but the tradition is American.