In alluding to the cœnesthesia we came very near to giving an account of emotion as an ingredient of consciousness. Stimulating situations give rise to widespread ordered repercussions throughout the body, felt as clearly marked colourings of consciousness. These patterns in organic response are fear, grief, joy, anger and the other emotional states. They arise for the most part when permanent or periodical tendencies of the individual are suddenly either facilitated or frustrated. Thus they depend far less upon the nature of the external stimulus than upon the general internal circumstances of the individual’s life at the time the stimulus occurs. These emotional states, with pleasure and unpleasure, are customarily distinguished under the head of feeling[45] from sensations, which are, as we have seen, very closely dependent for their character upon their stimulus. Thus sensations are ranked together as cognitive elements, concerned, that is, with our knowledge of things rather than with our attitude or behaviour towards them, or our emotion about them. Pleasure, however, and emotion have, on our view, also a cognitive aspect. They give us knowledge; in the case of pleasure, of how our activities are going on, successfully or otherwise; in the case of emotion, knowledge primarily of our attitudes. But emotion may give us further knowledge. It is a remarkable fact that persons with exceptional colour sense apparently judge most accurately whether two colours are the same, for example, or whether they have or have not some definite harmonic relation to one another, not by attentive optical comparison or examination, but by the general emotional or organic reaction which the colours evoke when simply glanced at. This is an indirect way of becoming aware of the specific nature of the external world, but none the less a very valuable way. A similar method is probably involved in those apparently immediate judgments of the moral character of persons met with for the first time which many people make so readily and successfully. They may be quite unable to mention any definite feature of the person upon which their judgment could be based. It is none the less often extraordinarily just and discriminating. The remarkable sensitiveness to its mother’s expression which the infant shows is a striking example. The part played by this kind of judgment in all æsthetic appreciation need not be insisted upon. It is notable that artists are often pre-eminently adepts at such judgments. The topic is usually discussed under the wide and vague heading of intuition; a rubric which completely obscures and befogs the issues.