However, we have sharply to distinguish between what is given in a survival state and that which accompanies it. Primitive realization is always single and naïve, but when it comes up in a survival it is generally consciously contrasted with accustomed modes by consciousness, and there arises a reflective pleasure of contrast which is not contained in the survival itself, but of which the survival is merely a condition. Further, our realization of the outgrown psychic elements is very generally dramatic. We take self-conscious pleasure in investigating, assuming, and re-enacting past psychic phases. Even when a survival state arises spontaneously and naturally, it holds consciousness at best in its original _status_ for a moment only, for self-consciousness quickly occurs and brings in a variety of secondary emotions. However attained, the obsolescent type of consciousness does not stand in its simple original force, but most often there is more or less make-believe, some sense of its artificial and unreal nature: we do not become children by playing at being children. Children and savages are in the animistic psychic stage, but the poetic interpretation of nature by adult man is plainly far more than mere revival of this stage, it is dramatic self-conscious realization. Original animism is often painful; the savage fears his gods and the child dreads ghosts; but myths and ghost stories are sources of amusement to us, and the twinge of fear which comes up as survival loses its real force and is dramatically realized and enjoyed. Literary art is a dramatic induction into the past rather than incentive to mere revival; and it makes us to pleasurably renew alike the outgrown pains and pleasures. We certainly should go far astray if we should consider style as effectual mainly by its exciting to revival of ancestral experiences. What is recurrent is but a small element compared to what is concurrent.