It is necessary, however, to distinguish between the vague and the general. So long as we are content with Semon's composite image, we MAY get no farther than the vague. The question whether this image takes us to the general or not depends, I think, upon the question whether, in addition to the generalized image, we have also particular images of some of the instances out of which it is compounded. Suppose, for example, that on a number of occasions you had seen one negro, and that you did not know whether this one was the same or different on the different occasions. Suppose that in the end you had an abstract memory-image of the different appearances presented by the negro on different occasions, but no memory-image of any one of the single appearances. In that case your image would be vague. If, on the other hand, you have, in addition to the generalized image, particular images of the several appearances, sufficiently clear to be recognized as different, and as instances of the generalized picture, you will then not feel the generalized picture to be adequate to any one particular appearance, and you will be able to make it function as a general idea rather than a vague idea. If this view is correct, no new general content needs to be added to the generalized image. What needs to be added is particular images compared and contrasted with the generalized image. So far as I can judge by introspection, this does occur in practice. Take for example Semon's instance of a friend's face. Unless we make some special effort of recollection, the face is likely to come before us with an average expression, very blurred and vague, but we can at will recall how our friend looked on some special occasion when he was pleased or angry or unhappy, and this enables us to realize the generalized character of the vague image.