For a satisfactory explanation of our emotions it would no doubt be desirable to have all the complicated physiological concomitants reduced to simple terms of functional enhancement and functional arrest. Such a reduction can, however, be undertaken only in a few favourable cases. We can easily see, for instance, that in pride and humiliation a series of perceptions and ideas have brought about conditions of facilitated and checked activity similar to those which, in sensational pleasure-pain, are created by simple physiological stimuli.[61] We may also agree with Lehmann when he endeavours to prove that the pain a child experiences when its mother leaves its bedside can be reduced to a sensation of arrested activity.[62] And we may in the same way explain our own feelings after losses which, from our point of view, are more serious, as largely due to the fact that an occasion of activity for our senses, thoughts, or bodily powers has been suddenly withdrawn. But it would be too laborious to enter upon such an analysis of all our compound emotions, and it is also superfluous. Even when the organic conditions of pleasure and pain cannot be detected among the intricate mass of intellectual and volitional elements which make up what we can observe of an emotion, we must still, from analogy, conclude that some kind of functional enhancement or arrest corresponds to the feeling-tone. Seeing, then, that what we may call “pure feeling” remains the same in all possible combinations, we must expect to meet with the same phenomena in connection with the manifestations of the higher emotions and sentiments, as those already described in case of simple pain or pleasure. It is true that in fully formed anger, joy, contempt, and so on, the tendency to expression for expression’s sake—as when a child laughs or dances for mere joy—is seldom found pure and unmixed. But even in such complex states we may in the abstract distinguish the impulse directly and inherently connected with the physiological change—the impulse which tends _automatically_ to bring out the tone of pleasure with more prominence or to relieve the tone of pain—from all the conscious and volitional activities by which the external cause of the feeling is either approached or avoided. We have only to remember that, as was the case with sensation-feelings, those intentional movements which are directly or by virtue of association connected with an emotion will always work in the same direction as the purely automatic expression.