Mystic, platonic, or intellectual love (there is no advantage in distinguishing the exact shades expressed by these various epithets) is, as we have seen, an abortive form of sexual love. Predominance of the intellectual element, the conceived ideal; weakening of the physiological and emotional manifestations and the organic erethism, of the tendency to movements of contact and embrace, and everything which constitutes emotion in its plenitude: such are its characteristics. Here, more than elsewhere, the term “arrest of development” is strictly accurate, because mystical love results, not from a voluntary inhibition which mutilates or checks emotion, but from an impotence on the part of emotion to develop its complete form. Experience furnishes the counterproof: let the antagonistic action of reflection, or of the intellectual state—whatever it may be—cease, and hatred will once more become anger, resignation grief, or despair; mystical will change to sexual love, and the primitive form reappears under the ruins of the derivative. To sum up, all the emotions of this group whose genesis depends on an arrest of development are reducible to a single formula: _intellectualised emotions_, because the intellectual element becomes dominant. We might also call them _attenuated_ emotions, because they tend towards emotional weakening. The two contrary and reciprocally dependent tendencies peculiar to this group, determine, not a medium emotion, but a new form which, relatively to the primary emotion, and to the general quantity of emotional life, is a _loss_. III. Transformation _by composition_ is a general term including two different cases: mixture and combination. This process consists of additions, and can be thus formulated: When two or more intellectual states coexist, each having its own peculiar emotional colouring, there arises a complete emotional state; in other words, intellectual complexity involves emotional complexity. If we compare the primary emotions to the simplest perceptions of sight and hearing, the complex emotions will correspond to the perception of an extensive landscape or a symphony. It is thus formed by the addition or fusion of binary, tertiary, quaternary compounds, and so on, these terms implying the number of simple emotions which compose them. The composition may be brought about in two ways, which we shall distinguish by calling them respectively mixture and combination, in the sense in which these words are employed by writers on chemistry. I. _Composition by mixture._—In the emotions derived from this mental procedure, the constituent elements can be recovered from the compound; they embrace without interpenetrating one another, and a psychological analysis conducted with sufficient thoroughness is able to determine and enumerate them. For greater clearness, I distinguish two cases in the mixture of feelings.