3. I shall be very brief in treating of intellectual emotion, since it is rare, and usually temperate in character; however, when it springs up with the true characteristics of intense emotion, it does not deviate from the rule. Most human beings are not passionately eager for the search after or the discovery of pure truth, any more than they are afflicted by privation of it; but those possessed by this demon are given up to him, body and soul. Their emotion is no more independent of physiological conditions than any other. The biographies of learned men furnish us with innumerable examples: the perpetual physical sufferings of Pascal, Malebranche nearly suffocated by the palpitations of his heart when reading Descartes, Humphrey Davy dancing in his laboratory after having made the discovery of potassium, Hamilton suddenly feeling something “like the closing of a galvanic circuit” at the moment of discovering the method of quaternions, etc. There is no need to extend our search so far; everyday life provides us moment by moment with examples which, though prosaic, are none the less valuable as proofs. The instinct of curiosity is at the root of all intellectual emotion, whether lofty or commonplace. Does not the man who perpetually watches his neighbour’s conduct and the thousand petty details of his life, feel when his puerile curiosity is baffled, all the physical anguish of unsatisfied desire? 4. If we are to believe certain over-subtle critics, æsthetic emotion would have the privilege of moving in the region of pure contemplation. This assertion is founded on the error pointed out above, which consists in taking into account only the _quality_ of the emotion, not its intensity. They put a critical emotion, purified, sublimated, stripped as far as possible of its somatic resonance, in the place of the true, primitive emotion, whence all the others have issued, and which they, like the rest of men, have begun by experiencing; for even the most refined cannot begin at the end. It is an abstract mode of feeling substituted for the concrete. W. James makes, on this point, some excellent remarks, to which we refer the reader (_op. cit._, pp. 428 _et seq._). Complete æsthetic emotion, without regard to its quality, does not always require advanced culture. The savage who, along with his companions, excites himself over his dance and song, becomes intoxicated with sound and motion; the naïve spectator quite carried away by the interest of a crude melodrama; the Spanish peasant, contemplating his church crammed with _rococo_ ornaments and strangely-dressed saints: all these experience the concrete emotion which shakes the frame, makes the heart beat, produces tears, laughter, or gestures.