* "Psychological Review," 1916, "Thought-Content and Feeling," p. 59. See also ib., 1912, "The Nature of Perceived Relations," where he says: "'Introspection,' divested of its mythological suggestion of the observing of consciousness, is really the observation of bodily sensations (sensibles) and feelings (feelables)"(p. 427 n.).

(3) CAN WE OBSERVE ANYTHING INTRINSICALLY DIFFERENT FROM SENSATIONS? We come now to our third question concerning introspection. It is commonly thought that by looking within we can observe all sorts of things that are radically different from the const.i.tuents of the physical world, e.g. thoughts, beliefs, desires, pleasures, pains and emotions. The difference between mind and matter is increased partly by emphasizing these supposed introspective data, partly by the supposition that matter is composed of atoms or electrons or whatever units physics may at the moment prefer. As against this latter supposition, I contend that the ultimate const.i.tuents of matter are not atoms or electrons, but sensations, and other things similar to sensations as regards extent and duration. As against the view that introspection reveals a mental world radically different from sensations, I propose to argue that thoughts, beliefs, desires, pleasures, pains and emotions are all built up out of sensations and images alone, and that there is reason to think that images do not differ from sensations in their intrinsic character. We thus effect a mutual rapprochement of mind and matter, and reduce the ultimate data of introspection (in our second sense) to images alone. On this third view of the meaning of introspection, therefore, our decision is wholly against it.

There remain two points to be considered concerning introspection. The first is as to how far it is trustworthy; the second is as to whether, even granting that it reveals no radically different STUFF from that revealed by what might be called external perception, it may not reveal different RELATIONS, and thus acquire almost as much importance as is traditionally a.s.signed to it.

To begin with the trustworthiness of introspection. It is common among certain schools to regard the knowledge of our own mental processes as incomparably more certain than our knowledge of the "external" world; this view is to be found in the British philosophy which descends from Hume, and is present, somewhat veiled, in Kant and his followers. There seems no reason whatever to accept this view. Our spontaneous, unsophisticated beliefs, whether as to ourselves or as to the outer world, are always extremely rash and very liable to error. The acquisition of caution is equally necessary and equally difficult in both directions. Not only are we often un aware of entertaining a belief or desire which exists in us; we are often actually mistaken. The fallibility of introspection as regards what we desire is made evident by psycho-a.n.a.lysis; its fallibility as to what we know is easily demonstrated. An autobiography, when confronted by a careful editor with doc.u.mentary evidence, is usually found to be full of obviously inadvertent errors. Any of us confronted by a forgotten letter written some years ago will be astonished to find how much more foolish our opinions were than we had remembered them as being. And as to the a.n.a.lysis of our mental operations--believing, desiring, willing, or what not--introspection unaided gives very little help: it is necessary to construct hypotheses and test them by their consequences, just as we do in physical science. Introspection, therefore, though it is one among our sources of knowledge, is not, in isolation, in any degree more trustworthy than "external" perception.

I come now to our second question: Does introspection give us materials for the knowledge of relations other than those arrived at by reflecting upon external perception? It might be contended that the essence of what is "mental" consists of relations, such as knowing for example, and that our knowledge concerning these essentially mental relations is entirely derived from introspection. If "knowing" were an una.n.a.lysable relation, this view would be incontrovertible, since clearly no such relation forms part of the subject matter of physics. But it would seem that "knowing" is really various relations, all of them complex. Therefore, until they have been a.n.a.lysed, our present question must remain unanswered I shall return to it at the end of the present course of lectures.

LECTURE VII. THE DEFINITION OF PERCEPTION.

In Lecture V we found reason to think that the ultimate const.i.tuents* of the world do not have the characteristics of either mind or matter as ordinarily understood: they are not solid persistent objects moving through s.p.a.ce, nor are they fragments of "consciousness." But we found two ways of grouping particulars, one into "things" or "pieces of matter," the other into series of "perspectives," each series being what may be called a "biography." Before we can define either sensations or images, it is necessary to consider this twofold cla.s.sification in somewhat greater detail, and to derive from it a definition of perception. It should be said that, in so far as the cla.s.sification a.s.sumes the whole world of physics (including its unperceived portions), it contains hypothetical elements. But we will not linger on the grounds for admitting these, which belong to the philosophy of physics rather than of psychology.

* When I speak of "ultimate const.i.tuents," I do not mean necessarily such as are theoretically incapable of a.n.a.lysis, but only such as, at present, we can see no means of a.n.a.lysing. I speak of such const.i.tuents as "particulars," or as "RELATIVE particulars" when I wish to emphasize the fact that they may be themselves complex.

The physical cla.s.sification of particulars collects together all those that are aspects of one "thing." Given any one particular, it is found often (we do not say always) that there are a number of other particulars differing from this one in gradually increasing degrees. Those (or some of those) that differ from it only very slightly will be found to differ approximately according to certain laws which may be called, in a generalized sense, the laws of "perspective"; they include the ordinary laws of perspective as a special case. This approximation grows more and more nearly exact as the difference grows less; in technical language, the laws of perspective account for the differences to the first order of small quant.i.ties, and other laws are only required to account for second-order differences. That is to say, as the difference diminishes, the part of the difference which is not according to the laws of perspective diminishes much more rapidly, and bears to the total difference a ratio which tends towards zero as both are made smaller and smaller. By this means we can theoretically collect together a number of particulars which may be defined as the "aspects" or "appearances" of one thing at one time. If the laws of perspective were sufficiently known, the connection between different aspects would be expressed in differential equations.

This gives us, so far, only those particulars which const.i.tute one thing at one time. This set of particulars may be called a "momentary thing." To define that series of "momentary things" that const.i.tute the successive states of one thing is a problem involving the laws of dynamics. These give the laws governing the changes of aspects from one time to a slightly later time, with the same sort of differential approximation to exactness as we obtained for spatially neighbouring aspects through the laws of perspective. Thus a momentary thing is a set of particulars, while a thing (which may be identified with the whole history of the thing) is a series of such sets of particulars. The particulars in one set are collected together by the laws of perspective; the successive sets are collected together by the laws of dynamics. This is the view of the world which is appropriate to traditional physics.

The definition of a "momentary thing" involves problems concerning time, since the particulars const.i.tuting a momentary thing will not be all simultaneous, but will travel outward from the thing with the velocity of light (in case the thing is in vacuo). There are complications connected with relativity, but for our present purpose they are not vital, and I shall ignore them.

Instead of first collecting together all the particulars const.i.tuting a momentary thing, and then forming the series of successive sets, we might have first collected together a series of successive aspects related by the laws of dynamics, and then have formed the set of such series related by the laws of perspective. To ill.u.s.trate by the case of an actor on the stage: our first plan was to collect together all the aspects which he presents to different spectators at one time, and then to form the series of such sets. Our second plan is first to collect together all the aspects which he presents successively to a given spectator, and then to do the same thing for the other spectators, thus forming a set of series instead of a series of sets. The first plan tells us what he does; the second the impressions he produces. This second way of cla.s.sifying particulars is one which obviously has more relevance to psychology than the other. It is partly by this second method of cla.s.sification that we obtain definitions of one "experience" or "biography" or "person." This method of cla.s.sification is also essential to the definition of sensations and images, as I shall endeavour to prove later on. But we must first amplify the definition of perspectives and biographies.

In our ill.u.s.tration of the actor, we spoke, for the moment, as though each spectator's mind were wholly occupied by the one actor. If this were the case, it might be possible to define the biography of one spectator as a series of successive aspects of the actor related according to the laws of dynamics. But in fact this is not the case. We are at all times during our waking life receiving a variety of impressions, which are aspects of a variety of things. We have to consider what binds together two simultaneous sensations in one person, or, more generally, any two occurrences which forte part of one experience. We might say, adhering to the standpoint of physics, that two aspects of different things belong to the same perspective when they are in the same place. But this would not really help us, since a "place" has not yet been defined. Can we define what is meant by saying that two aspects are "in the same place," without introducing anything beyond the laws of perspective and dynamics?

I do not feel sure whether it is possible to frame such a definition or not; accordingly I shall not a.s.sume that it is possible, but shall seek other characteristics by which a perspective or biography may be defined.

When (for example) we see one man and hear another speaking at the same time, what we see and what we hear have a relation which we can perceive, which makes the two together form, in some sense, one experience. It is when this relation exists that two occurrences become a.s.sociated. Semon's "engram" is formed by all that we experience at one time. He speaks of two parts of this total as having the relation of "Nebeneinander" (M. 118; M.E. 33 ff.), which is reminiscent of Herbart's "Zusammen." I think the relation may be called simply "simultaneity." It might be said that at any moment all sorts of things that are not part of my experience are happening in the world, and that therefore the relation we are seeking to define cannot be merely simultaneity. This, however, would be an error--the sort of error that the theory of relativity avoids. There is not one universal time, except by an elaborate construction; there are only local times, each of which may be taken to be the time within one biography. Accordingly, if I am (say) hearing a sound, the only occurrences that are, in any simple sense, simultaneous with my sensation are events in my private world, i.e. in my biography. We may therefore define the "perspective" to which the sensation in question belongs as the set of particulars that are simultaneous with this sensation. And similarly we may define the "biography" to which the sensation belongs as the set of particulars that are earlier or later than, or simultaneous with, the given sensation. Moreover, the very same definitions can be applied to particulars which are not sensations. They are actually required for the theory of relativity, if we are to give a philosophical explanation of what is meant by "local time" in that theory The relations of simultaneity and succession are known to us in our own experience; they may be a.n.a.lysable, but that does not affect their suitability for defining perspectives and biographies. Such time-relations as can be constructed between events in different biographies are of a different kind: they are not experienced, and are merely logical, being designed to afford convenient ways of stating the correlations between different biographies.

It is not only by time-relations that the parts of one biography are collected together in the case of living beings. In this case there are the mnemic phenomena which const.i.tute the unity of one "experience," and transform mere occurrences into "experiences." I have already dwelt upon the importance of mnemic phenomena for psychology, and shall not enlarge upon them now, beyond observing that they are what transforms a biography (in our technical sense) into a life. It is they that give the continuity of a "person" or a "mind." But there is no reason to suppose that mnemic phenomena are a.s.sociated with biographies except in the case of animals and plants.

Our two-fold cla.s.sification of particulars gives rise to the dualism of body and biography in regard to everything in the universe, and not only in regard to living things. This arises as follows. Every particular of the sort considered by physics is a member of two groups (1) The group of particulars const.i.tuting the other aspects of the same physical object; (2) The group of particulars that have direct time-relations to the given particular.

Each of these is a.s.sociated with a place. When I look at a star, my sensation is (1) A member of the group of particulars which is the star, and which is a.s.sociated with the place where the star is; (2) A member of the group of particulars which is my biography, and which is a.s.sociated with the place where I am.*

*I have explained elsewhere the manner in which s.p.a.ce is constructed on this theory, and in which the position of a perspective is brought into relation with the position of a physical object ("Our Knowledge of the External World," Lecture III, pp. 90, 91).

The result is that every particular of the kind relevant to physics is a.s.sociated with TWO places; e.g. my sensation of the star is a.s.sociated with the place where I am and with the place where the star is. This dualism has nothing to do with any "mind" that I may be supposed to possess; it exists in exactly the same sense if I am replaced by a photographic plate. We may call the two places the active and pa.s.sive places respectively.* Thus in the case of a perception or photograph of a star, the active place is the place where the star is, while the pa.s.sive place is the place where the percipient or photographic plate is.

* I use these as mere names; I do not want to introduce any notion of "activity."

We can thus, without departing from physics, collect together all the particulars actively at a given place, or all the particulars pa.s.sively at a given place. In our own case, the one group is our body (or our brain), while the other is our mind, in so far as it consists of perceptions. In the case of the photographic plate, the first group is the plate as dealt with by physics, the second the aspect of the heavens which it photographs. (For the sake of schematic simplicity, I am ignoring various complications connected with time, which require some tedious but perfectly feasible elaborations.) Thus what may be called subjectivity in the point of view is not a distinctive peculiarity of mind: it is present just as much in the photographic plate. And the photographic plate has its biography as well as its "matter." But this biography is an affair of physics, and has none of the peculiar characteristics by which "mental" phenomena are distinguished, with the sole exception of subjectivity.

Adhering, for the moment, to the standpoint of physics, we may define a "perception" of an object as the appearance of the object from a place where there is a brain (or, in lower animals, some suitable nervous structure), with sense-organs and nerves forming part of the intervening medium. Such appearances of objects are distinguished from appearances in other places by certain peculiarities, namely (1) They give rise to mnemic phenomena; (2) They are themselves affected by mnemic phenomena.

That is to say, they may be remembered and a.s.sociated or influence our habits, or give rise to images, etc., and they are themselves different from what they would have been if our past experience had been different--for example, the effect of a spoken sentence upon the hearer depends upon whether the hearer knows the language or not, which is a question of past experience. It is these two characteristics, both connected with mnemic phenomena, that distinguish perceptions from the appearances of objects in places where there is no living being.

Theoretically, though often not practically, we can, in our perception of an object, separate the part which is due to past experience from the part which proceeds without mnemic influences out of the character of the object. We may define as "sensation" that part which proceeds in this way, while the remainder, which is a mnemic phenomenon, will have to be added to the sensation to make up what is called the "perception." According to this definition, the sensation is a theoretical core in the actual experience; the actual experience is the perception. It is obvious that there are grave difficulties in carrying out these definitions, but we will not linger over them. We have to pa.s.s, as soon as we can, from the physical standpoint, which we have been hitherto adopting, to the standpoint of psychology, in which we make more use of introspection in the first of the three senses discussed in the preceding lecture.

But before making the transition, there are two points which must be made clear. First: Everything outside my own personal biography is outside my experience; therefore if anything can be known by me outside my biography, it can only be known in one of two ways (1) By inference from things within my biography, or (2) By some a priori principle independent of experience.

I do not myself believe that anything approaching certainty is to be attained by either of these methods, and therefore whatever lies outside my personal biography must be regarded, theoretically, as hypothesis. The theoretical argument for adopting the hypothesis is that it simplifies the statement of the laws according to which events happen in our experience. But there is no very good ground for supposing that a simple law is more likely to be true than a complicated law, though there is good ground for a.s.suming a simple law in scientific practice, as a working hypothesis, if it explains the facts as well as another which is less simple. Belief in the existence of things outside my own biography exists antecedently to evidence, and can only be destroyed, if at all, by a long course of philosophic doubt. For purposes of science, it is justified practically by the simplification which it introduces into the laws of physics. But from the standpoint of theoretical logic it must be regarded as a prejudice, not as a well-grounded theory. With this proviso, I propose to continue yielding to the prejudice.

The second point concerns the relating of our point of view to that which regards sensations as caused by stimuli external to the nervous system (or at least to the brain), and distinguishes images as "centrally excited," i.e. due to causes in the brain which cannot be traced back to anything affecting the sense-organs. It is clear that, if our a.n.a.lysis of physical objects has been valid, this way of defining sensations needs reinterpretation. It is also clear that we must be able to find such a new interpretation if our theory is to be admissible.

To make the matter clear, we will take the simplest possible ill.u.s.tration. Consider a certain star, and suppose for the moment that its size is negligible. That is to say, we will regard it as, for practical purposes, a luminous point. Let us further suppose that it exists only for a very brief time, say a second. Then, according to physics, what happens is that a spherical wave of light travels outward from the star through s.p.a.ce, just as, when you drop a stone into a stagnant pond, ripples travel outward from the place where the stone hit the water. The wave of light travels with a certain very nearly constant velocity, roughly 300,000 kilometres per second. This velocity may be ascertained by sending a flash of light to a mirror, and observing how long it takes before the reflected flash reaches you, just as the velocity of sound may be ascertained by means of an echo.

What it is that happens when a wave of light reaches a given place we cannot tell, except in the sole case when the place in question is a brain connected with an eye which is turned in the right direction. In this one very special case we know what happens: we have the sensation called "seeing the star." In all other cases, though we know (more or less hypothetically) some of the correlations and abstract properties of the appearance of the star, we do not know the appearance itself. Now you may, for the sake of ill.u.s.tration, compare the different appearances of the star to the conjugation of a Greek verb, except that the number of its parts is really infinite, and not only apparently so to the despairing schoolboy. In vacuo, the parts are regular, and can be derived from the (imaginary) root according to the laws of grammar, i.e. of perspective. The star being situated in empty s.p.a.ce, it may be defined, for purposes of physics, as consisting of all those appearances which it presents in vacuo, together with those which, according to the laws of perspective, it would present elsewhere if its appearances elsewhere were regular. This is merely the adaptation of the definition of matter which I gave in an earlier lecture. The appearance of a star at a certain place, if it is regular, does not require any cause or explanation beyond the existence of the star. Every regular appearance is an actual member of the system which is the star, and its causation is entirely internal to that system. We may express this by saying that a regular appearance is due to the star alone, and is actually part of the star, in the sense in which a man is part of the human race.

But presently the light of the star reaches our atmosphere. It begins to be refracted, and dimmed by mist, and its velocity is slightly diminished. At last it reaches a human eye, where a complicated process takes place, ending in a sensation which gives us our grounds for believing in all that has gone before. Now, the irregular appearances of the star are not, strictly speaking, members of the system which is the star, according to our definition of matter. The irregular appearances, however, are not merely irregular: they proceed according to laws which can be stated in terms of the matter through which the light has pa.s.sed on its way. The sources of an irregular appearance are therefore twofold: (1) The object which is appearing irregularly; 2) The intervening medium.

It should be observed that, while the conception of a regular appearance is perfectly precise, the conception of an irregular appearance is one capable of any degree of vagueness. When the distorting influence of the medium is sufficiently great, the resulting particular can no longer be regarded as an appearance of an object, but must be treated on its own account. This happens especially when the particular in question cannot be traced back to one object, but is a blend of two or more. This case is normal in perception: we see as one what the microscope or telescope reveals to be many different objects. The notion of perception is therefore not a precise one: we perceive things more or less, but always with a very considerable amount of vagueness and confusion.

In considering irregular appearances, there are certain very natural mistakes which must be avoided. In order that a particular may count as an irregular appearance of a certain object, it is not necessary that it should bear any resemblance to the regular appearances as regard its intrinsic qualities. All that is necessary is that it should be derivable from the regular appearances by the laws which express the distorting influence of the medium. When it is so derivable, the particular in question may be regarded as caused by the regular appearances, and therefore by the object itself, together with the modifications resulting from the medium. In other cases, the particular in question may, in the same sense, be regarded as caused by several objects together with the medium; in this case, it may be called a confused appearance of several objects. If it happens to be in a brain, it may be called a confused perception of these objects. All actual perception is confused to a greater or less extent.

We can now interpret in terms of our theory the distinction between those mental occurrences which are said to have an external stimulus, and those which are said to be "centrally excited," i.e. to have no stimulus external to the brain. When a mental occurrence can be regarded as an appearance of an object external to the brain, however irregular, or even as a confused appearance of several such objects, then we may regard it as having for its stimulus the object or objects in question, or their appearances at the sense-organ concerned. When, on the other hand, a mental occurrence has not sufficient connection with objects external to the brain to be regarded as an appearance of such objects, then its physical causation (if any) will have to be sought in the brain. In the former case it can be called a perception; in the latter it cannot be so called. But the distinction is one of degree, not of kind. Until this is realized, no satisfactory theory of perception, sensation, or imagination is possible.

LECTURE VIII. SENSATIONS AND IMAGES.

The dualism of mind and matter, if we have been right so far, cannot be allowed as metaphysically valid. Nevertheless, we seem to find a certain dualism, perhaps not ultimate, within the world as we observe it. The dualism is not primarily as to the stuff of the world, but as to causal laws. On this subject we may again quote William James. He points out that when, as we say, we merely "imagine" things, there are no such effects as would ensue if the things were what we call "real." He takes the case of imagining a fire "I make for myself an experience of blazing fire; I place it near my body; but it does not warm me in the least. I lay a stick upon it and the stick either burns or remains green, as I please. I call up water, and pour it on the fire, and absolutely no difference ensues. I account for all such facts by calling this whole train of experiences unreal, a mental train. Mental fire is what won't burn real sticks; mental water is what won't necessarily (though of course it may) put out even a mental fire.... With 'real' objects, on the contrary, consequences always accrue; and thus the real experiences get sifted from the mental ones, the things from our thoughts of them, fanciful or true, and precipitated together as the stable part of the whole experience--chaos, under the name of the physical world."*

* "Essays in Radical Empiricism," pp. 32-3.

In this pa.s.sage James speaks, by mere inadvertence, as though the phenomena which he is describing as "mental" had NO effects. This is, of course, not the case: they have their effects, just as much as physical phenomena do, but their effects follow different laws. For example, dreams, as Freud has shown, are just as much subject to laws as are the motions of the planets. But the laws are different: in a dream you may be transported from one place to another in a moment, or one person may turn into another under your eyes. Such differences compel you to distinguish the world of dreams from the physical world.

If the two sorts of causal laws could be sharply distinguished, we could call an occurrence "physical" when it obeys causal laws appropriate to the physical world, and "mental" when it obeys causal laws appropriate to the mental world. Since the mental world and the physical world interact, there would be a boundary between the two: there would be events which would have physical causes and mental effects, while there would be others which would have mental causes and physical effects. Those that have physical causes and mental effects we should define as "sensations." Those that have mental causes and physical effects might perhaps be identified with what we call voluntary movements; but they do not concern us at present.

These definitions would have all the precision that could be desired if the distinction between physical and psychological causation were clear and sharp. As a matter of fact, however, this distinction is, as yet, by no means sharp. It is possible that, with fuller knowledge, it will be found to be no more ultimate than the distinction between the laws of gases and the laws of rigid bodies. It also suffers from the fact that an event may be an effect of several causes according to several causal laws we cannot, in general, point to anything unique as THE cause of such-and-such an event. And finally it is by no means certain that the peculiar causal laws which govern mental events are not really physiological. The law of habit, which is one of the most distinctive, may be fully explicable in terms of the peculiarities of nervous tissue, and these peculiarities, in turn, may be explicable by the laws of physics. It seems, therefore, that we are driven to a different kind of definition. It is for this reason that it was necessary to develop the definition of perception. With this definition, we can define a sensation as the non-mnemic elements in a perception.

When, following our definition, we try to decide what elements in our experience are of the nature of sensations, we find more difficulty than might have been expected. Prima facie, everything is sensation that comes to us through the senses: the sights we see, the sounds we hear, the smells we smell, and so on; also such things as headache or the feeling of muscular strain. But in actual fact so much interpretation, so much of habitual correlation, is mixed with all such experiences, that the core of pure sensation is only to be extracted by careful investigation. To take a simple ill.u.s.tration: if you go to the theatre in your own country, you seem to hear equally well in the stalls or the dress circle; in either case you think you miss nothing. But if you go in a foreign country where you have a fair knowledge of the language, you will seem to have grown partially deaf, and you will find it necessary to be much nearer the stage than you would need to be in your own country. The reason is that, in hearing our own language spoken, we quickly and unconsciously fill out what we really hear with inferences to what the man must be saying, and we never realize that we have not heard the words we have merely inferred. In a foreign language, these inferences are more difficult, and we are more dependent upon actual sensation. If we found ourselves in a foreign world, where tables looked like cushions and cushions like tables, we should similarly discover how much of what we think we see is really inference. Every fairly familiar sensation is to us a sign of the things that usually go with it, and many of these things will seem to form part of the sensation. I remember in the early days of motor-cars being with a friend when a tyre burst with a loud report. He thought it was a pistol, and supported his opinion by maintaining that he had seen the flash. But of course there had been no flash. Nowadays no one sees a flash when a tyre bursts.

In order, therefore, to arrive at what really is sensation in an occurrence which, at first sight, seems to contain nothing else, we have to pare away all that is due to habit or expectation or interpretation. This is a matter for the psychologist, and by no means an easy matter. For our purposes, it is not important to determine what exactly is the sensational core in any case; it is only important to notice that there certainly is a sensational core, since habit, expectation and interpretation are diversely aroused on diverse occasions, and the diversity is clearly due to differences in what is presented to the senses. When you open your newspaper in the morning, the actual sensations of seeing the print form a very minute part of what goes on in you, but they are the starting-point of all the rest, and it is through them that the newspaper is a means of information or mis-information. Thus, although it may be difficult to determine what exactly is sensation in any given experience, it is clear that there is sensation, unless, like Leibniz, we deny all action of the outer world upon us.

Sensations are obviously the source of our knowledge of the world, including our own body. It might seem natural to regard a sensation as itself a cognition, and until lately I did so regard it. When, say, I see a person I know coming towards me in the street, it SEEMS as though the mere seeing were knowledge. It is of course undeniable that knowledge comes THROUGH the seeing, but I think it is a mistake to regard the mere seeing itself as knowledge. If we are so to regard it, we must distinguish the seeing from what is seen: we must say that, when we see a patch of colour of a certain shape, the patch of colour is one thing and our seeing of it is another. This view, however, demands the admission of the subject, or act, in the sense discussed in our first lecture. If there is a subject, it can have a relation to the patch of colour, namely, the sort of relation which we might call awareness. In that case the sensation, as a mental event, will consist of awareness of the colour, while the colour itself will remain wholly physical, and may be called the sense-datum, to distinguish it from the sensation. The subject, however, appears to be a logical fiction, like mathematical points and instants. It is introduced, not because observation reveals it, but because it is linguistically convenient and apparently demanded by grammar. Nominal ent.i.ties of this sort may or may not exist, but there is no good ground for a.s.suming that they do. The functions that they appear to perform can always be performed by cla.s.ses or series or other logical constructions, consisting of less dubious ent.i.ties. If we are to avoid a perfectly gratuitous a.s.sumption, we must dispense with the subject as one of the actual ingredients of the world. But when we do this, the possibility of distinguishing the sensation from the sense-datum vanishes; at least I see no way of preserving the distinction. Accordingly the sensation that we have when we see a patch of colour simply is that patch of colour, an actual const.i.tuent of the physical world, and part of what physics is concerned with. A patch of colour is certainly not knowledge, and therefore we cannot say that pure sensation is cognitive. Through its psychological effects, it is the cause of cognitions, partly by being itself a sign of things that are correlated with it, as e.g. sensations of sight and touch are correlated, and partly by giving rise to images and memories after the sensation is faded. But in itself the pure sensation is not cognitive.

In the first lecture we considered the view of Brentano, that "we may define psychical phenomena by saying that they are phenomena which intentionally contain an object." We saw reasons to reject this view in general; we are now concerned to show that it must be rejected in the particular case of sensations. The kind of argument which formerly made me accept Brentano's view in this case was exceedingly simple. When I see a patch of colour, it seemed to me that the colour is not psychical, but physical, while my seeing is not physical, but psychical. Hence I concluded that the colour is something other than my seeing of the colour. This argument, to me historically, was directed against idealism: the emphatic part of it was the a.s.sertion that the colour is physical, not psychical. I shall not trouble you now with the grounds for holding as against Berkeley that the patch of colour is physical; I have set them forth before, and I see no reason to modify them. But it does not follow that the patch of colour is not also psychical, unless we a.s.sume that the physical and the psychical cannot overlap, which I no longer consider a valid a.s.sumption. If we admit--as I think we should--that the patch of colour may be both physical and psychical, the reason for distinguishing the sense-datum from the sensation disappears, and we may say that the patch of colour and our sensation in seeing it are identical.

This is the view of William James, Professor Dewey, and the American realists. Perceptions, says Professor Dewey, are not per se cases of knowledge, but simply natural events with no more knowledge status than (say) a shower. "Let them [the realists] try the experiment of conceiving perceptions as pure natural events, not cases of awareness or apprehension, and they will be surprised to see how little they miss."* I think he is right in this, except in supposing that the realists will be surprised. Many of them already hold the view he is advocating, and others are very sympathetic to it. At any rate, it is the view which I shall adopt in these lectures.

* Dewey, "Essays in Experimental Logic," pp. 253, 262.

The stuff of the world, so far as we have experience of it, consists, on the view that I am advocating, of innumerable transient particulars such as occur in seeing, hearing, etc., together with images more or less resembling these, of which I shall speak shortly. If physics is true, there are, besides the particulars that we experience, others, probably equally (or almost equally) transient, which make up that part of the material world that does not come into the sort of contact with a living body that is required to turn it into a sensation. But this topic belongs to the philosophy of physics, and need not concern us in our present inquiry.

Sensations are what is common to the mental and physical worlds; they may be defined as the intersection of mind and matter. This is by no means a new view; it is advocated, not only by the American authors I have mentioned, but by Mach in his a.n.a.lysis of Sensations, which was published in 1886. The essence of sensation, according to the view I am advocating, is its independence of past experience. It is a core in our actual experiences, never existing in isolation except possibly in very young infants. It is not itself knowledge, but it supplies the data for our knowledge of the physical world, including our own bodies.

There are some who believe that our mental life is built up out of sensations alone. This may be true; but in any case I think the only ingredients required in addition to sensations are images. What images are, and how they are to be defined, we have now to inquire.

The distinction between images and sensations might seem at first sight by no means difficult. When we shut our eyes and call up pictures of familiar scenes, we usually have no difficulty, so long as we remain awake, in discriminating between what we are imagining and what is really seen. If we imagine some piece of music that we know, we can go through it in our mind from beginning to end without any discoverable tendency to suppose that we are really hearing it. But although such cases are so clear that no confusion seems possible, there are many others that are far more difficult, and the definition of images is by no means an easy problem.

To begin with: we do not always know whether what we are experiencing is a sensation or an image. The things we see in dreams when our eyes are shut must count as images, yet while we are dreaming they seem like sensations. Hallucinations often begin as persistent images, and only gradually acquire that influence over belief that makes the patient regard them as sensations. When we are listening for a faint sound--the striking of a distant clock, or a horse's hoofs on the road--we think we hear it many times before we really do, because expectation brings us the image, and we mistake it for sensation. The distinction between images and sensations is, therefore, by no means always obvious to inspection.*

* On the distinction between images and sensation, cf. Semon, "Die mnemischen Empfindungen," pp. 19-20.

We may consider three different ways in which it has been sought to distinguish images from sensations, namely: (1) By the less degree of vividness in images; (2) By our absence of belief in their "physical reality"; (3) By the fact that their causes and effects are different from those of sensations.

I believe the third of these to be the only universally applicable criterion. The other two are applicable in very many cases, but cannot be used for purposes of definition because they are liable to exceptions. Nevertheless, they both deserve to be carefully considered.

(1) Hume, who gives the names "impressions" and "ideas" to what may, for present purposes, be identified with our "sensations" and "images," speaks of impressions as "those perceptions which enter with most force and violence" while he defines ideas as "the faint images of these (i.e. of impressions) in thinking and reasoning." His immediately following observations, however, show the inadequacy of his criteria of "force" and "faintness." He says: "I believe it will not be very necessary to employ many words in explaining this distinction. Every one of himself will readily perceive the difference betwixt feeling and thinking. The common degrees of these are easily distinguished, though it is not impossible but in particular instances they may very nearly approach to each other. Thus in sleep, in a fever, in madness, or in any very violent emotions of soul, our ideas may approach to our impressions; as, on the other hand, it sometimes happens, that our impressions are so faint and low that we cannot distinguish them from our ideas. But notwithstanding this near resemblance in a few instances, they are in general so very different, that no one can make a scruple to rank them under distinct heads, and a.s.sign to each a peculiar name to mark the difference" ("Treatise of Human Nature,"

Part I, Section I).

I think Hume is right in holding that they should be ranked under distinct heads, with a peculiar name for each. But by his own confession in the above pa.s.sage, his criterion for distinguishing them is not always adequate. A definition is not sound if it only applies in cases where the difference is glaring: the essential purpose of a definition is to provide a mark which is applicable even in marginal cases--except, of course, when we are dealing with a conception, like, e.g. baldness, which is one of degree and has no sharp boundaries. But so far we have seen no reason to think that the difference between sensations and images is only one of degree.

Professor Stout, in his "Manual of Psychology," after discussing various ways of distinguishing sensations and images, arrives at a view which is a modification of Hume's. He says (I quote from the second edition): "Our conclusion is that at bottom the distinction between image and percept, as respectively faint and vivid states, is based on a difference of quality. The percept has an aggressiveness which does not belong to the image. It strikes the mind with varying degrees of force or liveliness according to the varying intensity of the stimulus. This degree of force or liveliness is part of what we ordinarily mean by the intensity of a sensation. But this const.i.tuent of the intensity of sensations is absent in mental imagery"(p. 419).

This view allows for the fact that sensations may reach any degree of faintness--e.g. in the case of a just visible star or a just audible sound--without becoming images, and that therefore mere faintness cannot be the characteristic mark of images. After explaining the sudden shock of a flash of lightning or a steam-whistle, Stout says that "no mere image ever does strike the mind in this manner"(p. 417). But I believe that this criterion fails in very much the same instances as those in which Hume's criterion fails in its original form. Macbeth speaks of-- that suggestion Whose horrid image doth unfix my hair And make my seated heart knock at my ribs Against the use of nature.

The whistle of a steam-engine could hardly have a stronger effect than this. A very intense emotion will often bring with it--especially where some future action or some undecided issue is involved--powerful compelling images which may determine the whole course of life, sweeping aside all contrary solicitations to the will by their capacity for exclusively possessing the mind. And in all cases where images, originally recognized as such, gradually pa.s.s into hallucinations, there must be just that "force or liveliness" which is supposed to be always absent from images. The cases of dreams and fever-delirium are as hard to adjust to Professor Stout's modified criterion as to Hume's. I conclude therefore that the test of liveliness, however applicable in ordinary instances, cannot be used to define the differences between sensations and images.

(2) We might attempt to distinguish images from sensations by our absence of belief in the "physical reality" of images. When we are aware that what we are experiencing is an image, we do not give it the kind of belief that we should give to a sensation: we do not think that it has the same power of producing knowledge of the "external world." Images are "imaginary"; in SOME sense they are "unreal." But this difference is hard to a.n.a.lyse or state correctly. What we call the "unreality" of images requires interpretation it cannot mean what would be expressed by saying "there's no such thing." Images are just as truly part of the actual world as sensations are. All that we really mean by calling an image "unreal" is that it does not have the concomitants which it would have if it were a sensation. When we call up a visual image of a chair, we do not attempt to sit in it, because we know that, like Macbeth's dagger, it is not "sensible to feeling as to sight"-- i.e. it does not have the correlations with tactile sensations which it would have if it were a visual sensation and not merely a visual image. But this means that the so-called "unreality" of images consists merely in their not obeying the laws of physics, and thus brings us back to the causal distinction between images and sensations.

This view is confirmed by the fact that we only feel images to be "unreal" when we already know them to be images. Images cannot be defined by the FEELING of unreality, because when we falsely believe an image to be a sensation, as in the case of dreams, it FEELS just as real as if it were a sensation. Our feeling of unreality results from our having already realized that we are dealing with an image, and cannot therefore be the definition of what we mean by an image. As soon as an image begins to deceive us as to its status, it also deceives us as to its correlations, which are what we mean by its "reality."

(3) This brings us to the third mode of distinguishing images from sensations, namely, by their causes and effects. I believe this to be the only valid ground of distinction. James, in the pa.s.sage about the mental fire which won't burn real sticks, distinguishes images by their effects, but I think the more reliable distinction is by their causes. Professor Stout (loc. cit., p. 127) says: "One characteristic mark of what we agree in calling sensation is its mode of production. It is caused by what we call a STIMULUS. A stimulus is always some condition external to the nervous system itself and operating upon it." I think that this is the correct view, and that the distinction between images and sensations can only be made by taking account of their causation. Sensations come through sense-organs, while images do not. We cannot have visual sensations in the dark, or with our eyes shut, but we can very well have visual images under these circ.u.mstances. Accordingly images have been defined as "centrally excited sensations," i.e. sensations which have their physiological cause in the brain only, not also in the sense-organs and the nerves that run from the sense-organs to the brain. I think the phrase "centrally excited sensations" a.s.sumes more than is necessary, since it takes it for granted that an image must have a proximate physiological cause. This is probably true, but it is an hypothesis, and for our purposes an unnecessary one. It would seem to fit better with what we can immediately observe if we were to say that an image is occasioned, through a.s.sociation, by a sensation or another image, in other words that it has a mnemic cause--which does not prevent it from also having a physical cause. And I think it will be found that the causation of an image always proceeds according to mnemic laws, i.e. that it is governed by habit and past experience. If you listen to a man playing the pianola without looking at him, you will have images of his hands on the keys as if he were playing the piano; if you suddenly look at him while you are absorbed in the music, you will experience a shock of surprise when you notice that his hands are not touching the notes. Your image of his hands is due to the many times that you have heard similar sounds and at the same time seen the player's hands on the piano. When habit and past experience play this part, we are in the region of mnemic as opposed to ordinary physical causation. And I think that, if we could regard as ultimately valid the difference between physical and mnemic causation, we could distinguish images from sensations as having mnemic causes, though they may also have physical causes. Sensations, on the other hand, will only have physical causes.

However this may be, the practically effective distinction between sensations and images is that in the causation of sensations, but not of images, the stimulation of nerves carrying an effect into the brain, usually from the surface of the body, plays an essential part. And this accounts for the fact that images and sensations cannot always be distinguished by their intrinsic nature.

Images also differ from sensations as regards their effects. Sensations, as a rule, have both physical and mental effects. As you watch the train you meant to catch leaving the station, there are both the successive positions of the train (physical effects) and the successive waves of fury and disappointment (mental effects). Images, on the contrary, though they MAY produce bodily movements, do so according to mnemic laws, not according to the laws of physics. All their effects, of whatever nature, follow mnemic laws. But this difference is less suitable for definition than the difference as to causes.

Professor Watson, as a logical carrying-out of his behaviourist theory, denies altogether that there are any observable phenomena such as images are supposed to be. He replaces them all by faint sensations, and especially by p.r.o.nunciation of words sotto voce. When we "think" of a table (say), as opposed to seeing it, what happens, according to him, is usually that we are making small movements of the throat and tongue such as would lead to our uttering the word "table" if they were more p.r.o.nounced. I shall consider his view again in connection with words; for the present I am only concerned to combat his denial of images. This denial is set forth both in his book on "Behavior" and in an article called "Image and Affection in Behavior" in the "Journal of Philosophy, Psychology and Scientific Methods," vol. x (July, 1913). It seems to me that in this matter he has been betrayed into denying plain facts in the interests of a theory, namely, the supposed impossibility of introspection. I dealt with the theory in Lecture VI; for the present I wish to reinforce the view that the facts are undeniable.

Images are of various sorts, according to the nature of the sensations which they copy. Images of bodily movements, such as we have when we imagine moving an arm or, on a smaller scale, p.r.o.nouncing a word, might possibly be explained away on Professor Watson's lines, as really consisting in small incipient movements such as, if magnified and prolonged, would be the movements we are said to be imagining. Whether this is the case or not might even be decided experimentally. If there were a delicate instrument for recording small movements in the mouth and throat, we might place such an instrument in a person's mouth and then tell him to recite a poem to himself, as far as possible only in imagination. I should not be at all surprised if it were found that actual small movements take place while he is "mentally" saying over the verses. The point is important, because what is called "thought" consists mainly (though I think not wholly) of inner speech. If Professor Watson is right as regards inner speech, this whole region is transferred from imagination to sensation. But since the question is capable of experimental decision, it would be gratuitous rashness to offer an opinion while that decision is lacking.

But visual and auditory images are much more difficult to deal with in this way, because they lack the connection with physical events in the outer world which belongs to visual and auditory sensations. Suppose, for example, that I am sitting in my room, in which there is an empty arm-chair. I shut my eyes, and call up a visual image of a friend sitting in the arm-chair. If I thrust my image into the world of physics, it contradicts all the usual physical laws. My friend reached the chair without coming in at the door in the usual way; subsequent inquiry will show that he was somewhere else at the moment. If regarded as a sensation, my image has all the marks of the supernatural. My image, therefore, is regarded as an event in me, not as having that position in the orderly happenings of the public world that belongs to sensations. By saying that it is an event in me, we leave it possible that it may be PHYSIOLOGICALLY caused: its privacy may be only due to its connection with my body. But in any case it is not a public event, like an actual person walking in at the door and sitting down in my chair. And it cannot, like inner speech, be regarded as a SMALL sensation, since it occupies just as large an area in my visual field as the actual sensation would do.

Professor Watson says: "I should throw out imagery altogether and attempt to show that all natural thought goes on in terms of sensori-motor processes in the larynx." This view seems to me flatly to contradict experience. If you try to persuade any uneducated person that she cannot call up a visual picture of a friend sitting in a chair, but can only use words describing what such an occurrence would be like, she will conclude that you are mad. (This statement is based upon experiment.) Galton, as every one knows, investigated visual imagery, and found that education tends to kill it: the Fellows of the Royal Society turned out to have much less of it than their wives. I see no reason to doubt his conclusion that the habit of abstract pursuits makes learned men much inferior to the average in power of visualizing, and much more exclusively occupied with words in their "thinking." And Professor Watson is a very learned man.

I shall henceforth a.s.sume that the existence of images is admitted, and that they are to be distinguished from sensations by their causes, as well as, in a lesser degree, by their effects. In their intrinsic nature, though they often differ from sensations by being more dim or vague or faint, yet they do not always or universally differ from sensations in any way that can be used for defining them. Their privacy need form no bar to the scientific study of them, any more than the privacy of bodily sensations does. Bodily sensations are admitted by even the most severe critics of introspection, although, like images, they can only be observed by one observer. It must be admitted, however, that the laws of the appearance and disappearance of images are little known and difficult to discover, because we are not a.s.sisted, as in the case of sensations, by our knowledge of the physical world.

There remains one very important point concerning images, which will occupy us much hereafter, and that is, their resemblance to previous sensations. They are said to be "copies" of sensations, always as regards the simple qualities that enter into them, though not always as regards the manner in which these are put together. It is generally believed that we cannot imagine a shade of colour that we have never seen, or a sound that we have never heard. On this subject Hume is the cla.s.sic. He says, in the definitions already quoted: "Those perceptions, which enter with most force and violence, we may name IMPRESSIONS; and under this name I comprehend all our sensations, pa.s.sions and emotions, as they make their first appearance in the soul. By IDEAS I mean the faint images of these in thinking and reasoning."

He next explains the difference between simple and complex ideas, and explains that a complex idea may occur without any similar complex impression. But as regards simple ideas, he states that "every simple idea has a simple impression, which resembles it, and every simple impression a correspondent idea." He goes on to enunciate the general principle "that all our simple ideas in their first appearance are derived from simple impressions, which are correspondent to them, and which they exactly represent" ("Treatise of Human Nature,"

Part I, Section I).

It is this fact, that images resemble antecedent sensations, which enables us to call them images "of" this or that. For the understanding of memory, and of knowledge generally, the recognizable resemblance of images and sensations is of fundamental importance.

There are difficulties in establishing Hume's principles, and doubts as to whether it is exactly true. Indeed, he himself signalized an exception immediately after stating his maxim. Nevertheless, it is impossible to doubt that in the main simple images are copies of similar simple sensations which have occurred earlier, and that the same is true of complex images in all cases of memory as opposed to mere imagination. Our power of acting with reference to what is sensibly absent is largely due to this characteristic of images, although, as education advances, images tend to be more and more replaced by words. We shall have much to say in the next two lectures on the subject of images as copies of sensations. What has been said now is merely by way of reminder that this is their most notable characteristic.

I am by no means confident that the distinction between images and sensations is ultimately valid, and I should be glad to be convinced that images can be reduced to sensations of a peculiar kind. I think it is clear, however, that, at any rate in the case of auditory and visual images, they do differ from ordinary auditory and visual sensations, and therefore form a recognizable cla.s.s of occurrences, even if it should prove that they can be regarded as a sub-cla.s.s of sensations. This is all that is necessary to validate the use of images to be made in the sequel.

LECTURE IX. MEMORY.

Memory, which we are to consider to-day, introduces us to knowledge in one of its forms. The a.n.a.lysis of knowledge will occupy us until the end of the thirteenth lecture, and is the most difficult part of our whole enterprise.

I do not myself believe that the a.n.a.lysis of knowledge can be effected entirely by means of purely external observation, such as behaviourists employ. I shall discuss this question in later lectures. In the present lecture I shall attempt the a.n.a.lysis of memory-knowledge, both as an introduction to the problem of knowledge in general, and because memory, in some form, is presupposed in almost all other knowledge. Sensation, we decided, is not a form of knowledge. It might, however, have been expected that we should begin our discussion of knowledge with PERCEPTION, i.e. with that integral experience of things in the environment, out of which sensation is extracted by psychological a.n.a.lysis. What is called perception differs from sensation by the fact that the sensational ingredients bring up habitual a.s.sociates--images and expectations of their usual correlates--all of which are subjectively indistinguishable from the sensation. The FACT of past experience is essential in producing this filling-out of sensation, but not the RECOLLECTION of past experience. The non-sensational elements in perception can be wholly explained as the result of habit, produced by frequent correlations. Perception, according to our definition in Lecture VII, is no more a form of knowledge than sensation is, except in so far as it involves expectations. The purely psychological problems which it raises are not very difficult, though they have sometimes been rendered artificially obscure by unwillingness to admit the fallibility of the non-sensational elements of perception. On the other hand, memory raises many difficult and very important problems, which it is necessary to consider at the first possible moment.

One reason for treating memory at this early stage is that it seems to be involved in the fact that images are recognized as "copies" of past sensible experience. In the preceding lecture I alluded to Hume's principle "that all our simple ideas in their first appearance are derived from simple impressions, which are correspondent to them, and which they exactly represent." Whether or not this principle is liable to exceptions, everyone would agree that is has a broad measure of truth, though the word "exactly" might seem an overstatement, and it might seem more correct to say that ideas APPROXIMATELY represent impressions. Such modifications of Hume's principle, however, do not affect the problem which I wish to present for your consideration, namely: Why do we believe that images are, sometimes or always, approximately or exactly, copies of sensations? What sort of evidence is there? And what sort of evidence is logically possible? The difficulty of this question arises through the fact that the sensation which an image is supposed to copy is in the past when the image exists, and can therefore only be known by memory, while, on the other hand, memory of past sensations seems only possible by means of present images. How, then, are we to find any way of comparing the present image and the past sensation? The problem is just as acute if we say that images differ from their prototypes as if we say that they resemble them; it is the very possibility of comparison that is hard to understand.* We think we can know that they are alike or different, but we cannot bring them together in one experience and compare them. To deal with this problem, we must have a theory of memory. In this way the whole status of images as "copies" is bound up with the a.n.a.lysis of memory.

* How, for example, can we obtain such knowledge as the following: "If we look at, say, a red nose and perceive it, and after a little while ekph.o.r.e, its memory-image, we note immediately how unlike, in its likeness, this memory-image is to the original perception" (A. Wohlgemuth, "On the Feelings and their Neural Correlate with an Examination of the Nature of Pain," "Journal of Psychology," vol. viii, part iv, June, 1917).

In investigating memory-beliefs, there are certain points which must be borne in mind. In the first place, ever