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diminish the intensity of impressions. But is this all that attention does? No: there are many cases in which attention directly affects the quality, at least of our complex impressions. This direct modification is commonly attended by some alteration of our emotional state. It is a familiar fact, that in listening to a series of regular and even beats, such as the strokes of an engine, or of a pendulum, or the ticking of a watch, we have a tendency to modify the impressions by introducing into their series the more elaborate regularity of rhythm. In paying attention to them, we increase, at our pleasure, the intensity of every third or fourth beat as heard, and so make a rhythm, or series of measures, out of the actually monotonous impressions. Now attention, which here first acts by modifying the intensity of impressions, soon produces the effect of qualitatively modifying our total impression of the whole series. If I have taken the fancy to listen to the even strokes in quadruple time, intensifying by my own act every fourth stroke, the character of the series is changed for me. The impressions are less monotonous, and they arouse new associations. They seem to be caused by some force that rhythmically increases and decreases. Perhaps a melody, or some phrase of a few words, arises in my mind, and persists in associating itself with the strokes. Probably some vague feeling, as of rhythmic motion through the air, or of pleasure or of displeasure in the presence of some rhythmically moving living being, is awakened. Qualitatively, my consciousness is thus altered through my attention. I seem to be experi-