Note 76 — Chapter VII · THE NATURE OF EMOTION.

Gurney, in a criticism of James’s hypothesis (Mind, ix. 425), says: “There is plenty of music from which I have received as much emotion in silent representation” [i.e., by purely internal audition, or merely reading the notes] “as when presented by the finest orchestra; but it is with the latter condition that I almost exclusively associate the cutaneous tingling and hair-stirring.” Professor James has, in my opinion, answered this objection (Psychology, ii. pp. 469, 470), which I should be inclined to refer to the problem of the “revivability of impressions,” to be examined later on.