PRESENTATION AND REPRESENTATION. 67 and that in the second moment when we close our eyes a _ a we catch in p l 2 - 3 4 , not the development of P 1 2 - 3C V, but a _ rather the development of p l ~ 2 - 3 4 5 , which was present with pi- 34 5 m foe first moment, but overwhelmed by the effects of the superior vividness of the latter. If this is true, then, if we assume consciousness to be devoid of any emphases previous to moment 1, the true symbols repre- senting the presentations of the five successive moments will be as follows : (1) [pl-2_34 5 P 1 2 _ 34 5 Eyes open. (2) p l 2 - 3 4 . Eyes closed. (3)y- - 3 . Eyes closed. f r/s P 1 " 2 _ 34 5 | (*) j ft .P l ~ a. 2 _ 34 5 vEyes open. (5) y _ ft 1 2 _ 34 5j 2_34 Eyes open. a. In other words, it seems highly probable that with each primary presentation, occasioned by direct stimulation of our bodily organs from the environment, there goes also a secondary presentation or image, which latter, however, is overwhelmed by the effects of the superior vividness of the primary presentation. 1 Sec. 9. The conclusion reached in the previous section is dered still more probable by observation of what we have 1 Cf. my Pain, Pleasure and ^Esthetics, p. 29. Cf. also Shadworth H. Hodgson, Metaphysic of Experience, vol. iii., p. 28, where he says : "A presented sensation begins to recede into the past of memory the very moment of its rising into consciousness, or appearing above the threshold. I do not say merely from the moment of its attaining its maximum of vividness as a presentation, but from that of its rising into consciousness at all, prior, it may be, to its greatest vividness being reached. This is saying, in other words, that representation is included as an inseparable element, or ingredient, in all presentations."
