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to unlike by agreement and by contrast. The latter is often the more effective of the two methods of deepening an impression. Harmony, as a condition of feeling, includes the presence of what is concordant, and excludes objects discordant, lying in different parts of the intellectual and emotional field. It is opposed to distraction, to diverse emotions, and thus divided effects. Living facts are always struggling for equilibrium among themselves for an organic dependence about a single centre. Hence a prevailing tendency and a strong feeling strive to subordinate all tendencies and feelings to themselves, and to put the character in harmony with its dominant force. To this law also are due the jar of interruption, and the unusual wear of distracting duties.

A third law is, New things make a strong emotional impression, old things a weaker one. Novelty not only awakens the feeling of wonder, it enhances all the impressions made by intrinsic qualities. The new is impressed upon us by our very constitution with a peculiar force, a distinct wave of sensibility, and is thus enabled to initiate a rapid, tidal flow of feeling, not otherwise possible. In early and in uncultivated life, that which is novel is sought for its immediate emotional character. The grotesque, the odd, the extravagant, the new, the news, give fresh excitement, and the intrinsic value or worthlessness of the matter offered to the mind is overlooked. When the powers are more mature or more cultivated, wonder becomes a secondary, a briefly initiatory impulse, making way for the deeper satisfaction of recognized truth; and when it fails to yield this pleasure, it drops away almost at once.

This law is connected with another law of a reverse nature. Customary things are more pleasing to us, uncustomary things less pleasing. This is the result of passive habit of the silent adaptation of body and mind to their