the purposive view which he overlooks entirely, and which by emphasis of
the causal, makes seemingly impossible. It is our purpose to try and make
this clear.

His analysis of Suggestion, though largely automatic, is well-nigh
exhaustive. Awareness, and Attention, are illustrated copiously; but not
clearly differentiated as they may be, and actually are in the experience
of individual life.

Fortunately, and wisely, he eliminates the "Subconscious" as having no
real meaning or scientific value as now used.

But it might be applied to the Mental awareness of physiological
automatism (bodily habits, often beginning in an act of will, or
attention; writing, speaking, music, dancing, and the like, and in less
degree, all life impulses and movements below the line of attention or
awareness).

If, by courtesy, these might be called sub-conscious, then there is
another group above the habitual plane of awareness, that, by equal
courtesy, might be called Supra-conscious. But, unless it is remembered,
as Muensterberg points out, that, regardless of phenomena, _Consciousness
is one_, these terms can only lead to confusion.

Certain cases designated "multiple" or "dissociated personalities" have
only served to increase this confusion still further; and more especially,
when the effort has been made to patch them together, or to control them
from without, by hypnosis. The well-known case of "Sally," reported by Dr.
Morton Prince, stands at last, as a "personally conducted" psychological
excursion, with Sally still preserving her incognito, and as much a
mystery as ever.

That automatism incident to all progressive organization and perfection of
function, and through which physical, physiological, mental, and psychic
synthesis becomes possible, has been allowed to usurp the place of the
"Builder of the Temple," the "Driver of the Chariot," and the "Player"
upon the "Harp of a thousand strings." Harmony and equilibrium are
incidents resulting from _causative_ processes! We need only to know the
construction, relations of parts, and principles involved in the
vibrations of the Harp, in order to understand and appreciate the music.
The player, the musician--drunk, or sober, tone-blind or genius--is a mere
incident, and however _purposive_ or competent, is admitted by courtesy
only, and warned not to interfere too much with the Harp!

To build, and keep in order, and tune the Harp, constitutes the science of
music. Some day, whe