A very striking contrast to the humiliating weakness shown in these two forms is the splendid strength and decision of the third.  Here we have no amorphous mass with quivering lines and explosive fragments, but a powerful, clear-cut and definite thought, obviously full of force and resolution.  For this is the thought of the officer in charge—­the man responsible for the lives and the safety of the passengers, and he rises to the emergency in a most satisfactory manner.  It does not even occur to him to feel the least shadow of fear; he has no time for that.  Though the scarlet of the sharp point of his weapon-like thought-form shows anger that the accident should have happened, the bold curve of orange immediately above it betokens perfect self-confidence and certainty of his power to deal with the difficulty.  The brilliant yellow implies that his intellect is already at work upon the problem, while the green which runs side by side with it denotes the sympathy which he feels for those whom he intends to save.  A very striking and instructive group of thought-forms.

On the First Night.—­Fig. 31 is also an interesting specimen—­perhaps unique—­for it represents the thought-form of an actor while waiting to go upon the stage for a “first-night” performance.  The broad band of orange in the centre is very clearly defined, and is the expression of a well-founded self-confidence—­the realisation of many previous successes, and the reasonable expectation that on this occasion another will be added to the list.  Yet in spite of this there is a good deal of unavoidable uncertainty as to how this new play may strike the fickle public, and on the whole the doubt and fear overbalance the certainty and pride, for there is more of the pale grey than of the orange, and the whole thought-form vibrates like a flag flapping in a gale of wind.  It will be noted that while the outline of the orange is exceedingly clear and definite, that of the grey is much vaguer.

[Illustration:  FIG. 31.  ON THE FIRST NIGHT]

The Gamblers.—­The forms shown in Fig. 32 were observed simultaneously at the great gambling-house at Monte Carlo.  Both represent some of the worst of human passions, and there is little to choose between them; although they represent the feelings of the successful and the unsuccessful gambler respectively.  The lower form has a strong resemblance to a lurid and gleaming eye, though this must be simply a coincidence, for when we analyse it we find that its constituent parts and colours can be accounted for without difficulty.  The background of the whole thought is an irregular cloud of deep depression, heavily marked by the dull brown-grey of selfishness and the livid hue of fear.  In the centre we find a clearly-marked scarlet ring showing deep anger and resentment at the hostility of fate, and within that is a sharply outlined circle of black expressing the hatred of the ruined man for those who have won his money.  The man who can send forth