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By Serge?? E??zenshte??n; Alan Y Upchurch

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26 In this story we find the most interesting 'paraphrase' of that which Shibarsha did. Especially interesting because here we have the next stage after Shibarsha and Rhampsinitus. The stage at which the connection with the initial situational determinant is less obvious. If, from the formula of the de-individualization and dissolution (diffusion) of the individual 'back to' the undivided 7I The Psychology of Composition On the Detective Story 'collective', full apparentness is distinctly preserved in the examples of Shibarsha and Rhampsinitus (all real characters are made up and shaved identically), then here we have the next step: only the 'principle of unification' remains, as a means of 'slipping out' of the world of responsibility into an earlier world, unconstrained by 'codes' of spontaneity.

Shibarsha outwits him again. He smears the soles of his boots with pitch: The gold sticks to them. The Psychology of Composition On the Detective Story But Shibarsha has too much to drink and falls asleep. The soldiers notice the gold on Shibarsha's soles. They shave off half of the sleeping man's hair and beard so as to be able to identify him in the morning. But Shibarsha wakes up earlier than the rest and shaves them all in the same way. 13 Here the king's daughter smears black dye on the young man, one of a number sleeping in the same room with her, who dared try to make love to her.

Ther in terms of their basic pattern. racted colour generalized to the degree of thematic sigmficance-and a new embodiment in a series of new colour objects or vehicles. inal situationan. omplex that arises on contact ~ith any concrete object that comcidentally possesses the same trait of linearcolour correlations. In comparing the two, the communality as well as the qualitative difference of both cases, bec~me completely apparent. The most interesting thing, however, is the fact that the same three-phase process with the very same features occurs in yet another portion of mental activity.

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