192 THE FACTORS OF THE MIND

tors, dividing his sample population of twenty into two
groups: the first factor characterizing those persons who
are " the more artistic and tasteful in general " ; the second,
the remaining persons who are " frankly inartistic." But
since ' factor II' is admittedly the c obverse ' of ' factor I,'
it is plain that the division into two c types ' is really effected
by a single bipolar factor, namely, what in our experiment
had been termed the * general factor ' for £ artistic taste.'l
When we turn from aesthetic to temperamental types, it
would seem that Stephenson's new factors, as obtained by
Q-technique, are very similar to those he had previously
obtained by It-technique. In the same issue of Character
and Personality there appears a short series of articles by his
collaborators and himself on ' The Factor Theory in the
Field of Personality.5 The " questions to be studied " are
much the same as those dealt with by Q-technique : " (i)
what are the unitary or group-factors to be assessed in
considering personality ? (2) how are they to be measured ?
and (3) how are they related to the total personality f "
The results at first sight appear almost identical with those
I myself had obtained by analysing correlations between
emotional tendencies. " One unitary (i.e. general) factor
was . . . verified in the present research, . . . and a second
factor revealed/7 The former appeared closely related to
so-called tests of perseveration (p), but is ultimately identi-
fied with Webb's w (persistence or stability) rather than
perseveration; the latter (/) is termed c fluency/ and
appears as a bipolar factor. " Prof. Burt," it is added,
" points out two groups of emotional tendencies, which he
terms sthenic (assertive or unrepressed) and asthenic (or
inhibited), and these terms would appear to fit the fluency
factor admirably." These factors are also said to account
for the current classification of temperamental types (e.g.
' high / * is correlated with the c explosive ' or unrepressed

1 The figures he prints are illustrative only ; and no evidence is offered for
or against the more specific * types of artistic appreciation ' which previous
work had suggested. Stephenson's next experiment, however (with picture
postcards [97]), seems to indicate a bipolar factor yielding more specialized
types analogous to our own, viz. the * classical' (with preferences for what
is formal) and * romantic ' (with preferences for the sensational and ornate).