211.1 three-fold divisions.] See "One, Two, Three," W5:294 (1886).

211.2 the conceptions of 1st, 2nd, 3rd.] See sel. 23 and related annotations for a corresponding treatment of the categories and their degeneracies.

211.22 Thirdness has . . . of degeneracy.] The surviving typed sheet (R 1600:7) containing a shorter variant of this document includes the following:

Thirdness may also be of a degenerate type, and that in two different degrees, and in more than one mode in each degree. The first degree of degeneracy is where though there is no real thirdness, there is real secondness; the second degree is where there is not even any real secondness.

212.19 a mental association.] In R 1600:7 this paragraph continues thus:

Such is every conventional sign, and every mode of expression so far as it depends on the force of association. If the thirdness is degenerated [ sic ] in the first degree, the sign has a real dynamical relation with the object on the one hand and a real dynamical connection with the mind on the other hand, and thus enables the object to act on the mind. As I am walking quietly on a dark night, a man suddenly jumps out of a corner with an exclamation of "Bo!" and thus brings his presence home to me in a particularly forcible way; so agitating music at a thrilling crisis of a melodrama acts upon the audience in a sort of psycho-physical way quite independent of any association. If the thirdness is degenerate in the second degree, the sign has no real dynamical connection with its object, but only has a resemblance, or relation of reason, with it. In this case, the mind forgets the distinction between the sign and the thing represented, and loses sight of reality altogether. Theatrical representation is in the main of this kind.

212.36-37 If the thirdness is degenerate in the second degree,] The original typescript mistakenly has "third" for "second." Compare the distinction between the first and the second order of degeneracy of thirdness with the discussion of thirdness degenerate in the second degree in sel. 23, 179.6-19, and "Types of Third Degenerate in the Second Degree" in W5:252-53 (1885).

213.7-12 the second mode of representation . . . first mode of representation unartistic.] Peirce's use of ordinals may be somewhat confusing: as used here in the "first," "second," and "third" modes of representation, they are not categorial. The first mode is related to genuine thirdness, the second to thirdness degenerate in the first degree (with admixture of secondness), and the third to thirdness degenerate in the second degree (with admixture of firstness).

213.12-13 Mr. MacKaye . . . language.] James Morrison Steele MacKaye (1842-1894), New York playwright, actor, inventor in theatrical scene design, boyhood friend of William James, and (with his wife Mary) a friend of the Peirces. Juliette Peirce started taking acting lessons with him in late 1886. Apparently "Trichotomic" was inspired by MacKaye's theory of dramatic expression. MacKaye was the only American pupil of the French acting, singing, and aesthetics teacher, François Delsarte, and was the principal person responsible for bringing the Delsarte System of Aesthetics (Delsartism) to the US. MacKaye opened the Madison Square Theatre in 1879, where his most successful melodrama, "Hazel Kirke," was presented in 1880. He then took over the Lyceum where he established the first school of acting in New York (later known as the American Academy of Dramatic Art). This is probably where Juliette took her lessons.

213.36 CONSCIOUSNESS . . .] In R 1600:6 this paragraph runs as follows:

Consciousness has three elements, the Singular, Dual, and Plural consciousness. Singular consciousness is that to which whatever is present for a minute is so only by being present for every second of that minute, and whatever is present for a second is so only by being present for every fraction of that second. This is the consciousness of the present, or immediate consciousness, or the element of pure feeling in the flow of life. It is present only while it is present, and when it is past it is utterly gone as such. Dual consciousness, or consciousness of Other, is the vivid lively sense of action and reaction, as when something hits me or I get hit; this embraces not only Will, but also an important element of Sense. Plural or true synthetic consciousness is the consciousness of a passage from one state to another; it is experience, or the sense of learning. This is the characteristic element in cognition.

214.4 or in Kant's phrase its matter.] Critique of Pure Reason, A20/B34.

215.1 Dual consciousness . . .] In R 1600:6 this paragraph runs thus:

Dual consciousness is either undegenerate or degenerate. Undegenerate dual consciousness is the sense of a real other; degenerate dual consciousness is the consciousness of self regarded as an other or object; thus we have External volition and sense and Internal volition and sense, or self-control and self-consciousness. Synthetic consciousness is either undegenerate, or degenerate in the 1st or the 2nd degree.