 First, I encounter the other’s sadness, apprehended directly in her posture, her facial expression or her tears, which are given to me perceptually; building on this apprehension, I eventually explicate the experience, the mood, etc., that has led the other to experiencing the sadness, and I myself experientially fill out the necessary details; finally, the explicated experience is given to me as the experience of another subject, and thus “faces me” as a proper intentional object (1917: 19[10], 51[34]).