also in the case of shapes of which familiarity (as
explained on p. 76) has made the actual perception very summary;
for instance when, walking quickly among trees, we notice only
what I may call their dominant empathic gesture of _thrusting_ or
_drooping_ their branches, because habit allows us to pick out the
most characteristic outlines. But, except in these and similar cases,
the _movement_ with which Empathy invests shapes is a great
deal more complex, indeed we should speak more correctly of
movements than of movement of lines. Thus the mountain rises, and
does nothing but rise so long as we are taking stock only of the
relation of its top with the plain, referring its lines solely to real or
imaginary horizontals. But if, instead of our glance making a single
swish upwards, we look at the two sides of the mountain
successively and compare each with the other as well as with the
plain, our impression (and our verbal description) will be that _one
slope goes up while the other goes down._ When the empathic
scheme of the mountain thus ceases to be mere _rising_ and
becomes _rising plus descending,_ the two _movements_ with
which we have thus invested that shape will be felt as being
interdependent; one side _goes down_ because the other has _gone
up,_ or the movement rises _in order to_ descend. And if we look at
a mountain chain we get a still more complex and co-ordinated
empathic scheme, the peaks and valleys (as in my description of
what the Man saw from his Hillside) appearing to us as a sequence
of risings and sinkings with correlated intensities; a slope _springing
up_ in proportion as the previously seen one _rushed down_; the
movements of the eye, slight and sketchy in themselves, awakening
the composite dynamic memory of all our experience of the impetus
gained by switch-back descent. Moreover this sequence, being a
sequence, will awaken expectation of repetition, hence sense of
rythm; the long chain of peaks will seem to perform a dance, they
will furl and unfurl like waves. Thus as soon as we get a
combination of empathic _forces_ (for that is how they affect us)
these will henceforth be in definite relation to one another. But the
relation need not be that of mere give and take and rythmical
cooperation. Lines meeting one another may conflict, check, deflect
one another; or again resist each other's effort as the steady
determination of a circumference resists, opposes a "Quos ego!" to
the rushing imp