this even with the separate
curves constituting the patterns each of which is measured by a
sweep of the glance, even as I should measure them successively by
applying a tape and then remembering and comparing their various
lengths, although the ocular process may stand to the tape-process as
a minute of our time to several hundreds of years. This comes to
saying that the perception of visible shapes, even like that of audible
ones, takes place _in time,_ and requires therefore the
co-operation of _memory._ Now memory, paradoxical as it may sound,
practically implies _expectation:_ the use of the past, to so speak, is
to become that visionary thing we call the _future._ Hence, while we
are measuring the extension and direction of one line, we are not
only _remembering_ the extent and direction of another previously
measured line, but we are also _expecting_ a similar, or somewhat
similar, act of measurement of the _next_ line; even as in "following
a melody" we not only remember the preceding tone, but _expect_
the succeeding ones. Such interplay of present, past and future is
requisite for every kind of _meaning,_ for every _unit of thought_;
and among others, of the meaning, the _thought,_ which we
contemplate under the name of _shape._ It is on account of this
interplay of present, past and future, that Wundt counts feelings _of
tension_ and _relaxation_ among the _elements_ of form-perception.
And the mention of such _feelings,_ i.e. rudiments of _emotion,_
brings us to recognise that the remembering and foreseeing of our
acts of measurement and orientation constitutes a microscopic
psychological drama--shall we call it the drama of the SOUL
MOLECULES?--whose first familiar examples are those two
peculiarities of visible and audible shape called _Symmetry_ and
_Rythm._

Both of these mean that a measurement has been made, and that the
degree of its _span_ is kept in memory to the extent of our expecting
that the next act of measurement will be similar. _Symmetry_
exists quite as much in _Time_ (hence in shapes made up of
sound-relations) as in _Space;_ and _Rythm,_ which is commonly thought
of as an especially musical relation, exists as much in _Space_ as in
_Time_; because the perception of shape requires Time and
movement equally whether the relations are between objectively
co-existent and durable marks on stone or paper, or between objectively
successive and fleeting sound-waves. Also because, while the sing