fancied the coldness of the marble and the quality
of the touch. The true distance of objects from
us, their shape, and the nature of lines are also
given in terms of movement. The meaning of
facial expression is learned from the movement of
one's own face, or a tendency toward such move-
ment as suggested by the lines of the face ob-
served. ¹

When we listen to a song, we have a tendency to
move in time to the rhythm, and to repeat the
notes with accompanying tension in the throat.
In silent reading, the tendency to movement often
goes over into actual movement of the lips or
muscles of the larynx. The act of unity itself,
fundamental to experience, is conceived in motor
terms as a bringing of things together. It will
rightly be objected that in many instances of
perception there is no consciousness of such move-
ment, not even of the faintest tendency toward
such imitation of facial expression as that just
described. The answer is that these motor sets
may be, and in fact most frequently are, subcon-
scious. The object observed, whether through the
eye, ear, or another of the senses, arouses the mem-
ory of former movements, which are so revived
that they form a nervous pattern; that is, the
nerve paths going to the necessary muscle groups
are opened, and those to opposed muscle groups
are closed, and this pattern, which is ready on

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