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Of course, when we are sitting in the picture palace we know that we see a flat screen and that the object which we see has only two dimensions, right-left, and up-down, but not the third dimension of depth, of distance toward us or away from us. It is flat like a picture and never plastic like a work of sculpture or architecture or like a stage. Yet this is knowledge and not immediate impression.
This appears to some extent in the right-left symbolism; then in the experience at the mill, which we have not yet studied, where the wanderer has to pass over a very narrow plank, the ethical symbolism of which will be discussed later; and in the striking feeling of responsibility which the wanderer has for the actions of the bridal pair in the crystal prison, which gives us the impression that he had a bad conscience.
To the hissing sound there succeeded a wheezing one, until, putting forth its best efforts, the thing struck two with as much clatter as though some one had been hitting an iron pot with a cudgel. That done, the pendulum returned to its right-left, right-left oscillation.
Who would not in this situation think of Hercules at the cross roads? The conception of right and left as right and wrong, good and bad, is familiar in mythical and religious symbolism. In dreams the right-left symbolism is typical.
In association by contrast we may distinguish two layers, the one, superficial, consists of contiguity: all of us have in memory associated couples, such as large-small, rich-poor, high-low, right-left, etc., which result from repetition and habit; the other, deep, is resemblance; contrast exists only where a common measure between two terms is possible.
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