What do these processes, which we so often meet, although not always in such regular change as in a rhythmical row of beats, consist of? It is obvious at a glance that expectation and realisation are both elements that are not bound to the objective impression itself. These processes can vary subjectively just as much as the agreeable feeling that arises from a rhythmical row of beats or from a melody. It is now pretty generally agreed that these peculiar elements of consciousness arise within us and not without us. There is, however, still one possibility that remains. It might be that sensations are the bearers of these subjective phenomena of expectation, perhaps sensations that are perceived while listening to a row of beats, arising partly in the interior of the ear because of the straining of the membrane of the tympanum, and partly in the mimic muscles that surround the ear. These sensations correspond to the similar sensations in the eye in expectation of visual impressions. Yet this hypothesis, on closer examination, proves untenable for various reasons. First of all these sensations continue, during the whole period of expectation, in a relatively constant intensity, as far as can be observed. There is no trace of that regular increase and that sudden transition to the opposite process of realisation, such as we observed in our rhythm experiments. Secondly, we can produce exactly similar sensations in our ear, or round about our ear, or in the region surrounding the eye, if we voluntarily contract the muscles in question, without our being in a state of expectation, or if we send a slight electric current through such muscles. In both cases the characteristic element of expectation is wanting. Lastly, it is obviously impossible to account for these phenomena by means of uniform muscle-sensations if we wish to explain that superposition of states of expectation of different degrees and extents, which we observed in more complicated rhythmical rows of beats, or which happens in complicated psychical states arising through intellectual processes. How could the sensations of the membrane of the tympanum, or of the fixation muscles of the eye, account for that intense feeling of expectation which an exciting novel or a good play may cause? Add to this the fact that these states are quite as subjective and dependent on the individual disposition of consciousness as a feeling of pleasure that is awakened by an agreeable rhythm, and it is at once obvious that these states, which we shall call for shortness the contrasts of strain and relaxation, have the very same right to be called feelings. For feelings, wherever they arise, accompany, as subjective reactions of consciousness, sensations and ideas, but are never identical with them.