Notwithstanding his acuteness as a psychologist, Bergson misses the nature of the apperception both of sixty points on a line and of sixty oscillations of a pendulum. And the impossibility of counting psychic facts depends on this misapprehension. He misses the fact that an apperception of sixty points on a line includes, as an essential feature, the _serial_ order, the here-and-there determination (a distinctive qualitative determination) of this spatial fact. And he misses the fact that an apperception of a non-spatial rhythm includes, as an essential feature, the successive _order_, the earlier-and-later determination, of this psychic fact. Now, seriality is not succession, if you like, except in so far as each is order. But this is no more than to say that the two orders, time and space, are distinguishable--are two, in fact. It is not the slightest obstruction to conceiving each as order, and as numerically determined. For there is no evidence except Bergson’s fundamental fallacy of “definition by initial predication,” to show why homogeneity and order, as such, are exclusively spatial. The discreteness of parts of space is thinkable only by the intervening spaces: space is as continuous (as “compenetrative”) as time.[116] On the other hand, the compenetration of time is not only nothing _against_ its divisibility, but divisibility and compenetration (in the only rigorous meaning the word will bear, that is, continuity) are indispensable to each other, inverse aspects of each other. You can divide _only_ what is connected, as you can connect only what is distinct. Time, then, is as discrete as space. For every instance of temporal “compenetration,” and “solidarity,” its perfect spatial analogue is plain to the inspection of anyone who will only look that way, to anyone whose attention is not hypnotized by an ulterior purpose to its exclusion.[117] Thus the melodic phrase is present in each of its parts as much as, and no more than, the mosaic figure is present in each of its parts. The “felt four” of the clock strokes is felt as four not otherwise, I think, than a four which might figure in the pattern of a frieze. The same limitations, moreover, apply to such felt multiplicity, whether of rhythm or of pattern. It must be a relatively simple complex, to be apperceived, in either case. You could not feel fifty, and the difficulty is the same difficulty in time as in space. One measures a minute or a century just as one measures an inch or the distance from the earth to the sun: the indispensable condition is the continuity and homogeneity which belong to both quantities.