Consciousness is in constant change. I do not mean by this to say that no one state of mind has any duration—even if true, that would be hard to establish. What I wish to lay stress on is this, that no state once gone can recur and be identical with what it was before. Now we are seeing, now hearing; now reasoning, now willing; now recollecting, now expecting; now loving, now hating; and in a hundred other ways we know our minds to be alternately engaged. But all these are complex states, it may be said, produced by combination of simpler ones—do not the simpler ones follow a different law? Are not the sensations which we get from the same object, for example, always the same? Does not the same piano-key, struck with the same force, make us hear in the same way? Does not the same grass give us the same feeling of green, the same sky the same feeling of blue, and do we not get the same olfactory sensation no matter how many times we put our nose to the same flask of cologne? It seems a piece of metaphysical sophistry to suggest that we do not; and yet a close attention to the matter shows that there is no proof that an incoming current ever gives us just the same bodily sensation twice.

What is got twice is the same object. We hear the same note over and over again; we see the same quality of green, or smell the same objective perfume, or experience the same species of pain. The realities, concrete and abstract, physical and ideal, whose permanent existence we believe in, seem to be constantly coming up again before our thought, and lead us, in our carelessness, to suppose that our “ideas” of them are the same ideas. Later, we shall see how inveterate is our habit of simply using our sensible impressions as stepping-stones to pass over to the recognition of the realities whose presence they reveal. The grass out of the window now looks to me of the same green in the sun as in the shade, and yet a painter would have to paint one part of it dark brown, another part bright yellow, to give its real sensational effect. We take no heed, as a rule, of the different way in which the same things look and sound and smell at different distances and under different circumstances. The sameness of the things is what we are concerned to ascertain; and any sensations that assure us of that will probably be considered in a rough way to be the same with each other. This is what makes off-hand testimony about the subjective identity of different sensations well-nigh worthless as a proof of the fact. The entire history of what is called Sensation is a commentary on our inability to tell whether two sensible qualities received apart are exactly alike. What appeals to our attention far more than the absolute quality of an impression is its ratio to whatever other impressions we may have at the same time. When everything is dark a somewhat less dark sensation makes us see an object white. Helmholtz calculates that the white marble painted in a picture representing an architectural view by moonlight is, when seen by daylight, from ten to twenty thousand times brighter than the real moonlit marble would be.

Such a difference as this could never have been sensibly learned; it had to be inferred from a series of indirect considerations. These make us believe that our sensibility is altering all the time, so that the same object cannot easily give us the same sensation over again. We feel things differently accordingly as we are sleepy or awake, hungry or full, fresh or tired; differently at night and in the morning, differently in summer and in winter; and above all, differently in childhood, adulthood, and old age. And yet we never doubt that our feelings reveal the same world, with the same sensible qualities and the same sensible things occupying it. The difference of the sensibility is shown best by the difference of our emotion about the things from one age to another, or when we are in different organic moods. What was bright and exciting becomes weary, flat, and unprofitable. The bird’s song is tedious, the breeze is mournful, the sky is sad.