If, like the robber in the Arabian Nights, we make a mark with chalk on a house to enable us to know it again, the mark has a purpose, but it has not properly any meaning. The chalk does not declare any thing about the house; it does not mean, This is such a person’s house, or This is a house which contains booty. The object of making the mark is merely distinction. I say to myself, All these houses are so nearly alike that if I lose sight of them I shall not again be able to distinguish that which I am now looking at, from any of the others; I must therefore contrive to make the appearance of this one house unlike that of the others, that I may hereafter know when I see the mark—not indeed any attribute of the house—but simply that it is the same house which I am now looking at. Morgiana chalked all the other houses in a similar manner, and defeated the scheme: how? simply by obliterating the difference of appearance between that house and the others. The chalk was still there, but it no longer served the purpose of a distinctive mark. When we impose a proper name, we perform an operation in some degree analogous to what the robber intended in chalking the house. We put a mark, not indeed upon the object itself, but, so to speak, upon the idea of the object. A proper name is but an unmeaning mark which we connect in our minds with the idea of the object, in order that whenever the mark meets our eyes or occurs to our thoughts, we may think of that individual object. Not being attached to the thing itself, it does not, like the chalk, enable us to distinguish the object when we see it; but it enables us to distinguish it when it is spoken of, either in the records of our own experience, or in the discourse of others; to know that what we find asserted in any proposition of which it is the subject, is asserted of the individual thing with which we were previously acquainted.