261. In this passage the equivocation between ‘impression’ as feeling, and ‘impression’ as conception of the manner in which feelings occur, is less successfully disguised than is the like equivocation in the account of extension--not indeed from any failure in Hume’s power of statement, but from the nature of the case. In truth the mere reproduction of impressions can as little account for the one conception as for the other. Just as, in order to account for the ‘impression’ from which the abstract idea of space may be derived, we have to suppose first that the feeling of colour, through being presented by the self-conscious subject to itself, becomes a coloured thing, and next, that this thing is viewed as a whole of parts limiting each other; so, in order to account for the ‘impression’ from which the idea of time may be abstracted, we have to suppose the presentation of the succession of feelings to a consciousness not in succession, and the consequent view of such presented succession as a sum of numerable parts. It is a relation only possible for a thinking consciousness--a relation, in Hume’s language, not depending on the nature of the impressions related--that has in each case to be introduced into experience in order to be extracted from it again by ‘consideration:’ but there is this difference, that in one case the relation is not really between feelings at all, but between things or parts of a thing; while in the other it is just that relation between feelings, the introduction of which excludes the possibility that any feeling should be the consciousness of the relation. Thus to speak of a feeling of extension does not involve so direct a contradiction as to speak in the same way of time. The reader gives Hume the benefit of a way of thinking which Hume’s own theory excludes. Himself distinguishing between feeling and felt thing, and regarding extension as a relation between parts of a thing, he does not reflect that for Hume there is no such distinction; that a ‘feeling of extension’ means that feeling is extended, which again means that it has co-existent parts; and that what is thus said of feeling as _extended_ is incompatible with what is said of it as _feeling_. But when it comes to a ‘feeling of time’--a feeling of the successiveness of all feelings--the incompatibility between what is said of feeling as the object and what is implied of it as the subject is less easy to disguise. In like manner because we cannot really think of extension as being that which yet according to Hume it is, it does not strike us, when he speaks of it as coloured or of colour as extended, that he is making one feeling a quality of another. But it would be otherwise if any specific feeling were taken as a quality of what is ostensibly a relation between all feelings. There is thus no ‘sensible quality’ with which time can be said to be ‘endowed,’ as extension with ‘colour and solidity;’ none that can be made to do the same duty in