I shall try to show that identification of the "data of sense" as the sort of term which will generate the problem involves an affirmative answer to the question--that it must have been answered in the affirmative before the question can be asked. And this, I take it, is to say that it is not a question at all. A point of departure may be found in the following passage: "I think it must be admitted as probable that the immediate objects of sense depend for their existence upon physiological conditions in ourselves, and that, for example, the colored surfaces which we see cease to exist when we shut our eyes" (p. 64). I have not quoted the passage for the sake of gaining an easy victory by pointing out that this statement involves the existence of physiological conditions. For Mr. Russell himself affirms that fact. As he points out, such arguments assume precisely the "common sense world of stable objects" professedly put in doubt (p. 85). My purpose is to ask what justification there is for calling immediate data "objects of sense." Statements of this type always call color visual, sound auditory, and so on. If it were merely a matter of making certain admissions for the sake of being able to play a certain game, there would be no objection. But if we are concerned with a matter of serious analysis, one is bound to ask, Whence come these adjectives? That color is visual in the sense of being an object of vision is certainly admitted in the common-sense world, but this is the world we have left. That color is visual is a proposition about color and it is a proposition which color itself does not utter. Visible or visual color is already a "synthetic" proposition, not a term nor an analysis of a single term. That color is seen, or is visible, I do not call in question; but I insist that fact already assumes an answer to the question which Mr. Russell has put. It presupposes existence beyond the color itself. To call the color a "sensory" object involves another assumption of the same kind but even more complex--involving, that is, even more existence beyond the color.