The same reasoning affords us an answer to the second question. If the name of _perception_ renders not this separation from a mind absurd and contradictory, the name of _object_, standing for the same thing, can never render their conjunction impossible. External objects are seen and felt, and become present to the mind; that is, they acquire such a relation to a connected heap of perceptions as to influence them very considerably in augmenting their number by present reflections and passions, and in storing the memory with ideas. The same continued and uninterrupted being may, therefore, be sometimes present to the mind and sometimes absent from it without any real or essential change in the being itself. An interrupted appearance to the senses implies not necessarily an interruption in the existence. The supposition of the continued existence of sensible objects or perceptions involves no contradiction. We may easily indulge our inclination to that supposition. When the exact resemblance of our perceptions makes us ascribe to them an identity, we may remove the seeming interruption by feigning a continued being, which may fill those intervals, and preserve a perfect and entire identity to our perceptions. But as we here not only _feign_ but _believe_ this continued existence, the question is, _from whence arises such a belief_? and this question leads us to the _fourth_ member of this system. It has been proved already, that belief, in general, consists in nothing but the vivacity of an idea; and that an idea may acquire this vivacity by its relation to some present impression. Impressions are naturally the most vivid perceptions of the mind; and this quality is in part conveyed by the relation to every connected idea. The relation causes a smooth passage from the impression to the idea, and even gives a propensity to that passage. The mind falls so easily from the one perception to the other, that it scarce perceives the change, but retains in the second a considerable share of the vivacity of the first. It is excited by the lively impression, and this vivacity is conveyed to the related idea, without any great diminution in the passage, by reason of the smooth transition and the propensity of the imagination.