The gist of the matter is this: Every impression that comes in from without, be it a sentence which we hear, an object of vision, or an effluvium which assails our nose, no sooner enters our consciousness than it is drafted off in some determinate direction or other, making connection with the other materials already there, and finally producing what we call our reaction. The particular connections it strikes into are determined by our past experiences and the 'associations' of the present sort of impression with them. If, for instance, you hear me call out A, B, C, it is ten to one that you will react on the impression by inwardly or outwardly articulating D, E, F. The impression arouses its old associates: they go out to meet it; it is received by them, recognized by the mind as 'the beginning of the alphabet.' It is the fate of every impression thus to fall into a mind preoccupied with memories, ideas, and interests, and by these it is taken in. Educated as we already are, we never get an experience that remains for us completely nondescript: it always _reminds_ of something similar in quality, or of some context that might have surrounded it before, and which it now in some way suggests. This mental escort which the mind supplies is drawn, of course, from the mind's ready-made stock. We _conceive_ the impression in some definite way. We dispose of it according to our acquired possibilities, be they few or many, in the way of 'ideas.' This way of taking in the object is the process of apperception. The conceptions which meet and assimilate it are called by Herbart the 'apperceiving mass.' The apperceived impression is engulfed in this, and the result is a new field of consciousness, of which one part (and often a very small part) comes from the outer world, and another part (sometimes by far the largest) comes from the previous contents of the mind. I think that you see plainly enough now that the process of apperception is what I called it a moment ago, a resultant of the association of ideas. The product is a sort of fusion of the new with the old, in which it is often impossible to distinguish the share of the two factors. For example, when we listen to a person speaking or read a page of print, much of what we think we see or hear is supplied from our memory. We overlook misprints, imagining the right letters, though we see the wrong ones; and how little we actually hear, when we listen to speech, we realize when we go to a foreign theatre; for there what troubles us is not so much that we cannot understand what the actors say as that we cannot hear their words. The fact is that we hear quite as little under similar conditions at home, only our mind, being fuller of English verbal associations, supplies the requisite material for comprehension upon a much slighter auditory hint.