Let us suppose that we are walking along a street in a busy town; that we are familiar with it, and all the things that are usually to be seen in it, so that our attention is not likely to be arrested by anything unusual; and let us further suppose that we are thinking about something interesting but not intellectually difficult. In these circumstances all the sights of the town, and all the turmoil of the traffic fail to impress us, though we are, in a vague sort of way, conscious of it all. Electric trams approach and recede with a grinding noise; a taxicab passes and we hear the throb of the engine and the hooting of the horn, and smell the burnt oil; a hansom comes down the street and we hear the rhythmic tread of the horse’s feet and the jingle of the bells; we pass a florist’s shop and become aware of the colour of the flowers and of their odour; in a café a band is playing “ragtime.” There are policemen, hawkers, idlers, ladies with gaily coloured dresses and hats, newsboys, a crowd of people of many characteristics. It is all a flux of experience of which we are generally conscious without analysis or attention, and it is a flux which is never for a moment quite the same, for everything in it melts and flows into everything else. The noise of the tram-cars is incessant, but now and then it becomes louder; the music of the orchestra steals imperceptibly on our ears and as imperceptibly fades away; the smell of the flowers lingers after we pass the shop, and we do not notice just when we cease to be conscious of it; the rhythm of the ragtime continues to irritate after we have ceased to hear the band--all the sense-impressions that we receive melt and flow over into each other and constitute our stream of consciousness, and this changes from moment to moment without gap or discontinuity. It is not a condition of “pure sensation,” but it is as nearly such as we can experience in our adult intellectual life.