[1] Some persons will say that we never have a really simple object or content. My definition of sensation does not require the simplicity to be absolutely, but only relatively, extreme. It is worth while in passing, however, to warn the reader against a couple of inferences that are often made. One is that because we gradually learn to analyze so many qualities we ought to conclude that there are no really indecomposable feelings in the mind. The other is that because the processes that produce our sensations are multiple, the sensations regarded as subjective facts must also be compound. To take an example, to a child the taste of lemonade comes at first as a simple quality. He later learns both that many stimuli and many nerves are involved in the exhibition of this taste to his mind, and he also learns to perceive separately the sourness, the coolness, the sweet, the lemon aroma, etc., and the several degrees of strength of each and all of these things,--the experience falling into a large number of aspects, each of which is abstracted, classed, named, etc., and all of which appear to be the elementary sensations into which the original 'lemonade flavor' is decomposed. It is argued from this that the latter never was the simple thing which it seemed. I have already criticised this sort of reasoning in Chapter VI (see pp. 170 ff.). The mind of the child enjoying the simple lemonade flavor and that of the same child grown up and analyzing it are in two entirely different conditions. Subjectively considered, the two states of mind are two altogether distinct sorts of fact. The later mental state says 'this is the _same flavor (or fluid)_ which that earlier state perceived as simple,' but that does not make the two states themselves identical. It is nothing but a case of learning more and more _about_ the same topics of discourse or things.--Many of these topics, however, must be confessed to resist all analysis, the various colors for example. He who sees blue and yellow 'in' a certain green means merely that when green is confronted with these other colors he sees relations of _similarity_. He who sees abstract 'color' in it means merely that he sees a similarity between it and all the other objects known as colors. (Similarity itself cannot ultimately be accounted for by an identical abstract element buried in all the similars, as has been already shown, p. 492 ff.) He who sees abstract paleness, intensity, purity, in the green means other similarities still. These are all outward determinations of that special green, knowledges _about_ it, _zufällige Ansichten_, as Herbart would say, not _elements_ of its composition. Compare the article by Meinong in the Vierteljahrschrift für wiss. Phil., xii. 324. [2] See Vol. I, p. 221.