§ 11. In a somewhat similar position are two other sorts of relation, Likeness and Unlikeness. I have two sensations; we will suppose them to be simple ones; two sensations of white, or one sensation of white and another of black. I call the first two sensations _like_; the last two _unlike_. What is the fact or phenomenon constituting the _fundamentum_ of this relation? The two sensations first, and then what we call a feeling of resemblance, or of want of resemblance. Let us confine ourselves to the former case. Resemblance is evidently a feeling; a state of the consciousness of the observer. Whether the feeling of the resemblance of the two colours be a third state of consciousness, which I have _after_ having the two sensations of colour, or whether (like the feeling of their succession) it is involved in the sensations themselves, may be a matter of discussion. But in either case, these feelings of resemblance, and of its opposite, dissimilarity, are parts of our nature; and parts so far from being capable of analysis, that they are presupposed in every attempt to analyse any of our other feelings. Likeness and unlikeness, therefore, as well as antecedence, sequence, and simultaneousness, must stand apart among relations, as things _sui generis_. They are attributes grounded on facts, that is, on states of consciousness, but on states which are peculiar, unresolvable, and inexplicable. But, although likeness or unlikeness cannot be resolved into anything else, complex cases of likeness or unlikeness can be resolved into simpler ones. When we say of two things which consist of parts, that they are like one another, the likeness of the wholes does admit of analysis; it is compounded of likenesses between the various parts respectively. Of how vast a variety of resemblances of parts must that resemblance be composed, which induces us to say that a portrait, or a landscape, is like its original. If one person mimics another with any success, of how many simple likenesses must the general or complex likeness be compounded: likeness in a succession of bodily postures; likeness in voice, or in the accents and intonations of the voice; likeness in the choice of words, and in the thoughts or sentiments expressed, whether by word, countenance, or gesture.