escape us in music are perceived by those who are practised in that kind of accomplishment? men who, at the first note of the flute-player, say,—That is the Antiope, or the Andromache, when we have not even a suspicion of it. There is no need for me to speak of the faculties of taste or smell; organs in which there is a degree of intelligence, however faulty it may be. Why should I speak of touch, and of that kind of touch which philosophers call the inner one, I mean the touch of pleasure or pain? in which alone the Cyrenaics think that there is any judgment of the truth, because pleasure or pain are felt. Can any one then say that there is no difference between a man who is in pain and a man who is in pleasure? or can any one think that a man who entertains this opinion is not flagrantly mad?
But such as those things are which we say are perceived by the senses, such also are those things which are said to be perceived, not by the senses themselves, but by the senses after a fashion; as these things—that is white, this is sweet, that is tuneful, this is fragrant, that is rough. We have these ideas already comprehended by the mind, not by the senses. Again, this is a house, that is a dog. Then the rest of the series follows, connecting the more important links; such as these, which embrace, as it were, the full comprehension of things;—If he is a man, he is a mortal animal partaking of reason:—from which class of arguments the notions of things are impressed upon us, without which nothing can be understood, nor inquired into, nor discussed. But if those notions were false, (for you seemed to me to translate ἔννοιαι notions,) if, I say, they were false, or impressed, or perceptions of such a kind as not to be able to be distinguished from false ones; then I should like to know how we were to use them? and how we were to see what was consistent with each thing and what was inconsistent with it? Certainly no room at all is here left for memory, which of all qualities is the one that most completely contains, not only philosophy, but the whole practice of life, and all the arts. For what memory can there be of what is false? or what does any one remember which he does not comprehend and hold in his mind? And what art can there be except that which consists not of one, nor of two, but of many perceptions of the mind? and if you take these away, how are you to distinguish the artist from the ignorant man? For we must not
