in a building, but rather on the analogy of notes in a symphony. The ultimate constituents of a symphony (apart from relations) are the notes, each of which lasts only for a very short time. We may collect together all the notes played by one instrument: these may be regarded as the analogues of the successive particulars which common sense would regard as successive states of one "thing." But the "thing" ought to be regarded as no more "real" or "substantial" than, for example, the role of the trombone. As soon as "things" are conceived in this manner it will be found that the difficulties in the way of regarding immediate objects of sense as physical have largely disappeared.
When people ask, "Is the object of sense mental or physical?" they seldom have any clear idea either what is meant by "mental" or "physical," or what criteria are to be applied for deciding whether a given entity belongs to one class or the other. I do not know how to give a sharp definition of the word "mental," but something may be done by enumerating occurrences which are indubitably mental: believing, doubting, wishing, willing, being pleased or pained, are certainly mental occurrences; so are what we may call experiences, seeing, hearing, smelling, perceiving generally. But it does not follow from this that what is seen, what is heard, what is smelt, what is perceived, must be mental. When I see a flash of lightning, my seeing of it is mental, but what I see, although it is not quite the same as what anybody else sees at the same moment, and although it seems very unlike what the physicist would describe as a flash of lightning, is not mental. I maintain, in fact, that if the physicist could describe truly and fully all that occurs in the physical world when there is a flash of lightning, it would contain as a constituent what I see, and also what
