The acknowledged composition is evidently contrary to this supposed simplicity, and the variation to the identity.

It may, therefore, be worth while to consider the causes, which make us almost universally fall into such evident contradictions, as well as the means by which we endeavour to conceal them.
It is evident, that as the ideas of the several distinct, successive qualities of objects are united together by a very close relation, the mind, in looking along the succession, must be carryed from one part of it to another by an easy transition, and will no more perceive the change, than if it contemplated the same unchangeable object.

This easy transition is the effect, or rather essence of relation; I and as the imagination readily takes one idea for another, where their influence on the mind is similar; hence it proceeds, that any such succession of related qualities is readily considered as one continued object, existing without any variation.

The smooth and uninterrupted progress of the thought, being alike in both cases, readily deceives the mind, and makes us ascribe an identity to the changeable succession of connected qualities.
But when we alter our method of considering the succession, and instead of traceing it gradually through the successive points of time, survey at once Any two distinct periods of its duration, and compare the different conditions of the successive qualities; in that case the variations, which were insensible when they arose gradually, do now appear of consequence, and seem entirely to destroy the identity.

By this means there arises a kind of contrariety in our method of thinking, from the different points of view, in which we survey the object, and from the nearness or remoteness of those instants of time, which we compare together.