d. The fourth trope deals with the diversitude of circumstances in the

subject, in reference to its condition, the changes taking place in it, which must prevent our making an assertion respecting any particular thing. The same thing manifests itself differently to the same man, according as he, for instance, is at rest or moving, asleep or awake, moved by hatred or love, sober or drunk, young or old, &c. In the diversitude of these circumstances very different judgments are passed regarding one and the same object, hence we must not talk of anything as being more than a manifestation.[200]

e. The fifth trope relates to the different positions, distances and places, for from every different standpoint the object appears to be different. In respect to position, a long passage appears to the man who stands at the one end to taper to a point at the other; but if he goes there he finds it to be of the same breadth at that end as it was at the other. Distance is likewise, properly speaking, a difference in the greatness and smallness of objects. In respect to place, the light in a lantern is quite feeble in the sunshine, and yet in darkness it shines quite brightly. Pigeons’ necks, regarded from different points of view, shimmer quite differently.[201] In regard to motion in particular very different views prevail. The best known example of such is found in the course of the sun round the earth, or the earth round the sun. As the earth is said to go round the sun, even though the opposite appears to be the case, the former assertion is based on reasons. This example does not, however, come in here, but this trope will show that because one sensuous feeling contradicts another, existence is not expressed in it.

f. The sixth trope is taken from intermixture, because nothing comes within the scope of the sense alone and isolated, but only as mingled with something else; this admixture with something else, however, causes change, just as scents are stronger in the sunshine than in cold air, &c. Further, through the subject himself, this admixture comes in; the eyes consist of various tunics and humours, the ear has different passages, &c., consequently they cannot allow sensations—the light or the voice—to come to us in their purity, for the sensuous element comes to us first of all modified by these tunics of the eye and likewise by the passages of the ear.[202] But if we are to express ourselves in this particular manner, the direct opposite might likewise be maintained, that the sensuous element there present is simply purified; the apprehending ear, for example, again purifies the voice that comes in bodily form from a soul.

g. The seventh trope is the cohesion, the size or quantity of things, through which they appear different; for instance, we see how glass is transparent, but loses this transparency when it is pounded, and thus has its cohesion altered. Shavings of goat’s-horn appear to be white, but the whole piece looks black; or Carrara marble ground into powder looks white, though the whole piece is yellow. The same holds good as regards quantity. A moderate portion of wine fortifies and exhilarates, a large quantity of it destroys the body, and the case is similar with drugs.[203] If the quantity is not to be spoken of as the substance, it is still an abstraction that quantity and combination are matters of indifference as regards quality and disintegration; the change of quantity likewise changes the quality.

h. The eighth trope arises from the relativity of things, and is thus the universal trope of relationship. This relativity of everything existent and thought is a more inward, real determinateness, and all the tropes already mentioned really aim at it. “According to this trope,” says Sextus (Pyrrh. Hyp. I. c. 14, §§ 135, 136), “we conclude that since everything is in relation to something, we must withhold our judgment as to what it is on its own account and in its nature. But it must be remarked that we here make use of ‘is’ in the sense of appearance only. Relationship is used in two respects: first in relation to the judging subject,” and this difference we saw in the previous tropes, “and in the second place in relation to the object which is to be judged, like right and left.” Sextus, in the passage above (§§ 137, 140), argues as follows: “As regards what is set forth on its own account and separate from others, is it distinguished from the mere relative or not? If it were not different from it, it would itself be a relative. If it is different, it again is a relative. That is to say, what is different is related to something, for it is set forth in relation to that from which it is distinguished.” Relativity, generally, is present in what is absolutely predicated, for relationship is a relationship in itself and not to another. Relationship contains opposition: what is in relation to another is on the one hand independent on its own account, but on the other, because it is in relationship, it is likewise not independent. For if anything is only in relation to something else, the other likewise belongs to it; it is thus not on its own account. But if its other already belongs to it, its non-being also already belongs to it, and it is a contradictory as soon as it is not without its other. “But because we cannot separate the relative from its other, we likewise do not know what it is on its own account and in its nature, and we must consequently suspend our judgment.”