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 the reach of our senses, and perhaps as small as the constituent parts of water. The earth, the water, and the air may, for anything I know, be full of such organised atoms.' He then goes on to consider the relation of this hypothesis to the idea of active design in nature, and expresses doubt about the possibility of the atoms being endowed with power to form themselves into an organised body like the human. 'I cannot help thinking that such a work as the Iliad, and much more an animal or vegetable body, must have been made by express design. It seems to me as easy to contrive a machine which should compose a variety of epic poems and tragedies, as to contrive laws of motion by which unthinking particles of matter should coalesce into a variety of organised bodies.' He suggests that the organisation is the issue of constant and uniform divine activity. 'Can we,' he asks, 'show by any good reason that the Almighty finished his work at a stroke, and has continued ever since an inactive spectator? And if His continued operation be necessary, it is no miracle, while it is uniform, and according to fixed laws. Though we should suppose the gravitation of matter to be the immediate operation of the Deity, it would be no miracle while it is constant and uniform; but if it should cease for a moment, only by His withholding His hand, this would be a miracle.' This is to say that all natural changes are immediate effects of divine action, proceeding according to natural law or rule.

The suggestion illustrates the bent of Reid’s thought in later life. If our common sense of the continuous independent existence of sensible things, and of their manifestation in Perception as directly as states of our own minds are manifested to us when we are conscious of them—if this was the factor of the Common Sense that