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Click on the phrases to see them in context. The original texts by Immanuel Kant and David Hume are available from the Gutenberg Projet.
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It is clear, from all this, that the schema of the category of quantity contains and represents the generation (synthesis) of time itself, in the successive apprehension of an object; the schema of quality the synthesis of sensation with the representation of time, or the filling up of time; the schema of relation the relation of perceptions to each other in all time (that is, according to a rule of the determination of time); and finally, the schema of modality and its categories, time itself, as the correlative of the determination of an object--whether it does belong to time, and how. The royal authority seems to be connected with the young prince even in his father's life-time, by the natural transition of the thought; and still more after his death: So that nothing is more natural than to compleat this union by a new relation, and by putting him actually in possession of what seems so naturally to belong to him. In the latter case, as an order or determination inherent in things themselves, it could not be antecedent to things, as their condition, nor discerned or intuited by means of synthetical propositions a priorI. But all this is quite possible when we regard time as merely the subjective condition under which all our intuitions take place. If we pass from common life and conversation to history, this reasoning acquires new force, when we observe, that all those great actions and sentiments, which have become the admiration of mankind, are founded on nothing but pride and self-esteem. Here I shall add that the conception of change, and with it the conception of motion, as change of place, is possible only through and in the representation of time; that if this representation were not an intuition (internal) a priori, no conception, of whatever kind, could render comprehensible the possibility of change, in other words, of a conjunction of contradictorily opposed predicates in one and the same object, for example, the presence of a thing in a place and the non-presence of the same thing in the same place. For as to the principles of transcendental aesthetic, according to which space and time are the conditions of the possibility of things as phenomena, as also the restriction of these principles, namely, that they cannot be applied to objects as things in themselves--these, of course, do not fall within the scope of our present inquiry.