Bnd pain, the first and most general distri- 
bution is into love and hatred. When these 
are excited to a certain degree, they stimu- 
late us to action, and may then be termed 
desire, or aversion, understanding by the 
last word, active hatred. Hope and fear 
arise from the probability or uncertainty of 
obtaining the good desired, or of avoiding 
the evil shunned. Joy and grief are love 
or hatred exerted towards an object when 
present, so as to occupy the whole atten- 
tion of the mind. After the actual joy or 
grief is over, and tlie object withdrawn, 
tliere generally remains a pleasing or dis- 
pleasing recollection, which recurs with 
every recurrence of tlie idea of the object, 
or of the associated ones, and keeps op the 
love or hatred. These ten ; five grateful, 
and five ungrateful, passions or affections. 
Dr. Hartley considers as comprehending 
all the general passions of human nature. 
OF THE CLASSES OF INTELLECTUAL PLEA- 
SURES AND PAINS, WITH A SPECIFIC 
ACCOUNT OF THEIR ORIGIN. 
72. The intellectual pleasures and pains 
are arranged by Hartley in six classes. 
Perhaps the arrangement, and certainly 
the appellations of the classes, are not un- 
exceptionable ; but so much light is thrown 
upon this part of our mental structure by 
the analysis of them given by Hartley, and 
it is so much easier to find fault than to im- 
prove, that we shall probably do best by 
taking the arrangement and (with a few 
passing remarks) the appellations as we 
find them, and by laying before our readers 
such a specimen of the analytical investi- 
gations of that profound philosopher, as 
may lay a solid foundation for correct no- 
tions on this important point, and load them 
to seek for further information in his obser- 
vations.— The intellectual pleasures and 
pains are, 1. Those of imagination, arising 
from natural or artificial beauty or defor- 
mity. 2. Those of ambition, arising from 
the opinions of others concerning us. 3. 
Those of self interest, aiising from the posses- 
sion or want of the means of happiness, and 
security from, or subjection to, the hazards 
of misery. 4. Those of sympathy, arising 
from the pleasures and pains of others. 
5. Those of theopathy, arising from the con- 
sideration of the attributes of the Deity, 
and the relation in which we stand to him ; 
and, 6. Those of the moral sense, arising from 
the coniemplation of moral beauty and 
deformity. 
Of the Pleasures and Pains of Imagina- 
tion. 
73. This class of feelings may be distin- 
guished into seven kinds: the pleasures 
arising from the beauty of the natural 
world; those from the works of art; from 
the liberal arts of music, painting, and 
poetry ; from the sciences ; from the beauty 
of the person ; from wit and humour ; and 
the pains which arise from gross absurdity, 
inconsistency, or deformity. — As the plea- 
sures of the first class admit .of the most 
simple analysis, we shall select this as a 
specimen. — The pleasant tastes and smells, 
and the fine colours of fruits and flowers, 
the melody of birds, and the grateful 
warmth or coolness of the air in the proper 
seasons, transfer the relics of these plea- 
sures upon rural scenes, which rise up in- 
stantaneously so mixed with each other, 
and with such as will immediately be enu- 
merated, as to be separately indiscernible. 
If there be any object in the scene calcu- 
lated to excite fear and horror, the nascent 
ideas of these magnify and enliven all the 
other ideas, and by degrees pass into plea- 
sures by suggesting the security from pain. 
In like manner the grandeur of some scenes, 
and the novelty of others, by exciting sur- 
prise and w'onder (that is, by making a great 
difference in the preceding and subsequent 
states of mind, so as to border upon or even 
enter into the limits of pain) may greatly 
enhance the pleasure. Uniformity and va- 
riety, in conjunction, are also principal 
sources of the pleasures of beauty, being 
made so partly by their association with 
the beauties of nature, partly by that with 
the works of art, and with the many con- 
veniences winch we derive from the uni- 
formity and variety of the works of nature 
and of art : they must therefore transfer 
part of the lustre borrowed from the works 
of nature, and from the conveniences they 
afford upon the works of nature. Poetry 
and painting are much employed in setting 
forth the beauties of the natural world, at 
the same time that they afford us a high 
degree of pleasure from other sources : 
hence they blend some or other of the re- 
lics of those other pleasures with those of 
natural beauty. The many amusements 
which are peculiar to the country, and 
whose ideas and pleasures are revived 
in a faint degree by the view of rural 
scenes, and so mixed together as to be 
separately indiscernible, further augment 
the pleasures suggested by the beauties of 
PHILOSOPHY, MENTAL, 
1 . 
