that we have no right to disregard his authority when he
comes to treat of Pleasure.—Hamilton's definition of Pleasure,
the basis of the following chapters.--Its chief points.--Defect
of the definition.—Division of the inquiry .. Page 3

CHAPTER XI.

MIXED PLEASURE.

The difficulty of separating Pain from Pleasure.— Theological state-

ment of the fact—and the mystery that belongs to it.— The
earliest well-wrought theory of Pleasure that it is an escape
from Pain.—How the doctrine was expounded by Kant.--
Man never is but always to be blest—and lives in a never-
ceasing pain.-Pain may subsist without Pleasure, but Pleasure
cannot subsist without Pain.— The object of the Creator bene-
ficent in such an arrangement-and it is not ungrateful to say
that he keeps us by design in continued pain.— The doctrine of
the mixture of Pain with Pleasure is true, but inadequate.-
The great point to be observed is that Action is the prime law
of Pleasure.—Significance of this fact as to the law of Energy.

- Vicissitude but another name for Energy.—That Pleasure is
heightened by proximity to Pain.—How Pleasure is produced
in the agitation of Pain.—Painless death.—The Pleasure of
violence-even the violence of death.—The Pleasure of mar-
tyrdom. -A change of Pain is pleasurable--and we long for
Pain in the midst of Pleasure.—The most familiar form of
pleasant Pain—the luxury of Grief.- How the heart takes a
sly comfort.-On the undercurrents of Pleasure which may be
found in even acute sorrow—as the pleasure of Expression.-
Men are vain of their exceeding Passion.—The pleasure of
Conceit mixed with the pain of Bereavement. The pride of
Tears.-Summary of the foregoing illustrations— The great fact
to which they bear witness as to the pleasure of Activity.-
Critical application of this law of Pleasure.— The painfulness
of the Pleasure produced by the Drama.–On tragic Pleasure-
And why the tragic passions are summarised under the names
of Pity and Terror.-On the painfulness of Comedy-Illus-
trated by Sir Philip Sidney.-How the comic sense is divided
into Wit and Humour-and how this division of the comic
emotion corresponds with the division of tragic emotion into
Pity and Terror.—On a curious relation between Wit or Hu-
mour on the one hand, and Pity or Terror on the other. -
Summary of the chapter as to the connection between Action,
Pleasure, and the Drama.—The nature of Dramatic Action.

– The double meaning of the word Action as applied to the
Drama ..

Page 33

CHAPTER XII.

PURE PLEASURE,

Is Pleasure ever free from Pain ?-Statement of the common doctrine.

- Plato maintains the existence of pure Pleasure.—The dialogue
in which this doctrine is urged.--Aristotle's doctrine is the
same.--Summary of the views of Aristotle and Plato.-1. On
pure Pleasure, in so far as it exists in sense.

-Examples of
painless Pleasure in the senses; and the original painlessness of
these sensations is not to be denied because they may be after-
wards associated accidentally with touches of Pain.—The con-
dition of pure Pleasure—its Harmony.—This is the second
great fact concerning Pleasure which deserves notice.—But it is
difficult to define in what the harmony consists.-An example
to illustrate the difficulty of defining what constitutes fitness ;
That the fitness must be in the mind as well as in the object it
regards.-II. On the pure pleasure of Conceit.—That the pleasure
of Conceit has two chief sources-habit and sympathy.-On
Conceit engendered by habit.-On Conceit engendered by Sym-
pathy; that is, the pleasure of Imagination-but is this conceit
of Pleasure a reality or an illusion ?-Proof that the pleasure of
Conceit is real.-Man wants but little here below.-How much
of Pleasure depends on Conceit.—Examples. The singularity
of Joy.-We are always intermeddling with each other's Joy,
and setting up Pleasure as the standard of Truth.— The pleasure
of Conceit is not only real but pure.— The pleasure of Conceit
we must always explain as in some way a fitness. The diffi-
culty of defining Pleasure without falling into contradictions.-
The contradiction involved in speaking of painful Pleasure.-
The contradiction involved in speaking of pure Pleasure.— The

.

contract between repose and action.--How pure Pleasure finds

its expression in Art.--On the contrast between the Dramatic

and the Beautiful.- It is not at first sight evident-yet it is in

a manner recognised in the current phrases of Criticism.- The

looseness of the manner in which we speak of the Beautiful.-

Further examples, to show that in strictness we recognise the

Dramatic as opposed to the Beautiful—that in the Dramatic we

look mainly for truth of action-and truth of action appears

chiefly in strength.--Examples of truth and power of dramatic

action in its main lines, but want of Beauty.–What is Beauty ?

The question is so difficult, that in despair of answering it the

philosophers have turned sceptics—and the answer of those

philosophers who are not sceptical of Beauty are of little value.

All that Science can teach us of Beauty.-Summary of the

chapter

Page 65.

CHAPTER XIII.

HIDDEN PLEASURE.

It is necessary now to examine a series of facts connected with

Pleasure which have been hitherto neglected. --All Pleasure
sell-forgetful; and as compared with Pain, difficult to be de-
scribed. We say that it passes understanding.–Consciousness
in Pleasure a mistake.-- We become conscious of our Happiness
when it is passing away.—Some further illustrations of the
unconsciousness of Enjoyment.-The unconsciousness of Plea-
sure has different degrees of intensity.-We are familiar with
the fact of this unconsciousness when it is imperfect.-We re-
fuse to believe with some philosophers that the worth of life
lies in strong Consciousness.-In health the sense of Existence
vanishes.-Suicide springs out of extreme Self-consciousness.-
How the French speculate on Suicide.-M. de Montalembert.-
St. Marc Girardin on Suicide. --Suicide and Love. -If the doc-
trine of the unconsciousness of Pleasure be allowed to pass when
stated mildly, it is difficult of acceptance when stated in full
force.— The pleasure of Trance.-Oriental legends in illustration
of the pleasure of Unconsciousness.-Oriental philosophy in
illustration of the same doctrine.-Illustrations of the same doc-
trine in English writers.-Charles Tennyson.- George Eliot.-