ice or covered with an india-rubber integument, through which no impression penetrates to the sealed-up sensibility.
If our hypothesis be true, it makes us realise more deeply than ever how much our mental life is knit up with our corporeal frame, in the strictest sense of the term. Rapture, love, ambition, indignation, and pride, considered as feelings, are fruits of the same soil with the grossest bodily sensations of pleasure and of pain. But it was said at the outset that this would be affirmed only of what we then agreed to call the “standard” emotions; and that those inward sensibilities that appeared devoid at first sight of bodily results should be left out of our account. We had better, before closing, say a word or two about these latter feelings.
They are, the reader will remember, the moral, intellectual, and aesthetic feelings. Concords of sounds, of colours, of lines, logical consistencies, teleological fitnesses, affect us with a pleasure that seems ingrained in the very form of the representation itself, and to borrow nothing from any reverberation surging up from the parts below the brain. The Herbartian psychologists have tried to distinguish feelings due to the form in which ideas may be arranged. A geometrical demonstration may be as “pretty,” and an act of justice as “neat” as a drawing or a tune, although the prettiness and neatness seem here to be a pure matter of sensation, and there to have nothing to do with sensation. We have then, or some of us seem to have, genuinely cerebral forms of pleasure and displeasure, apparently not agreeing in their mode of production with the so-called “standard” emotions we have been analysing. And it is certain that readers whom our reasons have hitherto failed to convince, will now start up at this admission, and consider that by it we give up our whole case. Since musical perceptions, since logical ideas, can immediately arouse a form of emotional feeling, they will say, is it not more natural to suppose that in the case of the so-called “standard” emotions, prompted by the presence of objects or the experience of events, the emotional feeling is equally immediate, and the bodily expression something that comes later and is added on?
But a sober scrutiny of the cases of pure cerebral emotion gives little force to this assimilation. Unless in them there actually be coupled with the intellectual feeling a bodily reverberation of some kind, unless we actually laugh at the neatness of the mechanical device, thrill at the justice of the act, or tingle at the perfection of the musical form, our mental condition is more allied to a judgment of right than
