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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
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Untitled Article
bis cbtidtifet , and bpihioils , and it riisy be briei oF frribral approval , of sublitnity , or of beauty , according to the precise ci&fiiJP stances suggested . Ail engraved card half but through , tik&f
suggest a flow of pleasure , and sin ugly Italian msty suggest & flow of pleasure , but We do not call either the one or th § otfaet beautiful , because they do not excite the feeling of beauty Mmediately . Between the thought of the card and the ftedifrj | of beauty , there intervenes the idea of an opera we hkard 14 si
night , and this thought , as the immediate antecedent or cause of the beauty , is entitled to the name of beautiful . The blackbrowed foreigner is not beautiful : this title is due to tli& immediate cause of our pleasure , which is the remembrance of the Italian statue , of which the Italian reminds us . For the other difficulty proposed by Mr Mill , the discovery of the peculiarity which distinguishes such a train of pleasure
as we call beauty , from that which we call moral approbation , I think the principle I have laid down will be found to afford an easy and sufficient explanation . ' The anticipative pleasures and pains are divisible into two classes , one of which , having the peculiarity which marks it anticibative , far less vivid and prominent than the other * is especially liable to be mistaken for a class of the emotions ojF
imagination . This I think is the ambiguity of the case under consideration . Our anticipations of benefit or injury to accrue frdin aii object , are either general or particular , either immediate or remote . An object being presented to our contemplation , we recognise it as instrumental or conducive to a particular advantage , as useful for a particular purpose on a specific occasipn . "The pleasure excited by another object of thought , or by tK £ same on another occasion , results from a recognition of its general utility ; we do not contemplate any particular case qf its application , but we anticipate its beneficial qualities , as ifc
were , in the mass . The emotions of such general anticipation ^ accordingly as they are pleasurable or painful , are love ihd Hatred , names noting pleasure and pain , and connoting tne general anticipation I have described , as the names desire $ n < jl fear note pleasures and pains , and connote , or signify in aiiair tioii , their origin from particular anticipation . Hope and apprehension are names again noting pleasure and pain , and cojir
noting their association with anticipation ot uncertain events ; while the pleasures and pains of imagination are names connoting an origin independent of any anticipation general or particular , near or remote . Thus any beautiful objecf ! g | , jm say a vase , may excite desire when we anticipate die particular pUaBure of clecorating a room with it Agflin , it i ^ to ^ cue that afetteiral affedtioti wmcHJ have called Bpve . a ple ^ aurfe
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Citation
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Monthly Repository (1806-1838) and Unitarian Chronicle (1832-1833), Jan. 2, 1837, page 35, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/mruc/issues/vm2-ncseproduct1827/page/37/
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