_There is no convincing evidence of any qualities of feeling other than pleasant and unpleasant._ There is evidence, on the other hand, that the simple feelings form intimate and characteristic blends with sensations, and especially with kinæsthetic and organic sensations; we may call such blends =sense-feelings=. Every sensory stimulus, even so local and trifling a thing as a tone of moderate intensity, sets up a widespread organic disturbance: a result that is natural, perhaps, in view of the manifold interconnections within the nervous system, but that we are nevertheless likely to overlook. This organic stir brings out kinæsthetic and organic sensations which may form the body of a sense-feeling, developed round about the disturbing tone, and giving it a peculiar tinge of feeling that it would not otherwise possess. The same thing holds of other stimuli. We can distinguish _six types or classes of these sense-feelings: the agreeable and disagreeable, the exciting and subduing, and the straining and relaxing_. Tastes and smells are preeminently agreeable or disagreeable. Deep tones are solemn and serious, that is, subduing; high tones are cheerful and playful, that is, exciting. The painter’s ‘warm’ colours, red and yellow, are exciting; his ‘cold’ blues are subduing; the gloom of a darkened room is positively depressing. Warmth and cold are themselves exciting and subduing. The straining and relaxing feelings are dependent upon the temporal course and succession of sensations; the interminable pedal-point in _E_♭ with which Wagner begins the _Ring_ sets up a feeling of tension which is relaxed when the _B_♭ is added, only to grow again, and again relax when new tones are introduced; and if you follow the strokes of a slow-beating metronome you get a similar alternation of the two sense-feelings. Notice that the six names are all alike class-names; _the sense-feelings themselves appear in numberless variety_; but any particular sense-feeling may be referred to one or more of the classes. Notice also that the paired names are all opposites: a sense-feeling may be agreeably exciting, or agreeably subduing, but it cannot be excitingly subduing; and so on with the rest. Remember finally that the simple feeling taken alone, and not blended with sensory qualities into a sense-feeling, is always a bare pleasant or unpleasant.