In the physical and mental constitution of man there is not a single arrangement the direct object of which is to produce suffering. The susceptibilities to pain seem designed to protect and preserve, while the greater the need the more strong is this protection. For example, in regard to physical organization, fire is an element that is indispensable to the life, comfort, and activity of man, and it must be accessible at all times and places. But all its service arises from its power to dissolve and destroy the body itself, as well as all things around it. Therefore the pain connected with contact with fire is more acute than almost any other. Thus even the youngest child is taught the care and caution needful to protect its body from injury or destruction. Another fact in regard to the susceptibilities of pain is their frequent _co‐existence_ with the highest degrees of enjoyment. The experiences of this life often present cases where the most elevated and ecstatic happiness is combined with the keenest suffering, while such is the nature of the case that the suffering is the chief cause of the happiness thus secured. The highest illustration of this is in the suffering of saints and martyrs, when they “rejoice to be counted worthy to suffer shame,” or when, amid torturing flames, they sing songs of transport and praise. Even in common life it is constantly found that a certain relative amount of happiness is felt to be more than a recompense for a given amount of pain. This relative amount may be such that the evil involved, though great, may count as nothing. Where there is a passionate attachment, for example, the lover exults in the labor and suffering that will joyfully be received as a proof of affection and will secure the compensating return. It is a very common fact that painful emotions _are sought_, not for themselves, but as ministers to a kind of mental excitement which is desired. This is the foundation of the pleasure which is felt in tragic representations, and in poetry and novels that present scenes of distress. The little child will again and again ask for the tale of the Babes in the Wood, though each rehearsal brings forth tears; and the mature matron or sage will spend hours over tales that harrow the feelings and call forth sighs. This also is the foundation of that kind of music called the _minor key_, in which certain sounds bring emotions of sadness or sorrow. Another striking fact in regard to the desire for pain is the emotions that are felt by the most noble and benevolent minds at the sight of cruelty and injustice. At such scenes, the desire for inflicting pain on the guilty offender amounts to a passion which nothing can allay but retributive justice. And the more benevolent the mind, the stronger this desire for retributive evil to another.