A being is good when its impulses toward the preservation and welfare of the species is strong, and those directed to its own good not too strong. The virtue of a rational being is distinguished from the goodness of a merely "sensible creature" by the fact that man not only possesses impulses, but reflects upon them, that he approves or disapproves his own conduct and that of others, and thus makes his affections the object of a higher, reflective, judging affection. This faculty of moral distinctions, the sense for right and wrong, or, which amounts to the same thing, for beauty and ugliness, is innate; we approve virtue and condemn vice by nature, not as the result of a compact, and from this natural feeling for good and evil exercise develops a cultivated moral taste or tact. And when, further, the reason, by means of this faculty of judgment, gains control over the passions, man becomes an ethical artist, a moral virtuoso. Virtue pleases by its own worth and beauty, not because of any external advantage. We must not corrupt the love of the good for its own sake by mixing with it the hope of future reward, which at the best is admissible only as a counter-weight against evil passions. When Shaftesbury speaks of future bliss, his highest conception of the heavenly life is uninterrupted friendship, magnanimity, and nobility, as a continual rewarding of virtue by new virtue. The good is the beautiful, and the beautiful is the harmonious, the symmetrical; hence the essence of virtue consists in the balance of the affections and passions. Of the three classes into which Shaftesbury divides the passions, one, including the "unnatural" or unsocial affections, as malevolence, envy, and cruelty, which aim neither at the good of the individual nor that of others, is always and entirely evil.