While the novel in this way as change pleases, yet there is no pleasing sense of novelty. Sensations, sights, sounds, tastes, etc., please by their novelty, there is a pleasure in the sensations not merely intrinsic but relative to previous experiences, but the mind is not yet capable of the emotion of novelty which belongs to reflective consciousness. The child may be pleased by the novel, but is not consciously charmed by the novelty. The sense of experience as novel, and as such pleasing, belongs to a higher grade of consciousness than the naïve direct consciousness of the child. Novelty consciously known, appreciated, and sought for its own sake is a decidedly late evolution. There is an emotion and emotion of pleasure which we may feel in view of the novel _per se_. Not merely the new object becomes the stimulant of a new and refreshing experience, but this experience being known as novel by the reflecting consciousness, and contrasted with other experiences, there comes therewith a peculiar ripple of pleasurable emotion, the emotion of the novel. The first emotion of novelty is itself thereby a novel consciousness which might be, to a very reflective self-conscious mind, an object for another emotion of novelty. In touching upon the emotion of novelty we have thus risen beyond the common course of natural selection, to the point where experience values itself for its own sake. In contrast to the emotion of novelty is the emotion of familiarity. This might be discussed in a strictly parallel way to our discussion of the emotion of novelty. It is founded upon likeness, being the sentiment of likeness. An absolute novelty, the perfectly new, is of course imperceptible as such, and by the law of continuity cannot occur in nature. Some correlation with past experience is required to make the thing cognizable at all, as is also some measure of unlikeness to make it distinguishable and so familiar. The emotion of familiarity is much neglected by psychologists, yet it forms a more important and a larger element in the pleasures of advanced mind than the emotion of novelty. Many of the delights of home and domestic life are tinged by it. The pleasing sense of familiarity is, of course, most felt in contrast after some long experience of novelties, as when the traveller returns home from a prolonged journey. Delight in the familiar for its own sake often largely prompts to the revisiting old scenes and renewing old habits. The emotions of novelty and familiarity have a constant contrasting play in many men. The familiar which is painful in itself may yet, like the novel painful in itself, be pleasurable. We often welcome the familiar and novel purely for their own sake whatever be their actual hedonalgic[C] content. [Footnote C: This adjective, which I used before seeing Mr. Marshall’s “algedonic,” more exactly expresses pleasure—pain quality.]