It needs but to name appetite and satiety to suggest multitudinous
facts showing that pleasures are relative not only to the organic
structures but also to their states. The food which yields keen
gratification when there is great hunger ceases to be grateful when
hunger is satisfied, and if then forced on the eater is rejected with
aversion. So, too, a particular kind of food, seeming when first
tasted so delicious that daily repetition would be a source of endless
enjoyment, becomes, in a few days, not only unenjoyable but repugnant.
Brilliant colors which, falling on unaccustomed eyes give delight,
pall on the sense if long looked at, and there is relief in getting
away from the impressions they yield. Sounds sweet in themselves and
sweet in their combinations which yield to unfatigued ears intense
pleasure, become, at the end of a long concert, not only wearisome but,
if there is no escape from them, causes of irritation. The like holds
down even to such simple sensations as those of heat and cold. The
fire so delightful on a winter's day is, in hot weather, oppressive;
and pleasure is then taken in the cold water from which, in winter,
there would be shrinking. Indeed, experiences lasting over but a few
moments suffice to show how relative to the states of the structures
are pleasurable sensations of these kinds; for it is observable that on
dipping the cold hand into hot water, the agreeable feeling gradually
diminishes as the hand warms.
These few instances will carry home the truth, manifest enough to all
who observe, that the receipt of each agreeable sensation depends
primarily on the existence of a structure which is called into play;
and, secondarily, on the condition of that structure, as fitting it or
unfitting it for activity.
§ 66. The truth that emotional pleasures are made possible, partly by
the existence of correlative structures and partly by the states of
those structures, is equally undeniable.
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Elsewhere in the archive
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account