In any case, admitting the physical counterpart of conscious desire to be a ‘disturbance of equilibrium,’ or an effect and sign of such disturbance, the theory seems open to obvious objections, if it is extended to cover the whole range of the pleasures of sense. For conscious desire is certainly not a necessary condition of experiencing the simple pleasures of the special senses: normally no sense of want has preceded the experience of pleasant sights, sounds, odours, flavours, or of the more important pleasures, more complex in their psychical conditions, which we call æsthetic. No doubt in special cases antecedent privation may produce a conscious want of these latter pleasures which may increase their intensity when they are at length attained: or even without any felt privation, the prospect of enjoying such pleasures may produce a keen desire for the enjoyment, which may be regarded as a “disturbance of equilibrium” no less plausibly than a bodily appetite. But it would be quite unwarrantable therefore to suppose a similar disturbance, though unfelt, in the ordinary cases where pleasures of this kind are experienced without any antecedent consciousness of desire or want. I have perhaps said enough to support my general conclusion that psychophysical speculation as to the causes of pleasure and pain does not at present afford a basis for a deductive method of practical Hedonism. But, before passing from this topic, I may remark that the difficulties in the way of any such theory seem especially great in the case of the complex pleasures which we distinguish as “æsthetic.” All would agree that æsthetic gratification, when at all high, depends on a subtle harmony of different elements in a complex state of consciousness; and that the pleasure resulting from such harmonious combination is indefinitely greater than the sum of the simpler pleasures which the uncombined elements would yield. But even those who estimate most highly the success that has so far been attained in discovering the conditions of this harmony, in the case of any particular art, would admit that mere conformity to the conditions thus ascertained cannot secure the production of æsthetic pleasure in any considerable degree. However subtly we state in general terms the objective relations of elements in a delightful work of art, on which its delight seems to depend, we must always feel that it would be possible to produce out of similar elements a work corresponding to our general description which would give no delight at all; the touch that gives delight depends upon an instinct for which no deductive reasoning can supply a substitute. This is true, even without taking into account the wide divergences that we actually find in the æsthetic sensibilities of individuals: still less, therefore, is it needful to argue that, from the point of view of an individual seeking his own greatest happiness, none but a mainly inductive and empirical method of