If our consciousness were exclusively aesthetic, this kind of expression would be the only one allowed in art or prized in nature. We should avoid as a shock or an insipidity, the suggestion of anything not intrinsically beautiful. As there would be no values not aesthetic, our pleasure could never be heightened by any other kind of interest. But as contemplation is actually a luxury in our lives, and things interest us chiefly on passionate and practical grounds, the accumulation of values too exclusively aesthetic produces in our minds an effect of closeness and artificiality. So selective a diet cloys, and our palate, accustomed to much daily vinegar and salt, is surfeited by such unmixed sweet. Instead we prefer to see through the medium of art -- through the beautiful first term of our expression -- the miscellaneous world which is so well known to us -- perhaps so dear, and at any rate so inevitable, an object. We are more thankful for this presentation, of the unlovely truth in a lovely form, than for the like presentation of an abstract beauty; what is lost in the purity of the pleasure is gained in the stimulation of our attention, and in the relief of viewing with aesthetic detachment the same things that in practical life hold tyrannous dominion over our souls. The beauty that is associated only with other beauty is therefore a sort of aesthetic dainty; it leads the fancy through a fairyland of lovely forms, where we must forget the common objects of our interest. The charm of such an idealization is undeniable; but the other important elements of our memory and will cannot long be banished. Thoughts of labour, ambition, lust, anger, confusion, sorrow, and death must needs mix with our contemplation and lend their various expressions to the objects with which in experience they are so closely allied. Hence the incorporation in the beautiful of values of other sorts, and the comparative rareness in nature or art of expressions the second term of which has only aesthetic value. _Practical value in the same._ Sec. 52. More important and frequent is the case of the expression of utility. This is found whenever the second term is the idea of something of practical advantage to us, the premonition of which brings satisfaction; and this satisfaction prompts an approval of the presented object. The tone of our consciousness is raised by the foretaste of a success; and this heightened pleasure is objectified in the present image, since the associated image to which the satisfaction properly belongs often fails to become distinct. We do not conceive clearly what this practical advantage will be; but the vague sense that an advantage is there, that something desirable has been done, accompanies the presentation, and gives it expression.