We have, therefore, to study the various aesthetic, intellectual, and moral compensations by which the mind can be brought to contemplate with pleasure a thing which, if experienced alone, would be the cause of pain. There is, to be sure, a way of avoiding this inquiry. We might assert that since all moderate excitement is pleasant, there is nothing strange in the fact that the representation of evil should please; for the experience is evil by virtue of the pain it gives; but it gives pain only when felt with great intensity. Observed from afar, it is a pleasing impression; it is vivid enough to interest, but not acute enough to wound. This simple explanation is possible in all those cases where aesthetic effect is gained by the inhibition of sympathy. The term "evil" is often a conventional epithet; a conflagration may be called an evil, because it usually involves loss and suffering; but if, without caring for a loss and suffering we do not share, we are delighted by the blaze, and still say that what pleases us is an evil, we are using this word as a conventional appellation, not as the mark of a felt value. We are not pleased by an evil; we are pleased by a vivid and exciting sensation, which is a good, but which has for objective cause an event which may indeed be an evil to others, but about the consequences of which we are not thinking at all. There is, in this sense, nothing in all nature, perhaps, which is not an evil; nothing which is not unfavourable to some interest, and does not involve some infinitesimal or ultimate suffering in the universe of life. But when we are ignorant or thoughtless, this suffering is to us as if it did not exist. The pleasures of drinking and walking are not tragic to us, because we may be poisoning some bacillus or crushing some worm. To an omniscient intelligence such acts may be tragic by virtue of the insight into their relations to conflicting impulses; but unless these impulses are present to the same mind, there is no consciousness of tragedy. The child that, without understanding of the calamity, should watch a shipwreck from the shore, would hare a simple emotion of pleasure as from a jumping jack; what passes for tragic interest is often nothing but this. If he understood the event, but was entirely without sympathy, he would have the aesthetic emotion of the careless tyrant, to whom the notion of suffering is no hindrance to the enjoyment of the lyre. If the temper of his tyranny were purposely cruel, he might add to that aesthetic delight the luxury of _Schadenfreude;_ but the pathos and horror of the sight could only appeal to a man who realized and shared the sufferings he beheld.