We feel pain, but not painlessness; we feel care, but not the absence of care; fear, but not security. We feel the wish as we feel hunger and thirst; but as soon as it has been fulfilled, it is like the mouthful that has been taken, which ceases to exist for our feeling the moment it is swallowed. Pleasures and joys we miss painfully whenever they are wanting; but pains, even when they cease after having long been present, are not directly missed, but at the most are intentionally thought of by means of reflection. For only pain and want can be felt positively, and therefore announce themselves; well‐being, on the other hand, is merely negative. Therefore we do not become conscious of the three greatest blessings of life, health, youth, and freedom, so long as we possess them, but only after we have lost them; for they also are negations. We only observe that days of our life were happy after they have given place to unhappy ones. In proportion as pleasures increase, the susceptibility for them decreases: what is customary is no longer felt as a pleasure. Just in this way, however, is the susceptibility for suffering increased, for the loss of what we are accustomed to is painfully felt. Thus the measure of what is necessary increases through possession, and thereby the capacity for feeling pain. The hours pass the quicker the more agreeably they are spent, and the slower the more painfully they are spent; because pain, not pleasure, is the positive, the presence of which makes itself felt. In the same way we become conscious of time when we are bored, not when we are diverted. Both these cases prove that our existence is most happy when we perceive it least, from which it follows that it would be better not to have it. Great and lively joy can only be conceived as the consequence of great misery, which has preceded it; for nothing can be added to a state of permanent satisfaction but some amusement, or the satisfaction of vanity. Hence all poets are obliged to bring their heroes into anxious and painful situations, so that they may be able to free them from them. Dramas and Epics accordingly always describe only fighting, suffering, tormented men; and every romance is a rareeshow in which we observe the spasms and convulsions of the agonised human heart. Walter Scott has naïvely expressed this æsthetic necessity in the conclusion to his novel, “Old Mortality.” Voltaire, who was so highly favoured both by nature and fortune, says, in entire agreement with the truth proved by me: “_Le bonheur n’est qu’un rève, et la douleur est réelle_.” And he adds: “_Il y a quatre‐vingts ans que je l’éprouve. Je n’y sais autre chose que me résigner, et me dire que les mouches sont nées pour être mangées par les araignées, et les hommes pour être dévorés par les chagrins._”