2. And first, we are to consider, that of conceptions there are _three sorts_, whereof one is of that which is _present_, which is _sense_; another, of that which is _past_, which is _remembrance_; and the third, of that which is _future_, which we call _expectation_: all which have been manifestly declared in the second and third chapters; and every of these conceptions is _pleasure_ or _pain_ _present_. And first for the pleasures of the _body_ which affect the sense of _touch_ and _taste_, as far forth as they be _organical_, their conceptions are _sense_: so also is the pleasure of all _exonerations_ of nature: all which passions I have before named, _sensual pleasures_; and their contrary, _sensual pains_: to which also may be added the pleasures and displeasures of _odours_, if any of them shall be found organical, which for the most part they are not, as appeareth by this experience which every man hath, that the same smells, when they seem to proceed from others, displease, though they proceed from ourselves; but when we think they proceed from ourselves, they displease not, though they come from others: the displeasure of this is a conception of hurt thereby from those odours, as being unwholesome, and is therefore a conception of evil to come, and not present. Concerning the delight of _hearing_, it is diverse, and the organ itself not affected thereby: _simple sounds_ please by _equality_, as the sound of a bell or lute: insomuch as it seems, an equality continued by the percussion of the object upon the ear, is pleasure; the contrary is called _harshness_, such as is grating, and some other sounds, which do not always affect the body, but only sometime, and that with a kind of horror beginning at the teeth. _Harmony_, or many sounds together agreeing, please by the same reason as the _unison_, which is the sound of equal strings equally stretched. Sounds that differ in any _height_, please by _inequality and equality alternate_, that is to say, the higher note striketh twice, for one stroke of the other, whereby they strike together every second time; as is well proved by Galileo, in the first dialogue concerning local motion: where he also sheweth, that two sounds differing a _fifth_, delight the ear by an _equality_ of striking _after two inequalities_; for the higher note striketh the ear thrice, while the other strikes but twice. In like manner he sheweth wherein consisteth the pleasure of concord, and the displeasure of discord, in other difference of notes. There is yet _another_ pleasure and displeasure of sounds, which consisteth in _consequence of one note after another, diversified_ both by _accent_ and _measure_; whereof that which pleaseth is called an _air_; but for what reason one succession in tone and measure is a more pleasing air than another, I confess I know not; but I conjecture the reason to be, for that some of them imitate and revive some passion which otherwise we take no notice