OF

MENTAL PHILOSOPHY,

EMBRACING THE TWO DEPARTMENTS OF THE

INTELLECT AND THE SENSIBILITIES.

BY THOMAS CUPHAM
Professor of Moral and Mental Philosophy in Bowdoin College.

Entered, according to Act of Congress, in the year 1840, by

THOMAS C. UPHAM,

in the Clerk's office of the District Court of Maine.

CONTENTS.

DIVISION SECOND.

THE SENSIBILITIES.

SENTIENT OR SENSITIVE STATES OF THE MIND.-SENTIMENTS.

INTRODUCTION.

CHAP. I.-RELATION OF THE INTELLECT TO THE SENSIBILITIES.

Section

1. Reference to the general division of the whole mind

2. Difference between intellections or states of the intellect, and

sentiments or states of the sensibility.

3. Action of the sensibilities implies that of the intellect.

4. Importance of the study of the sensibilities

5. Difficulties attending the prosecution of this study

CHAP. II.-CLASSIFICATION OF THE SENSIBILITIES.

6. Natural or pathematic sensibilities and moral

7. Relation of the natural to the moral sensibilities in time

8. The moral and natural sensibilities have different objects

9. The moral sensibilities higher in rank than the natural

10. The moral sensibilities wanting in brutes

11. Classification of the natural sensibilities

12. Classification of the moral sensibilities

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13.. We have a knowledge of emotions by consciousness

14. The place of emotions, considered in reference to other mental acts 32

15. The character of emotions changes so as to conform to that of per-

ceptions

16. Emotions characterized by rapidity and variety

CHAP. II.-EMOTIONS OF BEAUTY.

17. Characteristics of emotions of beauty

18. Of what is meant by beautiful objects

19. Of the distinction between beautiful and other objects

Section

20. Grounds or occasions of emotions of beauty various

21. Illustrations of the foregoing statement

22. Of the objects in general which excite emotions of beauty

23. All objects not equally fitted to cause these emotions

24. A susceptibility of emotions of beauty an ultimate principle of our

mental constitution

25. Remarks on the beauty of forms.-The circle

26. Original or intrinsic beauty. The circle

27. Of the beauty of straight and angular forms

28. Of square, pyramidal, and triangular forms

29. The variety of the sources of that beauty, which is founded on

forms, illustrated from the different styles of architecture

30. Of the original or intrinsic beauty of colours

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31. Further illustrations of the original beauty of colours

32. Of sounds considered as a source of beauty.

34. Further instances of the original beauty of sounds

33. Illustrations of the original beauty of sounds

35. The permanency of musical power dependant on its being intrinsic 59

36. Of motion as an element of beauty

37. Explanations of the beauty of motion from Kaimes

38. Of intellectual and moral objects as a source of the beautiful

39. Of a distinct sense or faculty of beauty

CHAP. III.-ASSOCIATED BEAUTY.

40. Associated beauty implies an antecedent or intrinsic beauty

41. Objects may become beautiful by association merely

42. Further illustrations of associated feelings

43. Instances of national associations

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44. The sources of associated beauty coincident with those of human

happiness

45. Of fitness considered as an element of associated beauty

46. Of utility as an element of associated beauty

47. Of proportion as an element of associated beauty

48. Relations of emotions of beauty to the fine arts

49. Differences of original susceptibility of this emotion

50. Objection to the doctrine of original beauty

51. Summary of views in regard to the beautiful

52. Of picturesque beauty

CHAP. IV.

EMOTIONS OF SUBLIMITY.

53. Connexion between beauty and sublimity

54. The occasions of the emotions of sublimity various

55. Great extent or expansion an occasion of sublimity

56. Great height an element or occasion of sublimity

57. Of depth in connexion with the sublime

58. Of colours in connexion with the sublime

59. Of sounds as furnishing an occasion of sublime emotions

60. Of motion in connexion with the sublime

61. Indications of power accompanied by emotions of the sublime

62. Of moral worth in connexion with sublimity

63. Sublime objects have some elements of beauty

64. Emotions of grandeur

65. Of the original or primary sublimity of objects

66. Considerations in proof of the original sublimity of objects

67. Influence of association on emotions of sublimity

68. Further illustrations of sublimity from association

CHAP. V.-NATURE OF INTELLECTUAL TASTE.

69. Definition of taste, and some of its characteristics

70. Distinguishable from mere quickness of feeling or sensibility