Description from a book review by J. G. Beebe-Center: "Mr. Allen's book develops in detail the view that pleasure and unpleasure are essentially manifestations of the progression and thwarting of impulses. Part one is a brief summary of the principal theories of feeling. Part two is devoted to "sensory" or "bodily" pleasure and unpleasure. These forms of feeling, it is argued, 'depend on an analogue of conation existing in the organism, a nisus to maintain, or to carry out to the (...) full extent, the functioning proper to the bodily system.' Part three -- the piece de resistance (about half the book) -- deals with the relation of pleasure and unpleasure to the main instincts. Parts four, five and six take up a number of classical problems: the relation of pleasure and unpleasure to sensation, their relation to desire, the relativity of feelings, the qualitative variety of feelings, and the psychology of values. The author shows throughout a rare combination of historicophilosophical sophistication and of first-hand familiarity with the modern experimental literature.". (shrink)

Theories of beauty are often divided into the objective and the subjective. I am doubtful whether a rigid distinction between the two can be maintained. It is difficult for an objective theory to assert that the impression of beauty is received quite passively, without any reaction or co-operation on the part of the subject, which is likely to be similar in the various cases.

The nature of tragedy has always been felt to be a problem, not only by the philosopher, but also, and perhaps even more, by the ordinary man. The question so often asked is: why, if there is so much suffering already in the world, do we want to go to a theatre or read a story describing more suffering? Why indeed should the spectacle of suffering ever be pleasing to us? Yet it is obvious that olarge numbers of ordinary people (...) do like reading or seeing tragedies; and that there are some tragedies which are generally judged to be the most valuable works of literary art ever produced. What then is the nature of the value which we extract from these works? That is the question to which I would like to address myself. (shrink)