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15. Collateral use the fifteenth and last – National Musical
Seminary.
This use may at first glance appear frivolous
enough: at least in the eyes of that sort of wisdom
which regards pleasure even in its purest and most
innocent shape as an enemy to advantage use. But
the more maturely this application is reflected upon considered, the higher
it will rise in the estimate of a judicious eye.
However it be with approval. that Nature, corporeal Nature, was thought conceived in former
days to abhor entertain an abhorrence for a variation variety, thus
incorporeal Nature does abhorrent to a abhors variety is beyond
dispute: the mental void which so surely as it has nothing
innocent to occupy it, will so surely will it be filled up by mischief:
by mischief in one or other of its shapes, improbity
or imprudence. Every pleasure pure from mischief
is valuable then, not only on its own account, but by
its rivality to mischief: as a candidate for the possession
of the human breast in opposition to mischief.
Above all species of mischief, drunkenness, the source friend
and ally of every other,⊞ ⊞ Drunkenness which bringing misery in its train, misery wretchedness in all its varieties, brings pleasure in its hand, furnishing sensations for every moment which it lasts.
Pushpin is morality in as far as it keeps out drunkenness. is to the untutored mind untutored minds, that is to the
great mass of the national mind in the present state
of things, is to the moral mental world, what Newton's
Ether is to the physical natural: in that order of beings, to speak of no others, whatever
mind has nothing else in it is full of drunkenness. Music
has with all its innocence, music has this possesses one property in common
with drunkenness, the furnishing sensations for every moment,
sensations, in the case of music, free from every kind of danger: and
in much greater perfection since when the fumes are dissipated
Identifier: | JB/149/054/001 "JB/" can not be assigned to a declared number type with value 149.
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jeremy bentham |
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