. . . These two are the fountains of knowledge, from whence all the ideas we have, or can naturally have, do spring.

3. The objects of sensation one source of ideas. First, our Senses, conversant about particular sensible objects, do convey into the mind several distinct perceptions of things, according to those various ways wherein those objects do affect them. And thus we come by those ideas we have of yellow, white, heat, cold, soft, hard, bitter, sweet, and all those which we call sensible qualities; which when I say the senses convey into the mind, I mean, they from external objects convey into the mind what produces there those perceptions. This great source of most of the ideas we have, depending wholly upon our senses, and derived by them to the understanding, I call SENSATION.

4. The operations of our minds, the other source of them. Secondly, the other fountain from which experience furnisheth the understanding with ideas is,- the perception of the operations of our own mind within us, as it is employed about the ideas it has got;- which operations, when the soul comes to reflect on and consider, do furnish the understanding with another set of ideas, which could not be had from things without. And such are perception, thinking, doubting, believing, reasoning, knowing, willing, and all the different actings of our own minds;- which we being conscious of, and observing in ourselves, do from these receive into our understandings as distinct ideas as we do from bodies affecting our senses. This source of ideas every man has wholly in himself; and though it be not sense, as having nothing to do with external objects, yet it is very like it, and might properly enough be called internal sense. But as I call the other SENSATION, so I Call this REFLECTION, the ideas it affords being such only as the mind gets by reflecting on its own operations within itself. By reflection then, in the following part of this discourse, I would be understood to mean, that notice

Most of the ideas which are capable of making a powerful impression on the mind, whether simply of pain or pleasure, or of the modifications of those, may be reduced very nearly to these two heads, <i>self-preservation</i>, and <i>society</i>.

The acts of the mind, wherein it exerts its power over simple ideas, are chiefly these three: 1. Combining several simple ideas into one compound one, and thus all complex ideas are made. 2. The second is bringing two ideas, whether simple or complex, together, and setting them by one another so as to take a view of them at once, without uniting them into one, by which it gets all its ideas of relations. 3. The third is separating them from all other ideas that accompany them in their real existence: this is called abstraction, and thus all its general ideas are made.

It is a remark which needs no subtle reflection to make, but which we may assume that even the commonest understanding can make, although it be after its fashion by an obscure discernment of judgment which it calls feeling, that all the 'ideas' that come to us involuntarily (as those of the senses) do not enable us to know objects otherwise than as they affect us; so that what they may be in themselves remains unknown to us, and consequently that as regards 'ideas' of this kind even with the closest attention and clearness that the understanding can apply to them, we can by them only attain to the knowledge of appearances, never to that of things in themselves.

Thus we see, that the mind can undergo many changes, and can pass sometimes to a state of greater perfection, sometimes to a state of lesser perfection. These passive states of transition explain to us the emotions of pleasure and pain. By pleasure therefore in the following propositions I shall signify a passive state wherein the mind passes to a greater perfection. By pain I shall signify a passive state wherein the mind passes to a lesser perfection. Further, the emotion of pleasure in reference to the body and mind together I shall call stimulation (titillatio) or merriment (hilaritas), the emotion of pain in the same relation I shall call suffering or melancholy. But we must bear in mind, that stimulation and suffering are attributed to man, when one part of his nature is more affected than the rest, merriment and melancholy, when all parts are alike affected. What I mean by desire I have explained in the note to Prop. ix. of this part; beyond these three I recognize no other primary emotion; I will show as I proceed, that all other emotions arise from these three.

I believe that this notion of our having a simple pain in the reality, yet a delight in the representation, arises from hence, that we do not sufficiently distinguish what we would by no means choose to do, from what we should be eager enough to see if it was once done. We delight in seeing things, which so far from doing, our heartiest wishes would be to see redressed.

The better to understand the nature, manner, and extent of our knowledge, one thing is carefully to be observed concerning the ideas we have; and that is, that some of them are simple and some complex.

On the whole, it appears to me, that what is called taste, in its most general acceptation, is not a simple idea, but is partly made up of a perception of the primary pleasures of sense, of the secondary pleasures of the imagination, and of the conclusions of the reasoning faculty, concerning the various relations of these, and concerning the human passions, manners, and actions.

Remembrance and reflection how allied!
What thin partitions Sense from Thought divide!

Note II. — From all that has been said above it is clear, that we, in many cases, perceive and form our general notions: — (1.) From particular things represented to our intellect fragmentarily, confusedly, and without order through our senses (II. xxix. Coroll.); I have settled to call such perceptions by the name of knowledge from the mere suggestions of experience.4 (2.) From symbols, e.g., from the fact of having read or heard certain words we remember things and form certain ideas concerning them, similar to those through which we imagine things (II. xviii. note). I shall call both these ways of regarding things knowledge of the first kind, opinion, or imagination. (3.) From the fact that we have notions common to all men, and adequate ideas of the properties of things (II. xxxviii. Coroll., xxxix. and Coroll. and xl.); this I call reason and knowledge of the second kind. Besides these two kinds of knowledge, there is, as I will hereafter show, a third kind of knowledge, which we will call intuition. This kind of knowledge proceeds from an adequate idea of the absolute essence of certain attributes of God to the adequate knowledge of the essence of things. I will illustrate all three kinds of knowledge by a single example. Three numbers are given for finding a fourth, which shall be to the third as the second is to the first. Tradesmen without hesitation multiply the second by the third, and divide the product by the first; either because they have not forgotten the rule which they received from a master without any proof, or because they have often made trial of it with simple numbers, or by virtue of the proof of the nineteenth proposition of the seventh book of Euclid, namely, in virtue of the general property of proportionals. But with very simple numbers there is no need of this. For instance, one, two, three, being given, everyone can see that the fourth proportional is six; and this is much clearer, because we infer the fourth number from an intuitive gr

You know these things as thoughts, but your thoughts are not your experiences, they are an echo and after-effect of your experiences: as when your room trembles when a carriage goes past. I however am sitting in the carriage, and often I am the carriage itself.
Ina man who thinks like this, the dichotomy between thinking and feeling, intellect and passion, has really disappeared. He feels his thoughts. He can fall in love with an idea. An idea can make him ill.

For how can you remember the feel of pleasure or pain or choking emotion? You can remember only that you had them.

"Text of pleasure: the text that contents, fills, grants euphoria; the text that comes from culture and does not break with it, is linked to a comfortable practice of reading.
Text of bliss: the text that imposes a state of loss, the text that discomforts (perhaps to the point of a certain
boredom), unsettles the reader's historical, cultural, psychological assumptions, the consistency of his tastes, values, memories, brings to a crisis his relation with language.

Now the subject who keeps the two texts in his field and in his hands the reins of pleasure and bliss is an anachronic subject, for he simultaneously and contradictorily participates in the profound hedonism of all culture (which permeates him quietly under the cover of an "art de vivre" shared by the old books) and in the destruction of that culture: he enjoys the consistency of his selfhood (that is his pleasure) and seeks its loss (that is his bliss). He is a subject split twice over, doubly perverse."

Certain ideas overwhelm us by their simplicity.