The passage quoted does not show Mill's usual candour and consistency. His philosophy has broken down on an essential point, and he is reluctant to admit it. He tries to throw the blame on other things, and recommends that those who think with him should maintain a discreet silence on the subject of memory, or if obliged to speak of it do so in ambiguous language. That is hardly honest, and is bad philosophical practice. What we know or think we know we may leave alone—it will not run away; it is what we are conscious of not knowing that should receive our persistent attention.
Materialism presents at first sight the data out of which to construct a theory of memory, for it recognises the dependent character of consciousness and takes body to be its substance. Does the body show any marks or traces of thought that may serve to revive ideas in the absence of objects? None have yet been discovered. Nerves are used in objective observation, but they do not appear to be essential either to recollection in general or to any of the more elaborate forms of internal thought. The brain is used only when giving expression to thought.
Memory is noticed by everyone, even the least metaphysical. Persons who are incapable of understanding the difference between object and subject or general and particular, are yet perfectly well aware of the difference between remembering and forgetting. The phrases relating to this distinction are the commonest in every language. Memory is conspicuous—notorious—palpable. It is the pivot on which the whole mental system revolves. It cannot be gainsaid or ignored. There is no profit in boycotting it in the manner recommended by Mill—it must be faced and explained. 'How do you account for memory?' should be the first question addressed to one who pretends to have a science of mind. If he has no plausible answer to give, his system is not worth discussion. A philosophy without a theory of memory is like an astronomy without gravitation.
X—MEMORY OF SENTIMENTS
Sentiments are remembered and recollected like objects. For instance, a boy is punished for doing wrong and has pain; he does wrong again and is haunted with the fear of being punished again, which is the recollected and anticipated pain. We have thus two species of sentiment corresponding exactly to object and idea. The word 'feeling' is appropriate to the first, 'emotion' to the second. 'Passion' is a strong degree of either.
Objects that are associated with feelings are better remembered than those that merely affect the intellect, for there is a double memory at work—one in the core and one on the surface of our mind.
Sentiments are not susceptible of the same degree of analysis as objects. The inner matrix is more fluid and does not keep details. Apart from the objects associated with feelings, there is not much opportunity or need for classifying them. We are happy, wretched, or indifferent—that sums up the sentimental experience.
No two moral philosophers give the same list of sentiments. Some are satisfied with two—pain and pleasure. Spinoza gives a list of forty-seven[9] sentiments, which includes luxury and drunkenness. It is evident that luxury is a general term which covers many different forms of feeling, and if the feeling of intoxication by alcohol is worth mentioning, so also must be the intoxications by opium and tobacco; and if these are included we must admit the feeling of nausea, which brings us to the sentiments associated with all diseased conditions of body or mind. Such distinctions are superfluous, for if the sentiment is purely personal and not associated with an external object, it is not of any general interest; if associated with an object and common to many persons it is best defined by reference to the object—as the pleasure of smelling a rose.
We have sometimes feelings of elation and depression for which we cannot find an internal reason nor yet an objective sign. Many of the so-called religious experiences are of this sort. So also are the sudden sympathies and aversions we feel towards certain people and places. Here there is an object, but we cannot find anything in the object that can be taken as specially significant of the feeling. We are said not to be able to 'analyse' our feeling, that is, assign it an object as cause.