(2) Have some argumentative passage read aloud to you. Notice how the intellectual feeling-attitudes rise and disappear, as the argument proceeds. Differentiate them, and try to give them names; mark the sentences which call them forth; try to determine if their nature and arousal correspond with the writer’s intention.
(3) What modes of feeling-response may be aroused by music? Illustrate, if possible, by actual examples.
(4) Are there any movements that characteristically express certain sentiments, as clenching the fist (for instance) expresses anger?
(5) Matthew Arnold defined poetry as “a criticism of life” (look up the passage, in the Preface to Poems of Wordsworth, and be sure that you understand it!). Does this definition suggest any further field of usefulness for æsthetics? May æsthetics properly be extended to cover it?
(6) How does ‘curiosity’ differ from ‘inquisitiveness’?
(7) Can you recall any characters, in literature or fiction, who might stand as embodiments of some social or religious sentiment?
(8) Two traditional explanations of the ludicrous are (a) the theory of degradation: that when we laugh we are realising our own superiority, and (b) the theory of incongruity: that the comic situation always involves a nullifying of expectation. What criticisms can you offer?
(9) What sort of temperament are we thinking of when we agree to call Shakespeare, Cervantes, Goldsmith, Sterne, Lamb, Dickens and George Eliot ‘humorists’?
(10) Aristotle lays it down that tragedy “accomplishes by pity and fear the purgation of such emotions.” Can you read a positive and definite meaning into this statement? Can you rephrase it, in terms of our psychology of sentiment? Is it then adequate?
(11) How do we know that a greater artist than Hearn would have printed his pages in the conventional way? What means has an author, who does print in the conventional way, of emphasising the points at which he wishes feeling-attitudes to arise?