I know I am not being really fair to Mill here; this should apply only to people who appreciate poetry, and perhaps I should say "just above average poetry".
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This is how I know you never read my book. :-)
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Sorry if this it’s what you’re after but I: downplay the competent judges test, downplay any suggestion of lexical superiority, and tell them to forget about which particular pleasures are higher. I also try to motivate it by distinguishing types of pain (physical vs emotional).
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This is very close to what I end up doing; I try to say that some kind of perfectionist picture in which the higher pleasures play an important and continuous role in one's life would deliver similar results.
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I think the “category x” is always higher than “category y” is a bad way to go, and probably not what Moll actually thinks. I invite them to imagine watching two movies, one of which is pleasant the whole way, the other of which is difficult and tiring but there’s a payoff.
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Given that the payoff is far shorter in duration, and doesn’t feel like 10x more intense, if you want to say that more difficult movie is still more worthwhile, you have to accept that there are “higher pleasures”.
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I describe the higher pleasures like the difference between boredom and engagement. Even the best physical pleasure might get boring after a while, and if you think you might like something interesting after a few hours of great physical pleasure, Mill has a way in, I think.
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That also helps them think about what they find intellectually engaging, and so doesn't rest on a particular example. (And the example in so many cases is "doing philosophy," which makes me want to cry.)
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Try not to be misled by the verticalist metaphor. Try a 2x2 matrix that doesn't involve high vs low, e.g: amazing sex vs mediocre poetry vs mediocre sex vs amazing poetry. Then promote realism by giving each student four beans, to spend however they like on these four options.
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But Mill does seem to suggest lexical priority.
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