  With the agreeable so broadly conceived, it is then easy for Herder to suggest that the beautiful cannot be rigidly separated from it, but must rather be more like a species of it, namely that which gives us such agreeable feelings of well-being through the “noble senses,” through figures, colors, tones, and the re-creation of all of these through the artificial signs of literary language.  To be sure, there are specific contexts in which we might call something that is disagreeable good, or something that is beautiful disagreeable, but these are the exceptions, not the rule—a medicine that is good for one, for example, may nevertheless be disagreeable (Kalligone, pp. 672–3n.). But although the agreeable, the beautiful, and the good, which Kant construed as three fundamentally “different relations of representations to the feeling of pleasure and displeasure” (CPJ, §5, 5:209), do have to be distinguished in certain contexts, they nevertheless are all expressions of our pleasure in a free and healthy life. Given this assumption, it is then not hard for Herder to argue that so far from being disinterested, our pleasure in beauty is necessarily of the greatest interest to us. But while he argues that the beautiful necessarily interests us, Herder also insists that the beautiful does not appeal to self-interest or self-love: the pleasure and interest in the genuinely beautiful as well as the agreeable and good is universal, not personal or idiosyncratic.