Aphra Behn opens her fiction, The Fair Jilt, with an aphoristic rule about the passion of love: “AS Love is the most noble and divine Passion of the Soul, so is it that to which we may justly, attribute all the real Satisfactions of Life; and without it, Man is unfinish’d, and unhappy.” In this study of Behn's language, it has become abundantly clear that her terms, “Passion of the Soul” and “love,” have specific meanings within the cross-section of seventeenth-century philosophical and spiritual thought, and that the words differ from modern usage. Like Descartes and Hobbes and other seventeenth-century thinkers, Behn is interested in the manifestation of passion in different characters, no more so than in her prose fictions. Passion is what R. S. White labels an early modern “meta-term” “to describe the internal processes and mental/bodily apparatus by which feelings were conceptualized.” It differs from emotions, which are particularized feeling states associated with the mind, and a concept that doesn't fully come into use until the nineteenth century. Behn's MFW in prose, love, is one possible manifestation of a passion of the soul in a feeling state, and in Behn's quotation from The Fair Jilt it is a positive and valued experience. Behn maintains “there are a thousand things to be said of this generous Passion” for those “whose hearts are capable of receiving its soft Impressions,” but “not everyone […] can be sensible of its tender touches.” The words “impressions” and “touches” point to the physical, bodily impact of love, which is consistent with an early modern understanding of the hydraulic system of humors and the perceived force of passion.