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from the sentiments of beauty。 The latter； being the predominant
emotion； seize the whole mind； and convert the former into
themselves； at least tincture them so strongly as totally to
alter their nature。 And the soul； being； at the same time； rouzed
by passion； and charmed by eloquence； feels on the whole a strong
movement； which is altogether delightful。
The same principle takes place in tragedy； with this
addition； that tragedy is an imitation； and imitation is always
of itself agreeable。 This circumstance serves still farther to
smooth the motions of passion； and convert the whole feeling into
one uniform and strong enjoyment。 Objects of the greatest terror
and distress please in painting； and please more than the most
beautiful objects； that appear calm and indifferent。＇3＇ The
affection； rousing the mind； excites a large stock of spirit and
vehemence； which is all transformed into pleasure by the force of
the prevailing movement。 It is thus the fiction of tragedy
softens the passion； by an infusion of a new feeling； not merely
by weakening or diminishing the sorrow。 You may by degrees weaken
a real sorrow； till it totally disappears； yet in none of its
graduations will it ever give pleasure； except； perhaps； by
accident； to a man sunk under lethargic indolence； whom it rouzes
from that languid state。
To confirm this theory； it will be sufficient to produce
other instances； where the subordinate movement is converted into
the predominant； and gives force to it； though of a different；
and even sometimes though of a contrary nature。
Novelty naturally rouzes the mind； and attracts our
attention； and the movements； which it causes； are always
converted into any passion； belonging to the object； and join
their force to it。 Whether an event excite joy or sorrow； pride
or shame； anger or good…will； it is sure to produce a stronger
affection； when new or unusual。 And though novelty of itself be
agreeable； it fortifies the painful； as well as agreeable
passions。
Had you any intention to move a person extremely by the
narration of any event； the best method of encreasing its effect
would be artfully to delay informing him of it； and first to
excite his curiosity and impatience before you let him into the
secret。 This is the artifice practised by Iago in the famous
scene of Shakespeare； and every spectator is sensible； that
Othello's jealousy acquires additional force from his preceding
impatience； and that the subordinate passion is here readily
transformed into the predominant one。
Difficulties encrease passions of every kind； and by rouzing
our attention； and exciting our active powers； they produce an
emotion； which nourishes the prevailing affection。
Parents commonly love that child most； whose sickly infirm
frame of body has occasioned them the greatest pains； trouble；
and anxiety in rearing him。 The agreeable sentiment of affection
here acquires force from sentiments of uneasiness。
Nothing endears so much a friend as sorrow for his death。
The pleasure of his company has not so powerful an influence。
Jealousy is a painful passion； yet without some share of it；
the agreeable affection of love has difficulty to subsist in its
full force and violence。 Absence is also a great source of
complaint among lovers； and gives them the greatest uneasiness：
Yet nothing is more favourable to their mutual passion than short
intervals of that kind。 And if long intervals often prove fatal；
it is only because； through time； men are accustomed to them； and
they cease to give uneasiness。 Jealousy and absence in love
compose the of the Italians； which they suppose
so essential to all pleasure。
There is a fine observation of the elder Pliny； which
illustrates the principle here insisted on。 ； says he； 。'＇4＇
These instances （and many more might be collected） are
sufficient to afford us some insight into the analogy of nature；
and to show us； that the pleasure； which poets； orators； and
musicians give us； by exciting grief； sorrow； indignation；
compassion； is not so extraordinary or paradoxical； as it may at
first sight appear。 The force of imagination； the energy of
expression； the power of numbers； the charms of imitation； all
these are naturally； of themselves； delightful to the mind： And
when the object presented lays also hold of some affection； the
pleasure still rises upon us； by the conversion of this
subordinate movement into that which is predominant。 The passion；
though； perhaps； naturally； and when excited by the simple
appearance of a real object； it may be painful； yet is so
smoothed； and softened； and mollified； when raised by the finer
arts； that it affords the highest entertainment。
To confirm this reasoning； we may observe； that if the
movements of the imagination be not predominant above those of
the passion； a contrary effect follows； and the former； being now
subordinate； is converted into the latter； and still farther
encreases the pain and affliction of the sufferer。
Who could ever think of it as a good expedient for
comforting an afflicted parent； to exaggerate； with all the force
of elocution； the irreparable loss； which he has met with by the
death of a favourite child ？ The more power of imagination and
expression you here employ； the more you encrease his despair and
affliction。
The shame； confusion； and terror of Verres； no doubt； rose
in proportion to the noble eloquence and vehemence of Cicero： So
also did his pain and uneasiness。 These former passions were too
strong for the pleasure arising from the beauties of elocution；
and operated； though from the same principle； yet in a contrary
manner； to the sympathy； compassion； and indignation of the
audience。
Lord Clarendon； when he approaches towards the catastrophe
of the royal party； supposes； that his narration must then become
infinite＇y disagreeable； and he hurries over the king's death；
without giving us one circumstance of it。 He considers it as too
horrid a scene to be contemplated with any satisfaction； or even
without the utmost pain and aversion。 He himself； as well as the
readers of that age； were too deeply concerned in the events； and
felt a pain from subjects； which an historian and a reader of
another age would regard as the most pathetic and most
interesting； and； by consequence； the most agreeable。
An action； represented in tragedy； may be too bloody and
atrocious。 It may excite such movements of horror as will not
soften into pleasure； and the greatest energy of expression；
bestowed on descriptions of that nature； serves only to augment
our uneasiness。 Such is that action represented in the ； where a venerable old man； raised to the height of
fury and despair； rushes against a pillar； and striking his head
upon it； besmears it all over with mingled brains and gore。 The
English theatre abounds too much with such shocking images。
Even the common sentiments of compassion require to be
softened by some agreeable affection； in order to give a thorough
satisfaction to the audience。 The mere suffering of plaintive
virtue； under the triumphant tyranny and oppression of vice；
forms a disagreeable spectacle； and is carefully avoided by all
masters of the drama。 In order to dismiss the audience with
entire satisfaction and contentment； the virtue must either
convert itself into a noble courageous despair； or the vice
receive its proper punishment。
Most painters appear in this light to have been