Buttoenableacriticthemorefullytoexecutethisundertaking，hemustpreservehismindfreefromallprejudice，andallownothingtoenterintohisconsideration，buttheveryobjectwhichissubmittedtohisexamination。Wemayobserve，thateveryworkofart，inordertoproduceitsdueeffectonthemind，mustbesurveyedinacertainpointofview，andnotbefullyrelishedbypersons，whosesituation，realorimaginary，isnotconformabletothatwhichisrequiredbytheperformance。Anoratoraddresseshimselftoaparticularaudience，andmusthavearegardtotheirparticulargenius，interests，opinions，passions，andprejudices；otherwisehehopesinvaintogoverntheirresolutions，andinflametheiraffections。Shouldtheyevenhaveentertainedsomeprepossessionsagainsthim，howeverunreasonable，hemustnotoverlookthisdisadvantage；but，beforeheentersuponthesubject，mustendeavourtoconciliatetheiraffection，andacquiretheirgoodgraces。Acriticofadifferentageornotion，whoshouldperusethisdiscourse，musthaveallthesecircumstancesinhiseye，andmustplacehimselfinthesamesituationastheaudience，inordertoformatruejudgmentoftheoration。Inlikemanner，whenanyworkisaddressedtothepublic，thoughIshouldhaveafriendshiporenmitywiththeauthor，Imustdepartfromthissituation；andconsideringmyselfasamaningeneral，forget，ifpossible，myindividualbeingandmypeculiarcircumstances。Apersoninfluencedbyprejudice，compliesnotwiththiscondition；butobstinatelymaintainshisnaturalposition，withoutplacinghimselfinthatpointofview，whichtheperformancesupposes。Iftheworkbeaddressedtopersonsofadifferentageornation，hemakesnoallowancefortheirpeculiarviewsandprejudices；but，fullofthemannersofhisownageandcountry，rashlycondemnswhatseemedadmirableintheeyesofthoseforwhomalonethediscoursewascalculated。Iftheworkbeexecutedforthepublic，heneversufficientlyenlargeshiscomprehension，orforgetshisinterestasafriendorenemy，asarivalorcommentator。Bythismeans，hissentimentsareperverted；norhavethesamebeautiesandblemishesthesameinfluenceuponhim，asifhehadimposedaproperviolenceonhisimagination，andhadforgottenhimselfforamoment。Sofarhistasteevidentlydepartsfromthetruestandard；andofconsequencelosesallcreditandauthority。
Itiswellknown，thatinallquestions，submittedtotheunderstanding，prejudiceisdestructiveofsoundjudgment，andpervertsalloperationsoftheintellectualfaculties：Itisnolesscontrarytogoodtaste；norhasitlessinfluencetocorruptoursentimentofbeauty。Itbelongstogoodsensetocheckitsinfluenceinbothcases；andinthisrespect，aswellasinmanyothers，reason，ifnotanessentialpartoftaste，isatleastrequisitetotheoperationsofthislatterfaculty。Inallthenoblerproductionsofgenius，thereisamutualrelationandcorrespondenceofparts；norcaneitherthebeautiesorblemishesbeperceivedbyhim，whosethoughtisnotcapaciousenoughtocomprehendallthoseparts，andcomparethenwitheachother，inordertoperceivetheconsistenceanduniformityofthewhole。
Everyworkofarthasalsoacertainendorpurpose，forwhichitiscalculated；andistobedeemedmoreorlessperfect，asitismoreorlessfittedtoattainthisend。Theobjectofeloquenceistopersuade，ofhistorytoinstruct，ofpoetrytopleasebymeansofthepassionsandtheimagination。Theseendswemustcarryconstantlyinourview，whenweperuseanyperformance；andwemustbeabletojudgehowfarthemeansemployedareadaptedtotheirrespectivepurposes。Besides，everykindofcomposition，eventhemostpoetical，isnothingbutachainofpropositionsandreasonings；notalways，indeed，thejustestandmostexact，butstillplausibleandspecious，howeverdisguisedbythecolouringoftheimagination。Thepersonsintroducedintragedyandepicpoetry，mustberepresentedasreasoning，andthinking，andconcluding，andacting，suitablytotheircharacterandcircumstances；andwithoutjudgment，aswellastasteandinvention，apoetcanneverhopetosucceedinsodelicateanundertaking。Nottomention，thatthesameexcellenceoffacultieswhichcontributestotheimprovementofreason，thesameclearnessofconception，thesameexactnessofdistinction，thesamevivacityofapprehension，areessentialtotheoperationsoftruetaste，andareitsinfallibleconcomitants。Itseldom，orneverhappens，thatamanofsense，whohasexperienceinanyart，cannotjudgeofitsbeauty；anditisnolessraretomeetwithamanwhohasajusttastewithoutasoundunderstanding。
Thus，thoughtheprinciplesoftastebeuniversal，and，nearly，ifnotentirelythesameinallmen；yetfewarequalifiedtogivejudgmentonanyworkofart，orestablishtheirownsentimentasthestandardofbeauty。Theorgansofinternalsensationareseldomsoperfectastoallowthegeneralprinciplestheirfullplay，andproduceafeelingcorrespondenttothoseprinciples。Theyeitherlabourundersomedefect，orarevitiatedbysomedisorder；andbythatmeans，exciteasentiment，whichmaybepronouncederroneous。Whenthecritichasnodelicacy，hejudgeswithoutanydistinction，andisonlyaffectedbythegrosserandmorepalpablequalitiesoftheobject：Thefinertouchespassunnoticedanddisregarded。Whereheisnotaidedbypractice，hisverdictisattendedwithconfusionandhesitation。Wherenocomparisonhasbeenemployed，themostfrivolousbeauties，suchasrathermeritthenameofdefects。，aretheobjectofhisadmiration。Whereheliesundertheinfluenceofprejudice，allhisnaturalsentimentsareperverted。
Wheregoodsenseiswanting，heisnotqualifiedtodiscernthebeautiesofdesignandreasoning，whicharethehighestandmostexcellent。Undersomeorotheroftheseimperfections，thegeneralityofmenlabour；andhenceatruejudgeinthefinerartsisobserved，evenduringthemostpolishedages，tobesofareacharacter；Strongsense，unitedtodelicatesentiment，improvedbypractice，perfectedbycomparison，andclearedofallprejudice，canalongentitlecriticstothisvaluablecharacter；
andthejointverdictofsuch，wherevertheyaretobefound，isthetruestandardoftasteandbeauty。
Butwherearesuchcriticstobefound？Bywhatmarksaretheytobeknown？Howdistinguishthemfrompretenders？Thesequestionsareembarrassing；andseemtothrowusbackintothesameuncertainty，fromwhich，duringthecourseofthisessay，wehaveendeavouredtoextricateourselves。
Butifweconsiderthematteraright，thesearequestionsoffact，notofsentiment。Whetheranyparticularpersonbeendowedwithgoodsenseandadelicateimagination，freefromprejudice，mayoftenbethesubjectofdispute，andbeliabletogreatdiscussionandenquiry：butthatsuchacharacterisvaluableandestimablewillbeagreedinbyallmankind。Wherethesedoubtsoccur，mencandonomorethaninotherdisputablequestions，whicharesubmittedtotheunderstanding：Theymustproducethebestarguments，thattheirinventionsuggeststothem；theymustacknowledgeatrueanddecisivestandardtoexistsomewhere，towit，realexistenceandmateroffact；andtheymusthaveindulgencetosuchasdifferfromthemintheirappealstothisstandard。Itissufficientforourpresentpurpose，ifwehaveproved，thatthetasteofallindividualsisnotuponanequalfooting，andthatsomemeningeneral，howeverdifficulttobeparticularlypitchedupon，willbeacknowledgebyuniversalsentimenttohaveapreferenceaboveothers。
Butinrealitythedifficultyoffinding，eveninparticulars，thestandardoftaste，isnotsogreatasitisrepresented。Thoughinspeculation，wemayreadilyavowacertaincriterioninscienceanddenyitinsentiment，thematterisfoundinpracticetobemuchmorehardtoascertainintheformercasethaninthelatter。Theoriesofabstractphilosophy，systemsofprofoundtheology，haveprevailedduringoneage：Inasuccessiveperiod，thesehavebeenuniversallyexploded：Theirabsurdityhasbeendetected：Othertheoriesandsystemshavesuppliedtheirplace，whichagaingaveplacetotheirsuccessors：
Andnothinghasbeenexperiencedmoreliabletotherevolutionsofchanceandfashionthanthesepretendeddecisionsofscience。
Thecaseisnotthesamewiththebeautiesofeloquenceandpoetry。Justexpressionsofpassionandnaturearesure，afteralittletime，togainpublicapplause，whichtheymaintainforever。ARISTOTLE，andPLATO，andEPICURUS，andDESCARTES，maysuccessivelyyieldtoeachother：ButTERENCEandVIRGILmaintainanuniversal，undisputedempireoverthemindsofmen。TheabstractphilosophyofCICEROhaslostitscredit：Thevehemenceofhisoratoryisstilltheobjectofouradmiration。
Thoughmenofdelicatetasteberare，theyareeasilytobedistinguishedinsociety，bythesoundnessoftheirunderstandingandthesuperiorityoftheirfacultiesabovetherestofmankind。
Theascendant，whichtheyacquire，givesaprevalencetothatlivelyapprobation，withwhichtheyreceiveanyproductionsofgenius，andrendersitgenerallypredominant。Manymen，whenlefttothemselves，havebutafaintanddubiousperceptionofbeauty，whoyetarecapableofrelishinganyfinestroke，whichispointedouttothem。Everyconverttotheadmirationoftherealpoetororatoristhecauseofsomenewconversion。Andthoughprejudicesmayprevailforatime，theyneveruniteincelebratinganyrivaltothetruegenius，butyieldatlasttotheforceofnatureandjustsentiment。Thus，thoughacivilizednationmayeasilybemistakeninthechoiceoftheiradmiredphilosopher，theyneverhavebeenfoundlongtoerr，intheiraffectionforafavoriteepicortragicauthor。
Butnotwithstandingallourendeavourstofixastandardoftaste，andreconcilethediscordantapprehensionsofmen，therestillremaintwosourcesofvariation，whicharenotsufficientindeedtoconfoundalltheboundariesofbeautyanddeformity，butwilloftenservetoproduceadifferenceinthedegreesofourapprobationorblame。Theoneisthedifferenthumoursofparticularmen；theother，theparticularmannersandopinionsofourageandcountry。Thegeneralprinciplesoftasteareuniforminhumannature：wheremenvaryintheirjudgments，somedefectorperversioninthefacultiesmaycommonlyberemarked；
proceedingeitherfromprejudice，fromwantofpractice，orwantofdelicacy；andthereisjustreasonforapprovingonetaste，andcondemninganother。Butwherethereissuchadiversityintheinternalframeorexternalsituationasisentirelyblamelessonbothsides，andleavesnoroomtogiveonethepreferenceabovetheother；inthatcaseacertaindegreeofdiversityinjudgmentisunavoidable，andweseekinvainforastandard，bywhichwecanreconcilethecontrarysentiments。
Ayoungman，whosepassionsarewarm，willbemoresensiblytouchedwithamorousandtenderimages，thanamanmoreadvancedinyears，whotakepleasureinwise，philosophicalreflectionsconcerningtheconductoflifeandmoderationofthepassions。Attwenty，OVIDmaybethefavouriteauthor；HORACEatforty；andperhapsTACITUSatfifty。Vainlywouldwe，insuchcases，endeavourtoenterintothesentimentsofothers，anddivestourselvesofthosepropensities，whicharenaturaltous。Wechooseourfavouriteauthoraswedoourfriend，fromaconformityofhumouranddisposition。Mirthorpassion，sentimentorreflection；whicheverofthesemostpredominatesinourtemper，itgivesusapeculiarsympathywiththewriterwhoresemblesus。
Onepersonismorepleasedwiththesublime；anotherwiththetender；athirdwithraillery。Onehasastrongsensibilitytoblemishes，andisextremelystudiousofcorrectness：Anotherhasamorelivelyfeelingofbeauties，andpardonstwentyabsurditiesanddefectsforoneelevatedorpatheticstroke。Theearofthismanisentirelyturnedtowardsconcisenessandenergy；thatmanisdelightedwithacopious，rich，andharmoniousexpression。Simplicityisaffectedbyone；ornamentbyanother。Comedy，tragedy，satire，odes，haveeachitspartisans，whopreferthatparticularspeciesofwritingtoallothers。Itisplainlyanerrorinacritic，toconfinehisapprobationtoonespeciesorstyleofwriting，andcondemnalltherest。Butitisalmostimpossiblenottofeelapredilectionforthatwhichsuitsourparticularturnanddisposition。Suchpreferencesareinnocentandunavoidable，andcanneverreasonablybetheobjectofdispute，becausethereisnostandard，bywhichtheycanbedecided。
Foralikereason，wearemorepleased，inthecourseofourreading，withpicturesandcharacters，thatresembleobjectswhicharefoundinourownageorcountry，thanwiththosewhichdescribeadifferentsetofcustoms。Itisnotwithoutsomeeffort，thatwereconcileourselvestothesimplicityofancientmanners，andbeholdprincessescarryingwaterfromthespring，andkingsandheroesdressingtheirownvictuals。Wemayallowingeneral，thattherepresentationofsuchmannersisnofaultintheauthor，nordeformityinthepiece；butwearenotsosensiblytouchedwiththem。Forthisreason，comedyisnoteasilytransferredfromoneageornationtoanother。AFRENCHMANorENGLISHMANisnotpleasedwiththeANDRIAofTERENCE，orCLITIA
ofMACHIAVEL；wherethefinelady，uponwhomalltheplayturns，neveronceappearstothespectators，butisalwayskeptbehindthescenes，suitablytothereservedhumouroftheancientGREEKS
andmodernITALIANS。Amanoflearningandreflectioncanmakeallowanceforthesepeculiaritiesofmanners；butacommonaudiencecanneverdivestthemselvessofaroftheirusualideasandsentiments，astorelishpictureswhichinnowiseresemblethem。
Butherethereoccursareflection，whichmay，perhaps，beusefulinexaminingthecelebratedcontroversyconcerningancientandmodernlearning；whereweoftenfindtheonesideexcusinganyseemingabsurdityintheancientsfromthemannersoftheage，andtheotherrefusingtoadmitthisexcuse，oratleast，admittingitonlyasanapologyfortheauthor，notfortheperformance。Inmyopinion，theproperboundariesinthissubjecthaveseldombeenfixedbetweenthecontendingparties。Whereanyinnocentpeculiaritiesofmannersarerepresented，suchasthoseabovementioned，theyoughtcertainlytobeadmitted；andaman，whoisshockedwiththem，givesanevidentproofoffalsedelicacyandrefinement。Thepoet’smonumentmoredurablethanbrass，mustfalltothegroundlikecommonbrickorclay，werementomakenoallowanceforthecontinualrevolutionsofmannersandcustoms，andwouldadmitofnothingbutwhatwassuitabletotheprevailingfashion。Musewethrowasidethepicturesofourancestors，becauseoftheirruffsandfardingales？Butwheretheideasofmoralityanddecencyalterfromoneagetoanother，andwhereviciousmannersaredescribed，withoutbeingmarkedwiththepropercharactersofblameanddisapprobation；thismustbeallowedtodisfigurethepoem，andtobearealdeformity。I
cannot，norisitproperIshould，enterintosuchsentiments；
andhoweverImayexcusethepoet，onaccountofthemannersinhisage，Inevercanrelishthecomposition。Thewantofhumanityandofdecency，soconspicuousinthecharactersdrawnbyseveraloftheancientpoets，evensometimesbyHOMERandtheGREEK
tragedians，diminishesconsiderablythemeritoftheirnobleperformances，andgivesmodernauthorsanadvantageoverthem。Wearenotinterestedinthefortunesandsentimentsofsuchroughheroes：Wearedispleasedtofindthelimitsofviceandvirtuesomuchconfounded：Andwhateverindulgencewemaygivetothewriteronaccountofhisprejudices，wecannotprevailonourselftoenterintohissentiments，orbearanaffectiontocharacters，whichweplainlydiscovertobeblameable。
Thecaseisnotthesamewithmoralprinciples，aswithspeculativeopinionsofanykind。Theseareincontinualfluxandrevolution。Thesonembracesadifferentsystemfromthefather。
Nay，therescarcelyisanyman，whocanboastofgreatconstancyanduniformityinthisparticular。Whateverspeculativeerrorsmaybefoundinthepolitewritingsofanyageorcountry，theydetractbutlittlefromthevalueofthosecompositions。Thereneedsbutacertainturnofthoughtorimaginationtomakeusenterintoalltheopinions，whichthenprevailed，andrelishthesentimentsorconclusionsderivedfromthem。Butaveryviolenteffortisrequisitetochangeourjudgmentofmanners，andexcitesentimentsofapprobationorblame，loveorhatred，differentfromthosetowhichthemindfromlongcustomhasbeenfamiliarized。Andwhereamanisconfidentoftherectitudeofthatmoralstandard，bywhichhejudges，heisjustlyjealousofit，andwillnotpervertthesentimentsofhisheartforamoment，incomplaisancetoanywriterwhatsoever。
Ofallspeculativeerrors，those，whichregardreligion，arethemostexcusableincompositionsofgenius；norisiteverpermittedtojudgeofthecivilityorwisdomofanypeople，orevenofsinglepersons，bythegrossnessorrefinementoftheirtheologicalprinciples。Thesamegoodsense，thatdirectsmenintheordinaryoccurrencesoflife，isnotharkenedtoinreligiousmatters，whicharesupposedtobeplacedaltogetherabovethecognizanceofhumanreason。Onthisaccount，alltheabsurditiesofthepagansystemoftheologymustbeoverlookedbyeverycritic，whowouldpretendtoformajustnotionofancientpoetry；andourposterity，intheirturn，musthavethesameindulgencetotheirforefathers。Noreligiousprinciplescaneverbeimputedasafaulttoanypoet，whiletheyremainmerelyprinciples，andtakenotsuchstrongpossessionofhisheart，astolayhimundertheimputationofbigotryorsuperstition。Wherethathappens，theyconfoundthesentimentsofmorality，andalterthenaturalboundariesofviceandvirtue。Theyarethereforeeternalblemishes，accordingtotheprincipleabovementioned；
noraretheprejudicesandfalseopinionsoftheagesufficienttojustifythem。
ItisessentialtotheROMANcatholicreligiontoinspireaviolenthatredofeveryotherworship，andtorepresentallpagans，mahometans，andhereticsastheobjectsofdivinewrathandvengeance。Suchsentiments，thoughtheyareinrealityveryblameable，areconsideredasvirtuesbythezealotsofthatcommunion，andarerepresentedintheirtragediesandepicpoemsasakindofdivineheroism。ThisbigotryhasdisfiguredtwoveryfinetragediesoftheFRENCHtheatre，POLIEUCTEandATHALIA；
whereanintemperatezealforparticularmodesofworshipissetoffwithallthepompimaginable，andformsthepredominantcharacteroftheheroes。’Whatisthis，’saysthesublimeJOADtoJOSABET，findingherindiscoursewithMATHAN，thepriestofBAAL，’DoesthedaughterofDAVIDspeaktothistraitor？Areyounotafraid，lesttheearthshouldopenandpourforthflamestodevouryouboth？Orlesttheseholywallsshouldfallandcrushyoutogether？Whatishispurpose？WhycomesthatenemyofGodhithertopoisontheair，whichwebreath，withhishorridpresence？’SuchsentimentsarereceivedwithgreatapplauseonthetheatreofPARIS；butatLONDONthespectatorswouldbefullasmuchpleasedtohearACHILLEStellAGAMEMNON，thathewasadoginhisforehead，andadearinhisheart，orJUPITERthreatenJUNOwithasounddrubbing，ifshewillnotbequiet。
RELIGIOUSprinciplesarealsoablemishinanypolitecomposition，whentheyriseuptosuperstition，andintrudethemselvesintoeverysentiment，howeverremotefromanyconnectionwithreligion。Itisnoexcuseforthepoet，thatthecustomsofhiscountryhadburthenedlifewithsomanyreligiousceremoniesandobservances，thatnopartofitwasexemptfromthatyoke。ItmustforeverberidiculousinPETRARCHtocomparehismistressLAURA，toJESUSCHRIST。Norisitlessridiculousinthatagreeablelibertine，BOCCACE，veryseriouslytogivethankstoGODALMIGHTYandtheladies，fortheirassistanceindefendinghimagainsthisenemies。
OFTRAGEDY
DavidHume1757
Itseemsanunaccountablepleasure，whichthespectatorsofawell—writtentragedyreceivefromsorrow，terror，anxiety，andotherpassions，thatareinthemselvesdisagreeableanduneasy。
Themoretheyaretouchedandaffected，themorearetheydelightedwiththespectacle；andassoonastheuneasypassionsceasetooperate，thepieceisatanend。Onesceneoffulljoyandcontentmentandsecurityistheutmost，thatanycompositionofthiskindcanbear；anditissurealwaystobetheconcludingone。If，inthetextureofthepiece，therebeinterwovenanyscenesofsatisfaction，theyaffordonlyfaintgleamsofpleasure，whicharethrowninbywayofvariety，andinordertoplungetheactorsintodeeperdistress，bymeansofthatcontrastanddisappointment。Thewholeheartofthepoetisemployed，inrouzingandsupportingthecompassionandindignation，theanxietyandresentmentofhisaudience。Theyarepleasedinproportionastheyareafflicted，andneveraresohappyaswhentheyemploytears，sobs，andcriestogiveventtotheirsorrow，andrelievetheirheart，swolnwiththetenderestsympathyandcompassion。
Thefewcriticswhohavehadsometinctureofphilosophy，haveremarkedthissingularphenomenon，andhaveendeavouredtoaccountforit。
L’Abb？Dubos，inhisreflectionsonpoetryandpainting，asserts，thatnothingisingeneralsodisagreeabletothemindasthelanguid，listlessstateofindolence，intowhichitfallsupontheremovalofallpassionandoccupation。Togetridofthispainfulsituation，itseekseveryamusementandpursuit；
business，gaming，shews，executions；whateverwillrouzethepassions，andtakeitsattentionfromitself。Nomatterwhatthepassionis：Letitbedisagreeable，afflicting，melancholy，disordered；itisstillbetterthanthatinsipidlanguor，whicharisesfromperfecttranquillityandrepose。
Itisimpossiblenottoadmitthisaccount，asbeing，atleastinpart，satisfactory。Youmayobserve，whenthereareseveraltablesofgaming，thatallthecompanyruntothose，wherethedeepestplayis，eventhoughtheyfindnottherethebestplayers。Theview，or，atleast，imaginationofhighpassions，arisingfromgreatlossorgain，affectsthespectatorbysympathy，giveshimsometouchesofthesamepassions，andserveshimforamomentaryentertainment。Itmakesthetimepasstheeasierwithhim，andissomerelieftothatoppression，underwhichmencommonlylabour，whenleftentirelytotheirownthoughtsandmeditations。
Wefindthatcommonliarsalwaysmagnify，intheirnarrations，allkindsofdanger，pain，distress，sickness，deaths，murders，andcruelties；aswellasjoy，beauty，mirth，andmagnificence。Itisanabsurdsecret，whichtheyhaveforpleasingtheircompany，fixingtheirattention，andattachingthemtosuchmarvellousrelations，bythepassionsandemotions，whichtheyexcite。
Thereis，however，adifficultyinapplyingtothepresentsubject，initsfullextent，thissolution，howeveringeniousandsatisfactoryitmayappear。Itiscertain，thatthesameobjectofdistress，whichpleasesinatragedy，wereitreallysetbeforeus，wouldgivethemostunfeigneduneasiness；thoughitbethenthemosteffectualcuretolanguorandindolence。MonsieurFontenelleseemstohavebeensensibleofthisdifficulty；andaccordinglyattemptsanothersolutionofthephaenomenon；atleastmakessomeadditiontothetheoryabovementioned。[2]
’Pleasureandpain，’sayshe，’whicharetwosentimentssodifferentinthemselves，differnotsomuchintheircause。Fromtheinstanceoftickling，itappears，thatthemovementofpleasure，pushedalittletoofar，becomespain；andthatthemovementofpain，alittlemoderated，becomespleasure。Henceitproceeds，thatthereissuchathingasasorrow，softandagreeable：Itisapainweakenedanddiminished。Theheartlikesnaturallytobemovedandaffected。Melancholyobjectssuitit，andevendisastrousandsorrowful，providedtheyaresoftenedbysomecircumstance。Itiscertain，that，onthetheatre，therepresentationhasalmosttheeffectofreality；yetithasnotaltogetherthateffect。Howeverwemaybehurriedawaybythespectacle；whateverdominionthesensesandimaginationmayusurpoverthereason，therestilllurksatthebottomacertainideaoffalsehoodinthewholeofwhatwesee。Thisidea，thoughweakanddisguised，sufficestodiminishthepainwhichwesufferfromthemisfortunesofthosewhomwelove，andtoreducethatafflictiontosuchapitchasconvertsitintoapleasure。Weweepforthemisfortuneofahero，towhomweareattached。Inthesameinstantwecomfortourselves，byreflecting，thatitisnothingbutafiction：Anditispreciselythatmixtureofsentiments，whichcomposesanagreeablesorrow，andtearsthatdelightus。Butasthataffliction，whichiscausedbyexteriorandsensibleobjects，isstrongerthantheconsolationwhicharisesfromaninternalreflection，theyaretheeffectsandsymptomsofsorrow，thatoughttopredominateinthecomposition。’
Thissolutionseemsjustandconvincing；butperhapsitwantsstillsomenewaddition，inordertomakeitanswerfullythephaenomenon，whichwehereexamine。Allthepassions，excitedbyeloquence，areagreeableinthehighestdegree，aswellasthosewhicharemovedbypaintingandthetheatre。TheepiloguesofCiceroare，onthisaccountchiefly，thedelightofeveryreaderoftaste；anditisdifficulttoreadsomeofthemwithoutthedeepestsympathyandsorrow。Hismeritasanorator，nodoubt，dependsmuchonhissuccessinthisparticular。Whenhehadraisedtearsinhisjudgesandallhisaudience，theywerethenthemosthighlydelighted，andexpressedthegreatestsatisfactionwiththepleader。Thepatheticdescriptionofthebutchery，madebyVerresoftheSiciliancaptains，isamasterpieceofthiskind：ButIbelievenonewillaffirm，thatthebeingpresentatamelancholysceneofthatnaturewouldaffordanyentertainment。Neitheristhesorrowheresoftenedbyfiction：Fortheaudiencewereconvincedoftherealityofeverycircumstance。Whatisitthen，whichinthiscaseraisesapleasurefromthebosomofuneasiness，sotospeak；andapleasure，whichstillretainsallthefeaturesandoutwardsymptomsofdistressandsorrow？
Ianswer：Thisextraordinaryeffectproceedsfromthatveryeloquence，withwhichthemelancholysceneisrepresented。Thegeniusrequiredtopaintobjectsinalivelymanner，theartemployedincollectingallthepatheticcircumstances，thejudgmentdisplayedindisposingthem：theexercise，Isay，ofthesenobletalents，togetherwiththeforceofexpression，andbeautyoforatorialnumbers，diffusethehighestsatisfactionontheaudience，andexcitethemostdelightfulmovements。Bythismeans，theuneasinessofthemelancholypassionsisnotonlyoverpoweredandeffacedbysomethingstrongerofanoppositekind；butthewholeimpulseofthosepassionsisconvertedintopleasure，andswellsthedelightwhichtheeloquenceraisesinus。Thesameforceoforatory，employedonanuninterestingsubject，wouldnotpleasehalfsomuch，orratherwouldappearaltogetherridiculous；andthemind，beingleftinabsolutecalmnessandindifference，wouldrelishnoneofthosebeautiesofimaginationorexpression，which，ifjoinedtopassion，giveitsuchexquisiteentertainment。Theimpulseorvehemence，arisingfromsorrow，compassion，indignation，receivesanewdirectionfromthesentimentsofbeauty。Thelatter，beingthepredominantemotion，seizethewholemind，andconverttheformerintothemselves，atleasttincturethemsostronglyastotallytoaltertheirnature。Andthesoul，being，atthesametime，rouzedbypassion，andcharmedbyeloquence，feelsonthewholeastrongmovement，whichisaltogetherdelightful。
Thesameprincipletakesplaceintragedy；withthisaddition，thattragedyisanimitation；andimitationisalwaysofitselfagreeable。Thiscircumstanceservesstillfarthertosmooththemotionsofpassion，andconvertthewholefeelingintooneuniformandstrongenjoyment。Objectsofthegreatestterroranddistresspleaseinpainting，andpleasemorethanthemostbeautifulobjects，thatappearcalmandindifferent。[3]Theaffection，rousingthemind，excitesalargestockofspiritandvehemence；whichisalltransformedintopleasurebytheforceoftheprevailingmovement。Itisthusthefictionoftragedysoftensthepassion，byaninfusionofanewfeeling，notmerelybyweakeningordiminishingthesorrow。Youmaybydegreesweakenarealsorrow，tillittotallydisappears；yetinnoneofitsgraduationswillitevergivepleasure；except，perhaps，byaccident，toamansunkunderlethargicindolence，whomitrouzesfromthatlanguidstate。
Toconfirmthistheory，itwillbesufficienttoproduceotherinstances，wherethesubordinatemovementisconvertedintothepredominant，andgivesforcetoit，thoughofadifferent，andevensometimesthoughofacontrarynature。
Noveltynaturallyrouzesthemind，andattractsourattention；andthemovements，whichitcauses，arealwaysconvertedintoanypassion，belongingtotheobject，andjointheirforcetoit。Whetheraneventexcitejoyorsorrow，prideorshame，angerorgood—will，itissuretoproduceastrongeraffection，whenneworunusual。Andthoughnoveltyofitselfbeagreeable，itfortifiesthepainful，aswellasagreeablepassions。
Hadyouanyintentiontomoveapersonextremelybythenarrationofanyevent，thebestmethodofencreasingitseffectwouldbeartfullytodelayinforminghimofit，andfirsttoexcitehiscuriosityandimpatiencebeforeyoulethimintothesecret。ThisistheartificepractisedbyIagointhefamoussceneofShakespeare；andeveryspectatorissensible，thatOthello’sjealousyacquiresadditionalforcefromhisprecedingimpatience，andthatthesubordinatepassionisherereadilytransformedintothepredominantone。
Difficultiesencreasepassionsofeverykind；andbyrouzingourattention，andexcitingouractivepowers，theyproduceanemotion，whichnourishestheprevailingaffection。
Parentscommonlylovethatchildmost，whosesicklyinfirmframeofbodyhasoccasionedthemthegreatestpains，trouble，andanxietyinrearinghim。Theagreeablesentimentofaffectionhereacquiresforcefromsentimentsofuneasiness。
Nothingendearssomuchafriendassorrowforhisdeath。
Thepleasureofhiscompanyhasnotsopowerfulaninfluence。
Jealousyisapainfulpassion；yetwithoutsomeshareofit，theagreeableaffectionoflovehasdifficultytosubsistinitsfullforceandviolence。Absenceisalsoagreatsourceofcomplaintamonglovers，andgivesthemthegreatestuneasiness：
Yetnothingismorefavourabletotheirmutualpassionthanshortintervalsofthatkind。Andiflongintervalsoftenprovefatal，itisonlybecause，throughtime，menareaccustomedtothem，andtheyceasetogiveuneasiness。Jealousyandabsenceinlovecomposethe
ThereisafineobservationoftheelderPliny，whichillustratestheprinciplehereinsistedon。
andourverygriefforthatcurioushand，whichhadbeenstoppedbydeath，isanadditionalencreasetoourpleasure>。’[4]
Theseinstances（andmanymoremightbecollected）aresufficienttoaffordussomeinsightintotheanalogyofnature，andtoshowus，thatthepleasure，whichpoets，orators，andmusiciansgiveus，byexcitinggrief，sorrow，indignation，compassion，isnotsoextraordinaryorparadoxical，asitmayatfirstsightappear。Theforceofimagination，theenergyofexpression，thepowerofnumbers，thecharmsofimitation；allthesearenaturally，ofthemselves，delightfultothemind：Andwhentheobjectpresentedlaysalsoholdofsomeaffection，thepleasurestillrisesuponus，bytheconversionofthissubordinatemovementintothatwhichispredominant。Thepassion，though，perhaps，naturally，andwhenexcitedbythesimpleappearanceofarealobject，itmaybepainful；yetissosmoothed，andsoftened，andmollified，whenraisedbythefinerarts，thatitaffordsthehighestentertainment。
Toconfirmthisreasoning，wemayobserve，thatifthemovementsoftheimaginationbenotpredominantabovethoseofthepassion，acontraryeffectfollows；andtheformer，beingnowsubordinate，isconvertedintothelatter，andstillfartherencreasesthepainandafflictionofthesufferer。
Whocouldeverthinkofitasagoodexpedientforcomfortinganafflictedparent，toexaggerate，withalltheforceofelocution，theirreparableloss，whichhehasmetwithbythedeathofafavouritechild？Themorepowerofimaginationandexpressionyouhereemploy，themoreyouencreasehisdespairandaffliction。
Theshame，confusion，andterrorofVerres，nodoubt，roseinproportiontothenobleeloquenceandvehemenceofCicero：Soalsodidhispainanduneasiness。Theseformerpassionsweretoostrongforthepleasurearisingfromthebeautiesofelocution；
andoperated，thoughfromthesameprinciple，yetinacontrarymanner，tothesympathy，compassion，andindignationoftheaudience。
LordClarendon，whenheapproachestowardsthecatastropheoftheroyalparty，supposes，thathisnarrationmustthenbecomeinfinite]ydisagreeable；andhehurriesovertheking’sdeath，withoutgivingusonecircumstanceofit。Heconsidersitastoohorridascenetobecontemplatedwithanysatisfaction，orevenwithouttheutmostpainandaversion。Hehimself，aswellasthereadersofthatage，weretoodeeplyconcernedintheevents，andfeltapainfromsubjects，whichanhistorianandareaderofanotheragewouldregardasthemostpatheticandmostinteresting，and，byconsequence，themostagreeable。
Anaction，representedintragedy，maybetoobloodyandatrocious。Itmayexcitesuchmovementsofhorroraswillnotsoftenintopleasure；andthegreatestenergyofexpression，bestowedondescriptionsofthatnature，servesonlytoaugmentouruneasiness。Suchisthatactionrepresentedinthe
Eventhecommonsentimentsofcompassionrequiretobesoftenedbysomeagreeableaffection，inordertogiveathoroughsatisfactiontotheaudience。Themeresufferingofplaintivevirtue，underthetriumphanttyrannyandoppressionofvice，formsadisagreeablespectacle，andiscarefullyavoidedbyallmastersofthedrama。Inordertodismisstheaudiencewithentiresatisfactionandcontentment，thevirtuemusteitherconvertitselfintoanoblecourageousdespair，orthevicereceiveitsproperpunishment。
Mostpaintersappearinthislighttohavebeenveryunhappyintheirsubjects。Astheywroughtmuchforchurchesandconvents，theyhavechieflyrepresentedsuchhorriblesubjectsascrucifixionsandmartyrdoms，wherenothingappearsbuttortures，wounds，executions，andpassivesuffering，withoutanyactionoraffection。Whentheyturnedtheirpencilfromthisghastlymythology，theyhadcommonlyrecoursetoOvid，whosefictions，thoughpassionateandagreeable，arescarcelynaturalorprobableenoughforpainting。
Thesameinversionofthatprinciple，whichishereinsistedon，displaysitselfincommonlife，asintheeffectsoforatoryandpoetry。Raisesothesubordinatepassionthatitbecomesthepredominant，itswallowsupthataffectionwhichitbeforenourishedandencreased。Toomuchjealousyextinguisheslove：Toomuchdifficultyrendersusindifferent：Toomuchsicknessandinfirmitydisgustsaselfishandunkindparent。
Whatsodisagreeableasthedismal，gloomy，disastrousstories，withwhichmelancholypeopleentertaintheircompanions？
Theuneasypassionbeingthereraisedalone，unaccompaniedwithanyspirit，genius，oreloquence，conveysapureuneasiness，andisattendedwithnothingthatcansoftenitintopleasureorsatisfaction。