lution, however ingenious and satisfactory it may appear. It is certain, that the same object of distress which pleases in a tragedy, were it really set before us, would give the most unfeigned uneasiness, tho' it be then the most effectual cure of languor and indolence. Monsieur Fontenelle seems to have been sensible of this difficulty; and accordingly attempts another solution of the phænomenon; at least, makes some addition to the theory abovementioned[1].
"Pleasure and pain," says he, "which are two sentiments so different in themselves, differ not so much in their cause. From the instance of tickling, it appears, that the movement of pleasure pushed a little too far, becomes pain; and that the movement of pain, a little moderated, becomes pleasure. Hence it proceeds, that there is such a thing as a sorrow, soft and agreeable: It is a pain weakened and diminished. The heart likes naturally to be moved and affected. Melancholy objects suit it, and even disastrous and sorrowful, provided they are softened by some circumstance. It is certain, that on the theatre the representation has almost the effect of reality;
- ↑ Reflexions sur la poetique, § 36.
"but
