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; along 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[1]. The affection, rouzing 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
- ↑ Painters make no scruple of representing distress and sorrow as well as any other passion: But they seem not to dwell so much on these melancholy affections as the poets, who, tho' they copy every motion of the human breast, yet pass quickly over the agreeable sentiments. A painter represents only one instant; and if that be passionate enough, it is sure to affect and delight the spectator: But nothing can furnish to the poet a variety of scenes and incidents and sentiments, except distress, terror, or anxiety. Compleat joy and satisfaction is attended with security, and leaves no farther room for action.
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