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 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 theatre. 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 very unhappy in their subjects. As they wrought for churches and convents, they have chiefly represented such horrible subjects as crucifixions and martyrdoms, where nothing appears but tortures, wounds, executions, and passive suffering, without any action or affection. When they turned their pencil from this ghastly mythology, they had recourse commonly toOvid,
