internal triumph of justice and pity over personal resentment, in all the sublime self-renunciation and sweet charities which are found in the details of ordinary life. Now, emotion links itself with particulars, and only in a faint and secondary manner with abstractions. An orator may discourse very eloquently on injustice in general, and leave his audience cold; but let him state a special case of oppression, and every heart will throb. The most untheoretic persons are aware of this relation between true emotion and particular facts, as opposed to general terms, and implicitly recognize it in the repulsion they feel toward any one who professes strong feeling about abstractions—in the interjectional "Humbug!" which immediately rises to their lips. Wherever abstractions appear to excite strong emotion, this occurs in men of active intellect and imagination, in whom the abstract term rapidly and vividly calls up the particulars it represents, these particulars being the true source of the emotion; and such men, if they wished to express their feeling, would be infallibly prompted to the presentation of details. Strong emotion can no more be directed to generalities apart from particulars, than skill in figures can be directed to arithmetic apart from numbers. Generalities are the refuge at once of deficient intellectual activity and deficient feeling.
If we except the passages in "Philander," "Narcissa," and "Lucia," there is hardly a trace of human sympathy, of self-forgetfulness in the joy or sorrow of a fellow-being, throughout this long poem, which professes to treat the various phases of man's destiny. And even in the "Narcissa" Night, Young repels us by the low moral tone of his exaggerated lament. This married step-daughter died at Lyons, and, being a Protestant, was denied burial, so that her friends had to bury her in secret—one of the many miserable results of superstition, but not a fact to throw an educated, still less a Christian man, into a fury of hatred and vengeance, in contemplating it after the lapse of five years. Young, however, takes great pains to simulate a bad feeling:
