of others diminished; and the tragedy would have made us very uncomfortable, but never have melted us to tears, or excited us to indignation. When he, whose merry and satirical laugh rung in our ears the moment before, faints before us, with "A plague o' both your houses, they have made worms' meat of me," the acuteness of our feeling is excessive: but, had we not heard the laugh before, there would have been a dull weight of melancholy impression, which would have been painful, not affecting. Hence, we see the grand importance of the choice of our means of enhancing effect; and we derive the simple rule for that choice; namely, that, when we wish to increase abstract impression, or to call upon the sympathy of the spectator, we are to use contrast; but, when we wish to extend the operation of the impression, or to awaken the selfish feelings, we are to use assimilation.
This rule, however, becomes complicated where the feature of contrast is not altogether passive; that is, where we wish to give a conception of any qualities inherent in that feature, as well as in what it relieves; and, besides, it is not always easy to know whether it will be best to increase the abstract idea, or its operation. In most cases, energy, the degree of influence, is beauty; and, in many the duration of influence is monotony. In others, duration is sublimity, and energy painful: in a few, energy and duration are attainable and delightful together. It is impossible to give rules for judgment in every case; but the following points must always be observed:—1. When
