'[4]
These instances (and many more might be collected) are
sufficient to afford us some insight into the analogy of
nature, and to show us, that the pleasure, which poets,
orators, and musicians give us, by exciting grief, sorrow,
indignation, compassion, is not so extraordinary or
paradoxical, as it may at first sight appear. The force of
imagination, the energy of expression, the power of numbers,
the charms of imitation; all these are naturally, of
themselves, delightful to the mind: And when the object
presented lays also hold of some affection, the pleasure still
rises upon us, by the conversion of this subordinate movement
into that which is predominant. The passion, though, perhaps,
naturally, and when excited by the simple appearance of a real
object, it may be painful; yet is so smoothed, and softened,
and mollified, when raised by the finer arts, that it affords
the highest entertainment.
To confirm this reasoning, we may observe, that if the
movements of the imagination be not predominant above those of
the passion, a contrary effect follows; and the former, being
now subordinate, is converted into the latter, and still
farther encreases the pain and affliction of the sufferer.
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