verbal, i. e. taking the same word in different meanings.

Surgamus: solet esse gravis cantantibus umbra.
Juniperi gravis umbra: nocent et frugibus umbræ.
Ite domum saturæ, venit Hesperus, ite capellæ.

Virg. Buc. x. 75.

The introduction of an object metaphorically or figuratively, will not justify the introduction of it in its natural appearance; a relation so slight can never be relished.

Distrust in lovers is too warm a sun;

But yet 'tis night in love when that is gone.

And in those climes which most his scorching know,
He makes the noblest fruits and metals grow.

Part 2. Conquest of Granada, Act III.

The relations among objects have a considerable influence in the gratification of our passions, and even in their production. But that subject is reserved to be treated in the chapter of emotions and passions.*

There is not perhaps another instance of a building so great erected upon a foundation so slight in appearance, as the relations of objects and their arrangement. Relations make no capital figure in the mind, the bulk of them being transitory, and .some extremely trivial: They are, however, the links that, by uniting our perceptions into one connected chain, produce connexion of action, because

Chap. 2. part 1. sect. 4.

perception and action have an intimate correspondence. But it is not sufficient for the conduct of life, that our actions be linked together, however intimately; it is beside necessary, that they proceed in a certain order; and this also is provided for by an original propensity. Thus order and connexion, while they admit sufficient variety, introduce a method in the management of affairs: without them our conduct would be fluctuating and desultory; and we should be hurried from thought to thought, and from action to action, entirely at the mercy of chance.

CHAPTER II.

EMOTIONS AND PASSIONS.

Of all the feelings raised in us by external objects, those only of the eye and the ear are honoured with the name of passion or emotion: the most pleasing feelings of taste, or touch, or smell, aspire not to that honour. From this observation appears the connexion of emotions and passions with the fine arts, which, as observed in the introduction, are all of them calculated to give pleasure to the eye or the ear, never once condescending to gratify any of the inferior senses. The design accordingly of this chapter is to delineate that connexion, with

the view chiefly to ascertain what power the fine arts have to raise emotions and passions. To those who would excel in the fine arts, that branch of knowledge is indispensable; for without it the critic, as well as the undertaker, ignorant of any rule, have nothing left but to abandon themselves to chance. Destitute of that branch of knowledge, in vain will either pretend to foretel what effect his work will have upon the heart.

The

The principles of the fine arts appear in this view to open a direct avenue to the heart of man. inquisitive mind beginning with criticism, the most agreeable of all amusements, and finding no obstruction in its progress, advances far into the sensitive part of our nature, and gains imperceptibly a thorough knowledge of the human heart, of its desires, and of every motive to action; a science, which of all that can be reached by man, is to him of the greatest importance.

Upon a subject so comprehensive, all that can be expected in this chapter is a general or slight survey; and to shorten that survey, I propose to handle separately some emotions more peculiarly connected with the fine arts. Even after that circumscription, so much matter comes under the present chapter, that, to avoid confusion, I find it necessary to divide it into many parts: and though the first of these is confined to such causes of emotion or passion as are the most common and the most general; yet, upon examination, I find this single part so extensive as to require a subdivision into several sections. Human nature is a compli

cate machine, and is unavoidably so in order to answer its various purposes. The public indeed have been entertained with many systems of human nature that flatter the mind by their simplicity: according to some writers, man is entirely a selfish being; according to others, universal benevolence is his duty one founds morality upon sympathy solely, and one upon utility. If of these systems were copied from nature, the present subject might be soon discussed. But the variety of nature is not so easily reached: And for confuting such Utopian systems without the fatigue of reasoning, it appears the best method to take a survey of human nature, and to set before the eye, plainly and candidly, facts as they really exist.

PART I.

any

CAUSES UNFOLDED OF THE EMOTIONS AND PASSIONS.

SECT. I. Difference between Emotion and Passion. -Causes that are the most common and the most general. Passion considered as productive of Action.

THESE branches are so interwoven that they can. not be handled separately. It is a fact universally admitted, that no emotion or passion ever starts up in the mind without a cause: If I love a person, it is for good qualities or good offices: if I have resentment against a man, it must be for some injury

he has done me; and I cannot pity any one who is under no distress of body nor of mind.

The circumstances now mentioned, if they raise an emotion or passion, cannot be entirely indifferent; for if so, they could not make any impression. And we find upon examination, that they are not indifferent looking back upon the foregoing examples, the good qualities or good offices that attract my love, are antecedently agreeable: if an injury did not give uneasiness, it would not occasion resentment against the author; nor would the passion of pity be raised by an object in distress, if that object did not give pain.

What is now said about the production of emotion or passion, resolves into a very simple proposition, That we love what is agreeable, and hate what is disagreeable. And indeed it is evident, that a thing must be agreeable or disagreeable, before it can be the object either of love or of hatred.

This short hint about the causes of passion and emotion, leads to a more extensive view of the subject. Such is our nature, that upon perceiving certain external objects, we are instantaneously conscious of pleasure or pain: a gently flowing river, a smooth extended plain, a spreading oak, a towering hill, are objects of sight that raise pleasant emotions: a barren heath, a dirty marsh, a rotten carcase, raise painful emotions. Of the emotions thus produced, we inquire for no other cause but merely the presence of the object.

The things now mentioned, raise emotions by means of their properties and qualities: to the emo