This emotion of concord from conjoined emotions, is felt even where the emotions are not perfectly fimilar. Though love be a pleasant paffion, yet its foftnefs and tenderness make it refemble in a confiderable degree the painful paffion of pity or grief; and for that reason, love accords better with thefe paffions than with what are gay and sprightly. I give the following example from Catullus, where the concord between love and grief, has a fine effect even in fo flight a fubject as the death of a sparrow.

Lugete, ô Veneres, Cupidinefque,

Et

quantum eft hominum venuftiorum!
Paffer mortuus eft meæ puellæ,
Quem plus illa oculis fuis amabat.
Nam mellitus erat, fuamque norat
Ipfam tam bene, quam puella matrem :
Nec fefe a gremio illius movebat;
Sed circumfiliens modò huc, modo illuc,
Ad folam dominam ufque pipilabat.
Qui nunc it per iter tenebricofum,
Illuc, unde negant redire quemquam.
At vobis male fit, malæ tenebræ
Orci, quæ omnia bella devoratis ;
Tam bellum mihi pafferem abftuliftis.
O factum male, ô mifelle paffer.
Tua nunc opera, meæ puellæ
Flendo turgiduli rubent ocelli.

Next as to the effects of diffimilar emotions. Thefe effects obviously must be oppofite to what

are

are above described; and in order to explain them with accuracy, diffimilar emotions proceeding from connected causes, must be distinguished from what proceed from causes that are unconnected. Diffimilar emotions of the former kind, being forced into a fort of unnatural union, produce a feeling of discord instead of harmony: and in computing their force, fubtraction must be used instead of addition; which will be evident from what follows. Diffimilar emotions forced into union by the connection of their causes, are felt obscurely and imperfectly; for each tends to vary the tone of mind that is suited to the other; and the mind thus diftracted between two objects, is at no inftant in a condition to receive a full impreffion from either. Diffimilar emotions proceeding from unconnected caufes, are in a very different condition; for as there is nothing to force them into union, they are never felt but in fucceffion; by which means, each hath an opportunity to make a full impreffion.

This curious theory merits illuftration by examples. In reading the description of the dismal wafte, book 1. of Paradife Loft, we are fenfible of a confused feeling, arifing from diffimilar emotions forced into union, viz. the beauty of the description, and the horror of the object defcribed:

Seeft thou yon dreary plain, forlorn and wild,
The feat of defolation, void of light,

Save what the glimmering of these livid flames
Cafts pale and dreadful?

Many other paffages in this juftly-celebrated poem produce the fame effect; and we always obferve, that if the disagreeableness of the fubject be obfcured by the beautiful description, the latter is not lefs obfcured by the former. For the fame reafon, afcending fmoke in a calm morning, which inspires ftillness, and tranquillity, is im proper in a picture full of violent action. A parterre, partly ornamented partly in diforder, produces a mixt feeling of the fame fort. Two great armies in act to engage, mix the diffimilar emotions of grandeur and of terror:

Sembra d'alberi denfi alta forefta

L'un campo, e l'altro; di tant' afte abbonda.
Son tefi gli archi, e fon le lance in resta :
Vibranfi i dardi, e rotafi ogni fionda.
Ogni cavallo in guerra anco s' apprefta,
Gli odii, e'l furor del fuo fignor feconda :
Rafpa, batte, nitrifce, e fi raggira,
Gonfia le nari; e fumo, e fuoco fpira.
Bello in sì bella vifta anco è l'orrore:
E di mezzo la tema efce il diletto.
Ne men le trombe orribili e canore,
Sono a gli orecchi, lieto e fero oggetto.
Pur il campo fedel, benchè minore,
Par di fuon più mirabile, e d'afpeto.
E canta in più guerriero e chiaro carme
Ogni fua tromba, e maggior luce han l'arme.

Gerufalemme liberata, cânt. 20. ft. 29. & 30.
Suppofe

Suppose a virtuous man has drawn on himself a great misfortune, by a fault incident to human nature, and therefore venial: the remorfe.he feels aggravates his distress, and confequently raifes our pity to a high pitch: we at the fame time blame the man; and the indignation raised by the fault he has committed, is diffimilar to pity: these two paffions, however, proceeding from different views of the fame object, are forced into a fort of union; but the indignation is fo flight, as fcarce to be felt in the mixture with pity. Subjects of this kind, are of all the fittest for tragedy; but of this afterward *.

Opposite emotions are so diffimilar as not to admit any fort of union, even where they proceed from caufes the most intimately connected. Love to a mistress, and refentment for her infidelity, are of this nature: they cannot exift otherwise than in fucceffion, which by the connection of their causes is commonly rapid; and these emotions will govern alternately, till one of them obtain the afcendant, or both be obliterated. fucceffion opens to me by the death of a worthy man, who was my friend as well as my kinfman: when I think of my friend I am grieved; but the fucceffion gives me joy. Thefe two caufes are intimately connected; for the fucceffion is the direct confequence of my friend's death: the emotions however being oppofite, do not mix; they

A

prevail

prevail alternately, perhaps for a course of time, till grief for my friend's death be banished by the pleasures of opulence. A virtuous man fuffering unjustly, is an example of the fame kind: I pity him, and have great indignation at the author of the wrong. Thefe emotions proceed from caufes nearly connected; but being directed to dif ferent objects, they are not forc'd into union: their oppofition preferves them diftinct; and accordingly they are found to prevail alternately.

"

I proceed to examples of diffimilar emotions a rifing from unconnected caufes. Good and bad news of equal importance arriving at the fame inftant from different quarters, produce oppofite emotions, the difcordance of which is not felt, because they are not forc'd into union they govern alternately, commonly in a quick fucceffion, till their force be spent :

Shylock. How now, Tubal, what news from Genoa? haft thou found my daughter?

Tubal. I often came where I did hear of her, but cannot find her.

Shy. Why there, there, there, there! a diamond gone, coft me two thousand ducats in Francfort! the curfe never fell upon our nation till now, I never felt it till now; twọ thousand ducats in that, and other precious, precious jewels! I would my daughter were dead at my foot, and the jewels in her ear; O would fhe were hers'd at my foot, and the ducats in her coffin. No news of them; why, fo! and I know not what's spent in the search : why, thou lofs upon lofs! the thief gone with fo much, and fo much to find the thief; and no fatisfaction, no

revenge,