He tells me, that an oppressive and powerful neighbour had attempted to dispossess him of his inheritance, and had long disturbed all his innocent and social pleasures. I feel an immediate indignation arise in me against such violence and injury.
But it is no wonder, he adds, that a private wrong should proceed from a man, who had enslaved provinces, depopulated cities, and made the field and scaffold stream with human blood. I am struck with horror at the prospect of so much misery, and am actuated by the strongest antipathy against its author.
In general, it is certain, that, wherever we go, whatever we reflect on or converse about, everything still presents us with the view of human happiness or misery, and excites in our breast a sympathetic movement of pleasure or uneasiness. In our serious occupations, in our careless amusements, this principle still exerts its active energy.
A man who enters the theatre, is immediately struck with the view of so great a multitude, participating of one common amusement; and experiences, from their very aspect, a superior sensibility or disposition of being affected with every sentiment, which he shares with his fellow-creatures.
He observes the actors to be animated by the appearance of a full audience, and raised to a degree of enthusiasm, which they cannot command in any solitary or calm moment.
Every movement of the theatre, by a skilful poet, is communicated, as it were by magic, to the spectators; who weep, tremble, resent, rejoice, and are inflamed with all the variety of passions, which actuate the several personages of the drama.
Where any event crosses our wishes, and interrupts the happiness of the favourite characters, we feel a sensible anxiety and concern. But where their sufferings proceed from the treachery, cruelty, or tyranny of an enemy, our breasts are affected with the liveliest resentment against the author of these calamities. It is here esteemed contrary to the rules of art to represent anything cool and indifferent. A distant friend, or a confident, who has no immediate interest in the catastrophe, ought, if possible, to be avoided by the poet; as communicating a like indifference to the audience, and checking the progress of the passions.
Few species of poetry are more entertaining than PASTORAL; and every one is sensible, that the chief source of its pleasure arises from those images of a gentle and tender tranquillity, which it represents in its personages, and of which it communicates a like sentiment to the reader. Sannazarius, who transferred the scene to the sea-shore, though he presented the most magnificent object in nature, is confessed to have erred in his choice. The idea of toil, labour, and danger, suffered by the fishermen, is painful; by an unavoidable sympathy, which attends every conception of human happiness or misery.
When I was twenty, says a French poet, Ovid was my favourite: Now I am forty, I declare for Horace. We enter, to be sure, more readily into sentiments, which resemble those we feel every day: But no passion, when well represented, can be entirely indifferent to us; because there is none, of which every man has not, within him, at least the seeds and first principles. It is the business of poetry to bring every affection near to us by lively imagery and representation, and make it look like truth and reality: A certain proof, that, wherever that reality is found, our minds are disposed to be strongly affected by it.
Any recent event or piece of news, by which the fate of states, provinces, or many individuals is affected, is extremely interesting even to those whose welfare is not immediately engaged. Such intelligence is propagated with celerity, heard with avidity, and enquired into with attention and concern. The interest of society appears, on this occasion, to be in some degree the interest of each individual. The imagination is sure to be affected; though the passions excited may not always be so strong and steady as to have great influence on the conduct and behaviour.