88. Expression animates, convulses, or absorbs form. The Apollo is animated; the warrior of Agasias is agitated; the Laocoon is convulsed; the Niobe is absorbed.
89. The being seized by an enormous passion, be it joy or grief, hope or despair, loses the character of its own individual expression, and is absorbed by the power of the feature that attracts it: Niobe and her family are assimilated by extreme anguish; Ugolino is petrified by the fate that sweeps his sons; and every metamorphosis from that of Clytie to the transfusion of Gianni Fucci[11] tells a new allegory of sympathetic power.
90. Reject with indignant incredulity all self-congratulations of conscious villainy, though they be uttered by Richard or by Iago.
91. The axe, the wheel, saw-dust, and the blood-stained sheet are not legitimate substitutes of terror.
92. All division diminishes, all mixtures impair the simplicity and clearness of expression.