[454] Suave, mari magno, turbantibus æquora ventis, E terra magnum alterius spectare laborem; Non quia vexari quenquam est jucunda voluptas, Sed, quibus ipse malis careas, quia cernere suave est.
'Tis pleasant, when the Seas are rough, to stand And view another's Danger safe at Land: Not 'cause he's troubled, but 'tis sweet to see Those Cares and Fears, from which ourselves are free. Creech.
If we are in Affliction, the Representation of the like Miseries makes our own more supportable. In both these Cases, the Pleasure arises from the Comparison, a Principle to which great Part of the Misery and Felicity of human Life is owing. It is commonly said, that no Body is miserable but by Comparison; and it may be as truly said, that no Body is happy but by Comparison. But perhaps it may be here observ'd, that this Solution does not reach the Difficulty: Pity has no Relation to ourselves, but to others; I should rather think it has to both: And how much soever we apply it to others, the Estimate is made from ourselves. Nor is this alone sufficient to explain fully the Point in Question: Another Cause of this Pleasure is, the Operation of the Mind upon itself, or (what the Schools call) its reflex Act. It contemplates that generous and humane Disposition, which inclines it towards others, and is conscious that this Commiseration does, in some Measure, arise from it. Perhaps it may be objected, that these two Principles are not consistent, since the one is an Evidence of Self-love, the other of a great and generous Mind: I shall take another Opportunity, as I have said, of shewing the strict Alliance there is between these two Principles; and that Self-love, taken in its full Latitude, ought to be allow'd as the Source of all our Passions, and the great Principle of human Actions[455]. As to Terror, the Delight it gives us in Tragedy, comes from hence; at first, (so rapid is the Current of our Ideas) we are affected with this Appearance of Distress, as if it was real; and then, by an agreeable Turn of Thought, we recollect, that this is all imaginary, and that there is no Danger. There are other Circumstances[456], which I shall take no Notice of at present, nor stay to enlarge upon those Hints I have given, because I shall examine them more at large in the foremention'd Dissertation.
Æschylus, Sophocles, and Euripides, the only Greek Tragic Poets that we have now left, are well known.
If we compare the ancient and modern Writers of Tragedy, the latter are much superior in forming and unravelling the Plot. The former have shewn a good deal of this Contrivance in their Comedies, but in their Tragedies very little; the Moderns in both. The chief Design of the ancient Tragic Poets was, to raise Terror, rather than Pity; of the Moderns, Compassion rather. The former excel in the Greatness and Magnificence of their Sentiments; the latter in the Variety, and passionate Parts of them. In one you have more Excellencies, in the other fewer Faults. Among the Moderns, none deserve any Comparison but the French Writers and our own: They, indeed, are elegant, ingenious, exact in observing Rules, and fond of imitating the Ancients; but want Spirit, Vigour, and poetic Fire:
Non spirant tragicum satis, aut feliciter audent.
The English are not to be charg'd with this Defect; nor does the Impetuosity of their Genius hinder their having a Regard to the Rules of Art. Mons. Rapin allows that they excel all the Nations in Europe, except his own: Whence we may be allow'd to conclude, that there is no great Reason for that Exception.