Nor is it pleasant to be carried backward and forward alternately in a rapid succession:

Then dy’d Seamandrius, expert in the chace,
In woods and wilds to wound the savage race;
Diana taught him all her sylvan arts,
To bend the bow and aim unerring darts:
But vainly here Diana’s arts he tries,
The fatal lance arrests him as he flies;
From Menelaus’ arm the weapon sent,
Through his broad back and heaving bosom went:
Down sinks the warrior with a thund’ring sound,
His brazen armor rings against the ground.
Iliad, v. 65.

It is wonderful to observe, upon what slender foundations nature, sometimes, erects her most solid and magnificent works. In appearance at least, what can be more slight than ideal presence of objects? And yet upon it entirely is superstructed, that extensive influence which language hath over the heart; an influence, which, more than any other means, strengthens the bond of society, and attracts individuals from their private system to exert themselves in acts of generosity and benevolence. Matters of fact, it is true, and truth in general, may be inculcated without taking advantage of ideal presence. But without it, the finest speaker or writer would in vain attempt to move any of our passion: our sympathy would be confined to objects that are really present: and language would lose entirely that signal power it possesseth, of making us sympathize with beings removed at the greatest distance of time as well as of place. Nor is the influence of language, by means of this ideal presence, confined to the heart. It reaches also in some measure the understanding, and contributes to belief. When events are related in a lively manner and every circumstance appears as passing before us, it is with difficulty that we suffer the truth of the facts to be questioned. A historian accordingly who hath a genius for narration, seldom fails to engage our belief. The same facts related in a manner cold and indistinct, are not suffered to pass without examination. A thing ill described, is like an object seen at a distance or through a mist: we doubt whether it be a reality or a fiction. For this reason, a poet who can warm and animate his reader, may employ bolder fictions than ought to be ventured by an inferior genius. The reader, once thoroughly engaged, is in that situation susceptible of the strongest impressions:

Veraque constituunt, quæ bellè tangere possunt
Aureis, et lepido quæ sunt fucata sonore.
Lucretius, lib. 1. l. 644.

A masterly painting has the same effect. Le Brun is no small support to Quintus Curtius; and among the vulgar in Italy, the belief of scripture-history is perhaps founded as much upon the authority of Raphael, Michael Angelo, and other celebrated painters, as upon that of the sacred writers[27].

In establishing the foregoing theory, the reader has had the fatigue of much dry reasoning. But his labour will not be fruitless. From this theory are derived many useful rules in criticism, which shall be mentioned in their proper places. One specimen, being a fine illustration, I chuse to give at present. In a historical poem representing human actions, it is a rule, that no improbable incident ought to be admitted. A circumstance, an incident, or an event, may be singular, may surprise by being unexpected, and yet be extremely natural. The improbability I talk of, is that of an irregular fact, contrary to the order and course of nature, and therefore unaccountable. A chain of imagined facts linked together according to the order of nature, find easy entrance into the mind; and if described with warmth of fancy, they produce complete images, including ideal presence. But it is with great difficulty that we admit any irregular fact; for an irregular fact always puzzles the judgement. Doubtful of its reality we immediately enter upon reflection, and discovering the cheat, lose all relish and concern. This is an unhappy effect; for thereafter it requires more than an ordinary effort, to restore the waking dream, and to make the reader conceive even the more probable incidents as passing in his presence.

I never was an admirer of machinery in an epic poem; and I now find my taste justified by reason; the foregoing argument concluding still more strongly against imaginary beings, than against improbable facts. Fictions of this nature may amuse by their novelty and singularity: but they never move the sympathetic passions, because they cannot impose on the mind any perception of reality. I appeal to the discerning reader, whether this be not precisely the case of the machinery introduced by Tasso and by Voltaire. This machinery is not only in itself cold and uninteresting, but is remarkably hurtful, by giving an air of fiction to the whole composition. A burlesque poem, such as the Lutrin or the Dispensary, may employ machinery with success; for these poems, though they assume the air of history, give entertainment chiefly by their pleasant and ludicrous pictures, to which machinery contributes in a singular manner. It is not the aim of such a poem, to raise our sympathy in any considerable degree; and for that reason, a strict imitation of nature is not required. A poem professedly ludicrous, may employ machinery to great advantage; and the more extravagant the better. A just representation of nature, would indeed be incongruous in a composition intended to give entertainment by the means chiefly of singularity and surprise.

For accomplishing the task undertaken in the beginning of the present section, what only remains is, to show the final cause of the power that fiction hath over the mind of man. I have already mentioned, that language, by means of fiction, has the command of our sympathy for the good of others. By the same means, our sympathy may be also raised for our own good. In the third section it is observed, that examples both of virtue and of vice raise virtuous emotions; which becoming stronger by exercise, tend to make us virtuous by habit as well as by principle. I now further observe, that examples drawn from real events, are not so frequent as to contribute much to a habit of virtue. If they be, they are not recorded by historians. It therefore shows great wisdom, to form us in such a manner, as to be susceptible of the same improvement from fable that we receive from genuine history. By this admirable contrivance, examples to improve us in virtue may be multiplied without end. No other sort of discipline contributes more to make virtue habitual; and no other sort is so agreeable in the application. I add another final cause with thorough satisfaction; because it shows, that the author of our nature is not less kindly provident for the happiness of his creatures, than for the regularity of their conduct. The power that fiction hath over the mind of man, is the source of an endless variety of refined amusement, always ready to employ a vacant hour. Such amusement is a fine resource in solitude; and by sweetening the temper, improves society.

PART II.

Emotions and passions as pleasant and painful, agreeable and disagreeable. Modifications of these qualities.