The second class is of sentiments that may belong to an ordinary passion, but are not perfectly concordant with it, as tinctured by a singular character. In the last act of that excellent comedy, The Careless Husband, Lady Easy, upon Sir Charles’s reformation, is made to express more violent and turbulent sentiments of joy, than are consistent with the mildness of her character.
Lady Easy. O the soft treasure! O the dear reward of long-desiring love—— Thus! thus to have you mine, is something more than happiness, ’tis double life, and madness of abounding joy.
If the sentiments of a passion ought to be suited to a peculiar character, it is still more necessary that sentiments devoid of passion be suited to the character. In the 5th act of the Drummer, Addison makes his gardener act even below the character of an ignorant credulous rustic: he gives him the behaviour of a gaping idiot.
The following instances are descriptions rather than sentiments, which compose a third class.
Of this descriptive manner of painting the passions, there is in the Hippolytus of Euripides, act 5. an illustrious instance, viz. the speech of Theseus, upon hearing of his son’s dismal exit. In Racine’s tragedy of Esther, the Queen hearing of the decree issued against her people, instead of expressing sentiments suitable to the occasion, turns her attention upon herself, and describes with accuracy her own situation.
Juste Ciel? Tout mon sang dans mes veines se glace.
Act 1. sc. 3.
Again,
Aman. C’en est fait. Mon orgueil est forcé de plier,
L’inexorable Aman est reduit a prier.
Esther, act 3. sc. 5.
Athalie. Quel prodige nouveau me trouble et m’embarrasse?
La douceur de sa voix, son enfance, sa grace,
Font insensiblement à mon inimitié
Succéder—— Je serois sensible a la pitié?
Athalie, act 2. sc. 7.