Page 104 of 169
These examples from history and common experience are rich and curious; but we may find parallel ones in the arts, which are no less remarkable. should an author compose a treatise, of which one part was serious and profound, another light and humorous, every one would condemn so strange a mixture, and would accuse him of the neglect of all rules of art and criticism. These rules of art are founded on the qualities of human nature; and the quality of human nature, which requires a consistency in every performance is that which renders the mind incapable of passing in a moment from one passion and disposition to a quite different one. Yet this makes us not blame Mr Prior for joining his Alma and his Solomon in the same volume; though that admirable poet has succeeded perfectly well in the gaiety of the one, as well as in the melancholy of the other. Even supposing the reader should peruse these two compositions without any interval, he would feel little or no difficulty in the change of passions: Why, but because he considers these performances as entirely different, and by this break in the ideas, breaks the progress of the affections, and hinders the one from influencing or contradicting the other?
An heroic and burlesque design, united in one picture, would be monstrous; though we place two pictures of so opposite a character in the same chamber, and even close by each other, without any scruple or difficulty.
In a word, no ideas can affect each other, either by comparison, or by the passions they separately produce, unless they be united together by some relation, which may cause an easy transition of the ideas, and consequently of the emotions or impressions, attending the ideas; and may preserve the one impression in the passage of the imagination to the object of the other. This principle is very remarkable, because it is analogous to what we have observed both concerning the understanding and the passions. Suppose two objects to be presented to me, which are not connected by any kind of relation. Suppose that each of these objects separately produces a passion; and that these two passions are in themselves contrary: We find from experience, that the want of relation in the objects or ideas hinders the natural contrariety of the passions, and that the break in the transition of the thought removes the affections from each other, and prevents their opposition. It is the same case with comparison; and from both these phaenomena we may safely conclude, that the relation of ideas must forward the transition of impressions; since its absence alone is able to prevent it, and to separate what naturally should have operated upon each other. When the absence of an object or quality re moves any usual or natural effect, we may certalnly conclude that its presence contributes to the production of the effect.
Thus we have endeavoured to account for pity and malice. Both these affections arise from the imagination, according to the light, in which it places its object. When our fancy considers directly the sentiments of others, and enters deep into them, it makes us sensible of all the passions it surveys, but in a particular manner of grief or sorrow. On the contrary, when we compare the sentiments of others to our own, we feel a sensation directly opposite to the original one, viz. a joy from the grief of others, and a grief from their joy. But these are only the first foundations of the affections of pity and malice. Other passions are afterwards confounded with them. There is always a mixture of love or tenderness with pity, and of hatred or anger with malice. But it must be confessed, that this mixture seems at first sight to be contradictory to my system. For as pity is an uneasiness, and malice a joy, arising from the misery of others, pity should naturally, as in all other cases, produce hatred; and malice, love. This contradiction I endeavour to reconcile, after the following manner.
In order to cause a transition of passions, there is required a double relation of impressions and ideas, nor is one relation sufficient to produce this effect. But that we may understand the full force of this double relation, we must consider, that it is not the present sensation alone or momentary pain or pleasure, which determines the character of any passion, but the whole bent or tendency of it from the beginning to the end. One impression may be related to another, not only when their sensations are resembling, as we have all along supposed in the preceding cases; but also when their im pulses or directions are similar and correspondent. This cannot take place with regard to pride and humility; because these are only pure sensations, without any direction or tendency to action. We are, therefore, to look for instances of this peculiar relation of impressions only in such affections, as are attended with a certain appetite or desire; such as those of love and hatred.
Benevolence or the appetite, which attends love, is a desire of the happiness of the person beloved, and an aversion to his misery; as anger or the appetite, which attends hatred, is a desire of the misery of the person hated, and an aversion to his happiness. A desire, therefore, of the happiness of another, and aversion to his misery, are similar to benevolence; and a desire of his misery and aversion to his happiness are correspondent to anger. Now pity is a desire of happiness to another, and aversion to his misery; as malice is the contrary appetite. Pity, then, is related to benevolence; and malice to anger: And as benevolence has been already found to be connected with love, by a natural and original quality, and anger with hatred; it is by this chain the passions of pity and malice are connected with love and hatred.
This hypothesis is founded on sufficient experience. A man, who from any motives has entertained a resolution of performing an action, naturally runs into every other view or motive, which may fortify that resolution, and give it authority and influence on the mind. To confirm us in any design, we search for motives drawn from interest, from honour, from duty. What wonder, then, that pity and benevolence, malice, and anger, being the same desires arising from different principles, should so totally mix together as to be undistinguishable? As to the connexion betwixt benevolence and love, anger and hatred, being original and primary, it admits of no difficulty.
We may add to this another experiment, viz, that benevolence and anger, and consequently love and hatred, arise when our happiness or misery have any dependance on the happiness or misery of another person, without any farther relation. I doubt not but this experiment will appear so singular as to excuse us for stopping a moment to consider it.
Suppose, that two persons of the same trade should seek employment in a town, that is not able to maintain both, it is plain the success of one is perfectly incompatible with that of the other, and that whatever is for the interest of either is contrary to that of his rival, and so vice versa. Suppose again, that two merchants, though living in different parts of the world, should enter into co-partnership together, the advantage or loss of one becomes immediately the advantage or loss of his partner, and the same fortune necessarily attends both. Now it is evident, that in the first case, hatred always follows upon the contrariety of interests; as in the second, love arises from their union. Let us consider to what principle we can ascribe these passions.
