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Have we any difficulty to comprehend the force of humanity and benevolence? Or to conceive, that the very aspect of happiness, joy, prosperity, gives pleasure; that of pain, suffering, sorrow, communicates uneasiness? The human countenance, says Horace ['Uti ridentibus arrident, ita flentibus adflent Humani vultus,'—Hor.], borrows smiles or tears from the human countenance. Reduce a person to solitude, and he loses all enjoyment, except either of the sensual or speculative kind; and that because the movements of his heart are not forwarded by correspondent movements in his fellow-creatures. The signs of sorrow and mourning, though arbitrary, affect us with melancholy; but the natural symptoms, tears and cries and groans, never fail to infuse compassion and uneasiness. And if the effects of misery touch us in so lively a manner; can we be supposed altogether insensible or indifferent towards its causes; when a malicious or treacherous character and behaviour are presented to us?

We enter, I shall suppose, into a convenient, warm, well-contrived apartment: We necessarily receive a pleasure from its very survey; because it presents us with the pleasing ideas of ease, satisfaction, and enjoyment. The hospitable, good-humoured, humane landlord appears. This circumstance surely must embellish the whole; nor can we easily forbear reflecting, with pleasure, on the satisfaction which results to every one from his intercourse and good-offices.

His whole family, by the freedom, ease, confidence, and calm enjoyment, diffused over their countenances, sufficiently express their happiness. I have a pleasing sympathy in the prospect of so much joy, and can never consider the source of it, without the most agreeable emotions.

He tells me, that an oppressive and powerful neighbour had attempted to dispossess him of his inheritance, and had long disturbed all his innocent and social pleasures. I feel an immediate indignation arise in me against such violence and injury.

But it is no wonder, he adds, that a private wrong should proceed from a man, who had enslaved provinces, depopulated cities, and made the field and scaffold stream with human blood. I am struck with horror at the prospect of so much misery, and am actuated by the strongest antipathy against its author.

In general, it is certain, that, wherever we go, whatever we reflect on or converse about, everything still presents us with the view of human happiness or misery, and excites in our breast a sympathetic movement of pleasure or uneasiness. In our serious occupations, in our careless amusements, this principle still exerts its active energy.

A man who enters the theatre, is immediately struck with the view of so great a multitude, participating of one common amusement; and experiences, from their very aspect, a superior sensibility or disposition of being affected with every sentiment, which he shares with his fellow-creatures.

He observes the actors to be animated by the appearance of a full audience, and raised to a degree of enthusiasm, which they cannot command in any solitary or calm moment.

Every movement of the theatre, by a skilful poet, is communicated, as it were by magic, to the spectators; who weep, tremble, resent, rejoice, and are inflamed with all the variety of passions, which actuate the several personages of the drama.

Where any event crosses our wishes, and interrupts the happiness of the favourite characters, we feel a sensible anxiety and concern. But where their sufferings proceed from the treachery, cruelty, or tyranny of an enemy, our breasts are affected with the liveliest resentment against the author of these calamities. It is here esteemed contrary to the rules of art to represent anything cool and indifferent. A distant friend, or a confident, who has no immediate interest in the catastrophe, ought, if possible, to be avoided by the poet; as communicating a like indifference to the audience, and checking the progress of the passions.

Few species of poetry are more entertaining than PASTORAL; and every one is sensible, that the chief source of its pleasure arises from those images of a gentle and tender tranquillity, which it represents in its personages, and of which it communicates a like sentiment to the reader. Sannazarius, who transferred the scene to the sea-shore, though he presented the most magnificent object in nature, is confessed to have erred in his choice. The idea of toil, labour, and danger, suffered by the fishermen, is painful; by an unavoidable sympathy, which attends every conception of human happiness or misery.

When I was twenty, says a French poet, Ovid was my favourite: Now I am forty, I declare for Horace. We enter, to be sure, more readily into sentiments, which resemble those we feel every day: But no passion, when well represented, can be entirely indifferent to us; because there is none, of which every man has not, within him, at least the seeds and first principles. It is the business of poetry to bring every affection near to us by lively imagery and representation, and make it look like truth and reality: A certain proof, that, wherever that reality is found, our minds are disposed to be strongly affected by it.

Any recent event or piece of news, by which the fate of states, provinces, or many individuals is affected, is extremely interesting even to those whose welfare is not immediately engaged. Such intelligence is propagated with celerity, heard with avidity, and enquired into with attention and concern. The interest of society appears, on this occasion, to be in some degree the interest of each individual. The imagination is sure to be affected; though the passions excited may not always be so strong and steady as to have great influence on the conduct and behaviour.

The perusal of a history seems a calm entertainment; but would be no entertainment at all, did not our hearts beat with correspondent movements to those which are described by the historian.

Thucydides and Guicciardin support with difficulty our attention; while the former describes the trivial encounters of the small cities of Greece, and the latter the harmless wars of Pisa. The few persons interested and the small interest fill not the imagination, and engage not the affections. The deep distress of the numerous Athenian army before Syracuse; the danger which so nearly threatens Venice; these excite compassion; these move terror and anxiety.

The indifferent, uninteresting style of Suetonius, equally with the masterly pencil of Tacitus, may convince us of the cruel depravity of Nero or Tiberius: But what a difference of sentiment! While the former coldly relates the facts; and the latter sets before our eyes the venerable figures of a Soranus and a Thrasea, intrepid in their fate, and only moved by the melting sorrows of their friends and kindred. What sympathy then touches every human heart! What indignation against the tyrant, whose causeless fear or unprovoked malice gave rise to such detestable barbarity!

If we bring these subjects nearer: If we remove all suspicion of fiction and deceit: What powerful concern is excited, and how much superior, in many instances, to the narrow attachments of self-love and private interest! Popular sedition, party zeal, a devoted obedience to factious leaders; these are some of the most visible, though less laudable effects of this social sympathy in human nature.

The frivolousness of the subject too, we may observe, is not able to detach us entirely from what carries an image of human sentiment and affection.

When a person stutters, and pronounces with difficulty, we even sympathize with this trivial uneasiness, and suffer for him. And it is a rule in criticism, that every combination of syllables or letters, which gives pain to the organs of speech in the recital, appears also from a species of sympathy harsh and disagreeable to the ear. Nay, when we run over a book with our eye, we are sensible of such unharmonious composition; because we still imagine, that a person recites it to us, and suffers from the pronunciation of these jarring sounds. So delicate is our sympathy!