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also did his pain and uneasiness。 These former passions were too
strong for the pleasure arising from the beauties of elocution；
and operated； though from the same principle； yet in a contrary
manner； to the sympathy； compassion； and indignation of the
audience。
Lord Clarendon； when he approaches towards the catastrophe
of the royal party； supposes； that his narration must then become
infinite＇y disagreeable； and he hurries over the king's death；
without giving us one circumstance of it。 He considers it as too
horrid a scene to be contemplated with any satisfaction； or even
without the utmost pain and aversion。 He himself； as well as the
readers of that age； were too deeply concerned in the events； and
felt a pain from subjects； which an historian and a reader of
another age would regard as the most pathetic and most
interesting； and； by consequence； the most agreeable。
An action； represented in tragedy； may be too bloody and
atrocious。 It may excite such movements of horror as will not
soften into pleasure； and the greatest energy of expression；
bestowed on descriptions of that nature； serves only to augment
our uneasiness。 Such is that action represented in the ； where a venerable old man； raised to the height of
fury and despair； rushes against a pillar； and striking his head
upon it； besmears it all over with mingled brains and gore。 The
English theatre abounds too much with such shocking images。
Even the common sentiments of compassion require to be
softened by some agreeable affection； in order to give a thorough
satisfaction to the audience。 The mere suffering of plaintive
virtue； under the triumphant tyranny and oppression of vice；
forms a disagreeable spectacle； and is carefully avoided by all
masters of the drama。 In order to dismiss the audience with
entire satisfaction and contentment； the virtue must either
convert itself into a noble courageous despair； or the vice
receive its proper punishment。
Most painters appear in this light to have been very unhappy
in their subjects。 As they wrought much for churches and
convents； they have chiefly represented such horrible subjects as
crucifixions and martyrdoms； where nothing appears but tortures；
wounds； executions； and passive suffering； without any action or
affection。 When they turned their pencil from this ghastly
mythology； they had commonly recourse to Ovid； whose fictions；
though passionate and agreeable； are scarcely natural or probable
enough for painting。
The same inversion of that principle； which is here insisted
on； displays itself in common life； as in the effects of oratory
and poetry。 Raise so the subordinate passion that it becomes the
predominant； it swallows up that affection which it before
nourished and encreased。 Too much jealousy extinguishes love： Too
much difficulty renders us indifferent： Too much sickness and
infirmity disgusts a selfish and unkind parent。
What so disagreeable as the dismal； gloomy； disastrous
stories； with which melancholy people entertain their companions？
The uneasy passion being there raised alone； unaccompanied with
any spirit； genius； or eloquence； conveys a pure uneasiness； and
is attended with nothing that can soften it into pleasure or
satisfaction。