E 29 ] 



And is the pleafure thus excited conformable to the precepts of 

 ftrid morality, and reconcileable with the intercfts of humanity ? 

 The fame queftions are applicable to the pleafure we feel in the 

 contemplation of fuch objeds as the Laocoon and dying gladiator 

 in fculpture, and (if I may mention them without lightnefs in 

 the fame fentence) of the facred and dreadful fubjeds of modern 

 painting. The martyrdom of faints, and terrors of a crucifixion. 



Is it, that pleafure and pain, not only fo blend and meet, that 

 frequently, we know not precifely, where the one begins, and the 

 other ends, but, that the pre-exiftence of a certain degree of 

 pain feems requifite, to give a poignancy to pleafure, and pre- 

 difpofes the fcnfes, by contraft, to feel the whole force of grateful 

 objeds ? fome of the moft cxquifite ftrains of mufic are produced, 

 by notes that run into an artificial difcord ; reft is doubly pleafing 

 after labour ; preceding hunger is neceifary to make us enjoy food 

 with a full relifh. An efFedl fomewhat analogous may take place, 

 when the tale of woe, or the tragic reprefentations on the ftage, 

 harrows up the foul. The reprefentation, however diltrefsful, 

 is ftill a reprefentation. We inftantly recolleft that the fcene is 

 fiditious : and this rccolledion not only abates our uneafinefs, 

 but diffufes a fecret joy on the mind ; a joy the more fenfibly 

 felt on account of the painful emotion, that inftantaneoufly preceded 

 it, with bounds of feparation fcarce difcernible. 



But are there, in reality, any bounds of feparation ? Have 

 not the uneafy pafilons, even in the very time that we arc diftrefled 



by 



