On Tragical Representations. 829 
tion to spectacles of a tragic character, and the 
interest which we feel in the representation of 
them, ought to be proportioned to the pertur- 
bation of the mind, and to the violence of the 
emotions which are excited. But the most vio- 
lent emotions shall be attempted to be raiseds 
while we are only disgusted with the scene; ‘be- 
cause the whole is destitute of that single requi- 
site, which alone has power to attach us to mi- 
sery. The play of the Libertine abounds with 
scenes, which address themselves to our terror 
and indignation; but we abhor the scenes, be- 
cause they exhibit no field for a benevolent com- 
passion; they are not the tragedy of a man, but 
of a fiend; it is not human nature, but hell, 
which is exhibited, There is enough of violent 
action, enough of terror and distress, to rouse 
and agitate; but being out of the field of man, 
we cannot sympathise ; or our horror and indig- 
nation are stronger than our sympathy, and we 
detest a picture, which awakens not those divine 
feelings, to which the soul of man delights to 
commit itself, 
Otway, the eldest son of Shakespeare, has 
greatly offended in this view, and greatly lessen- 
ed the impression of his genius, by the immor- 
ality and profligacy of his principal characters. 
We cannot feel for them-as we wish, and our 
interest in their sufferings is diminished, as they 
