344 On Tragical Representations. 
we return to such scenes; not that pain is de~ 
sirable, not to seek for pleasure in the field of 
pain; but the better inclination of our natures 
determines our conduct ; and the distressing sen- 
sations, to which we are exposing ourselvess 
appear with that softened aspect, that grace, 
which a virtuous and benevolent melancholy 
always wears. 
This investigation of the effect of tragedy 
on the mind, will account, in a great measure, 
for the superiority of the best productions of 
the moderns above those of the ancients, and 
of the English tragedy above that of the French. 
The pictures are more exquisitely finished ; the 
characters of the sufferers are more interesting ; 
and more powerfully lay hold on our affections, 
and plead for our compassion. Domestic life 
and domestic manners were more gross and un- 
dressed among the antients; the social passions 
were but half awakened among them ; and, there- 
fore, the pictures of domestic happiness are not 
near so interesting, nor can, to-our improved 
taste, present such rich subjects of compassion. 
The French tragedies are in this respect also 
far inferior to the English; wit, gallantry, and 
philosophic declamation, are more displayed than 
touching scenes of pure and ingenuous distress. 
Tragedy, in order to be perfect, ought to be 
throughout an animated picture; enlivened, en- 
