fucceffion*. This fluctuation, in the cafe of a real paffion, will be expreffed externally by proper fentiments; and ought to be imitated in writing and acting. Accordingly, a climax fhows never better than in expreffing a swelling paffion. The following paffages fhall fuffice for an illustra tion. Oroonoko. Can you raise the dead? Purfue and overtake the wings of time? And bring about again, the hours, the days, The years, that made me happy? Almeria. Oroonoko, at 2. fc. 2. How haft thou charm'd The wildness of the waves and rocks to this? I would not be the villain that thou think'ft Macbeth, at 4. Sc. 40 *See chap. 2. part 3. The The following paffage expreffes finely the Let me not ftir, nor breathe, left I diffolve Mourning Bride, at 2. fc. 6. In the progress of thought, our resolutions become more vigorous as well as our paffions. If ever I do yield or give confent, By any action, word, or thought, to wed Another Lord; may then juft Heav'n fhow'r down, &c. Mourning Bride, at 1. fc. 1. And this leads to a fecond obfervation, That the different ftages of a passion, and its different directions, from its birth to its extinction, ought to be carefully re-✓ presented in the fentiments, which otherwife will often be mifplaced. Refentment, for example, when provoked by an atrocious injury, discharges itself first upon the author. author. Sentiments therefore of revenge take place of all others, and must in some measure be exhausted before the perfon injured think of pitying himself, or of grieving for his prefent diftrefs. In the Cid of Corneille, Don Diegue having been affronted in a cruel manner, expreffes scarce any fentiment of revenge, but is totally occupied in contemplating the low fituation to which he was reduced by the affront. O rage'! ô defefpoir! ô vieilleffe ennemie ! Trahit donc ma querelle, et ne fait rien pour moi! Oeuvre de tant de jours en un jour effacée! Et Et toi, de mes exploits glorieux inftrument, Le Cid, at 1. Sc. 4. Thefe fentiments are certainly not what occur to the mind in the first movements of the paffion. In the fame manner as in refentment, the first movements of grief are always directed upon its object. Yet with relation to the fudden and fevere diftemper that seized Alexander bathing in the ri ver Cydnus, Quintus Curtius describes the firft emotions of the army as directed upon themselves, lamenting that they were left without a leader far from home, and had scarce any hopes of returning in fafety. Their King's diftrefs, which muft naturally have been their firft concern, occupies them but in the fecond place according to that author. In the Aminta of Taffo, Sylvia, upon a report of her lover's death, which the believed certain, instead of bemoaning the lofs of a beloved object, turns her thoughts thoughts upon herself, and wonders her heart does not break. Ohime, ben fon di faffo, Poi che questa novella non m' uccide. Alt 4. Sc. 2. In the tragedy of Jane Shore, Alicia, in the full purpose of destroying her rival, has the following reflection : Oh Jealoufy! thou bane of pleafing friendship, See where he comes! Once my heart's deareft bleffing, Now my chang'd eyes are blasted with her beauty, Loathe that known face, and ficken to behold her. AEt 3. fc. I. These are the reflections of a cool fpectator. A paffion while it has the afcendant, and is freely indulged, fuggefts not to the man who feels it any fentiment to its own prejudice. Reflections like the foregoing, occur not to him readily till the paffion have spent its vigor. A |