cafe an appeal is denied. Paffion, ftrictly speaking, is not an object of external fense: but its external figns are; and by means of these figns, paffions may be appealed to with tolerable accuracy: thus the words that denotè our paffions, next to thofe that denote external objects, have the most diftin&t meaning. Words fignifying internal action and the more delicate feelings, are lefs diftinct. This defect with regard to internal action, is what chiefly occafions the intricacy of logic: the terms of that fcience are far from being fufficiently ascertained, even after much care and labour bestowed by an eminent writer ;* to whom, however, the world is greatly indebted, for removing a mountain of rubbish, and moulding the fubject into a rational and correct form. The fame defect is remarkable in criticism, which has for its object the more delicate feelings; the terms that denote these feelings being not more diftinct than thofe of logic. To reduce the fcience of criticism, to any regular form, has never once been attempted: however rich the ore may be, no critical chemist has been found, to analyse its constituent parts, and to distinguish each by its own name. In the fecond place, Society among individuals is greatly promoted by that univerfal language. Looks and geftures give direct access to the heart, and lead us to felect, with tolerable accuracy, the persons who are worthy of our confidence. It is furprifing how quickly, and for the most part how correctly, we judge of character from external appearance. Thirdly, After focial intercourfe is commenced, thefe external figns, which diffuse through a whole affembly the feelings of each individual, ccntrib * Locke. ute ute above all other means to improve the fociał affections. Language, no doubt, is the most comprehenfive vehicle for communicating emotions: but in expedition, as well as in power of conviction, it falls fhort of the figns under confideration; the involuntary figns efpecially, which are incapable of deceit. Where the countenance, the tones, the geftures, the actions, join with the words in communicating emotions, these united have a force irresistible thus all the pleafant emotions of the human heart, with all the focial and virtuous affections, are, by means of these external figns, not only perceived, but felt. By this admirable contrivance, conversation becomes that lively and animating amufement,, without which life would at best be infipid: one joyful countenance spreads cheerfulness inftantaneously through a multitude of spectators. Fourthly, Diffocial paffions, being hurtful by prompting violence and mischief, are noted by the moft confpicuous external figns, in order to put us upon our guard thus anger and revenge, especially when fudden, difplay themfelves on the countenance in legible characters. The external figns again of every paffion that threatens danger raise in us the paffion of fear which frequently operating without reafon *Rough and blunt manners are allied to anger by an internal feeling, as well as by external expreffions refembling in a faint degree thofe of anger therefore fuch manners are easily heightened into anger; and favages for that reason are prone to anger. Thus rough and blunt manners are unhappy in two refpects: first, they are readily converted into anger; and next the change being imperceptible because of the fimilitude of their external figns, the perfon against whom the anger is directed is not put upon his guard. It is for these reasons a great object in fociety, ta correct fuch manners, and to bring on a habit of fweetnefs and calmness. This temper has two oppofite good effects. Firft, it is not eafily pro voked to wrath. Next, the interval being great between it and real anger, a perfon of that temper who receives an affront, has many changes to go through before his anger be inflamed: thefe changes have each of them their external fign; and the offending party is put upon his guard, to retire, or to endeavour a reconciliation. reason or reflection, moves us by a fudden impulse to avoid the impending danger.* In the fifth place, Thefe external figns are remarkably fubfervient to morality. A painful paffion, being accompanied with difagreeable external figns, muft produce in every fpectator a painful emotion: but then, if the paffion be focial, the emotion it produces is attractive, and connects the fpectator with the perfon who fuffers. Diffocial paffions only are productive of repulfive emotions, involving the fpectátor's averfion, and frequently his indignation. This beautiful contrivance makes us cling to the virtuous, and abhor the wicked. Sixthly, Of all the external figns of passion, those of affliction or diftrefs are the moft illuftrious with refpect to a final caufe. They are illustrious by the fingularity of their contrivance, and alfo by inspiring fympathy, a paflion to which human fociety is indebt ed for its greatest blefling, that of providing relief for the diftreffed. A fubject fo interefting deferves a leisurely and attentive examination. The conformity of the nature of man to his external circumstances is in every particular wonderful: his nature makes him prone to fociety; and fociety is neceffary to his wellbeing, because in a folitary ftate he is a helpless being, deftitute of fupport, and in his manifold diftreffes destitute of relief: but mutual fupport, the fhining attribute of fociety, is of too great moment to be left dependent upon cool reafon; it is ordered more wifely, and with greater conformity to the analogy of nature that it fhould be enforced even inftinctively by the paffion of fympathy. Here fympathy makes a capital figure, and contributes, more than any *See chap. 2, part 1. fe&t. 6. other other means, to make life eafy and comfortable. But, however effential the fympathy of others may be to our well-being, one beforehand would not readily conceive how it could be raised by external figns of diftrefs for confidering the analogy of nature, if thefe figns be agreeable, they must give birth to a pleafant emotion leading every beholder to be pleafed with human woes: if disagreeable, as they undoubtedly are, ought they not naturally to repel the spectator from them, in order to be relieved from pain ? Such would be the reafoning beforehand; and fuch would be the effect were man purely a felfish being. But the benevolence of our nature gives a very differ. ent direction to the painful paffion of fympathy, and to the defire involved in it : inftead of avoiding diftrefs, we fly to it in order to afford relief: and our fympathy cannot be otherwife gratified but by giving all the fuccour in our power.* Thus external figns of diftrefs, though difagreeable, are attractive; and the fympathy they infpire is a powerful caufe, impelling us to afford relief even to a stranger as if he were our friend or relation.† *See chap. 2. part 7. The It is a noted obfervation, that the deepeft tragedies are the moft crowded; which in a flight view will be thought an unaccountable bias in human nature. Love of novelty, defire of occupation, beauty of ac. tion, make us fond of theatrical reprefentations; and, when once engag ed we must follow the flory to the conclufion, whatever diftrefs it may create. But we generally become wife by experience; and when we foresee what pain we fhall fuffer during the courfe of the reprefentation, is it not furprifing that perfons of reflection do not avoid fuch fpectacles altogether? And yet one who has fcarce recovered from the diftrefs of a deep tragedy, refolves coolly and deliberately to go to the very next, without the flightest obftruction from felf-love. The whole myltery is explained by a fingle obfervation, That fympathy, though painful, is attractive, and attaches us to an object in difirefs, the oppofition of felf. Jove notwithflanding, which fhould prompt us to fly from it. And by this curious mechanifm it is, that perfons of any degree of fenfibility are attracted by affliction ftill more than by joy. The effects produced in all beholders by external figns of paffion, tend fo vifibly to advance the focial ftate, that I must indulge my heart with a more narrow inspection of this admirable branch of the human conftitution. These external figns, being all of them refolvable into colour, figure, and motion, fhould not naturally make any deep impreffion on a spectator : and fuppofing them qualified for making deep impreffions, we have feen above, that the effects they produce are not fuch as might be expected. We cannot therefore account otherwise for the operation of these external figns, but by afcribing it to the original constitution of human nature: to improve the focial state, by making us inftinctively rejoice with the glad of heart, weep with the mourner, and shun those who threaten danger, is a contrivance no less illuftrious for its wifdom than for its benevolence. With refpect to the external figns of diftrefs in particular, to judge of the excellency of their contriv ance, we need only reflect upon several other means feemingly more natural, that would not have anfwered the end purpofed. What if the external figns of joy were difagreeable, and the external figns of distress agreeable? This is no whimfical fuppofition, because there appears not any neceffary connection between thefe figns and the emotions produced by them in a fpectator. Admitting then the fuppofition, the question is, How would our fympathy operate? There is no occafion to deliberate for an answer: fympathy would be deftructive, and not beneficial : for, fuppofing the external figns of joy difagreeable, the happiness of others would be our averfion; and fuppofing the external figns of grief agreeable, the diftreffes of others would be our entertainment. I make a fecond fuppofition, That the external figns of distress were indifferent to us, and productive neither |