pearance of the tiger, have approached them so near, as to throw themselves into their grasp! From this same influence, how many will place themselves within the reach of other savage animals! how many children are lost by this excessive temerity!

The contrary, however, is the most prevalent case. But, were terror the source of the delight, though Mr. Burke contends that it is, only when in a moderate degree, it should be so in a greater: for, what is itself, in a moderate degree, a cause of pleasure, should, certainly, in a greater, be the cause of greater pleasure. This is the order of nature. Nevertheless, the contrary we see happen: the pleasure arises, only, when the terror is deemed moderate; when deemed violent, the terrific object is entirely shunned. What does this shew, but that curiosity, instead of being attracted by the terror, feels this its only check: that it would fain indulge itself, did not this obstacle interpose? Terror, then certainly, cannot be called the cause of the pleasure felt on these occasions; that claim is due, rather, to some attractive of curiosity in the object; an attractive so powerful, that it, sometimes, induces the subject, whom it actuates, even to contend with his apprehensions.

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The more terrible the object, it generally, indeed, excites the greater curiosity. But,

why? Still, not for the terror, because, greater precautions are then taken against it. Why, then? Because an object, said to be extremely terrible, is usually supposed to be marked by stronger peculiarities; it is conceived to possess qualifications, which entitle it to greater notice. Thus, when we hear of an animal, which we have never before seen, that it is one of the most formidable in creation, that it is of a tremendous size, that it is armed with terrific instruments of defence, that its powers are dismaying to the sight, it immediately awakens all the eagerness of curiosity. It strikes as an object particularly worth regard. This effect does not suppose delight in fear; it is the consequence of expectations of seeing some peculiarly noble creature. It appears, then, that in terrific objects, it is not the terror, which they cause, that delights, but some distinctive properties belonging to them, which, by flattering expectation, excite greater curiosity. We do not admire the fright, but the frightful object. Curiosity, then, and not terror, is the leading principle, the source of all satisfaction arising from such scenes.* The sensation felt in the gratification of this curiosity, may be denominated awe: this term seeming to comprise all those other affections of astonishment,

* See Appendix, Note G.

admiration, reverence, and respect, which Mr. Burke has so very judiciously assigned as the sentiments with which the mind is impressed by the survey of terrific objects.

:

Thus, have I endeavoured to delineate the cause of the principal pleasure derived from tragedy; that, which proceeds from social love operating under the artificially excited emotion of pity and of the less universal pleasure derived from curiosity operating under the artificially excited emotion of awe. These seemed to be the chief affections, which tragedy aims at exciting by explaining them, I thought that I gave sufficient opening into an analysis of any of the inferior emotions; on this account, a further pursuit of these inquiries was deemed un

NOTES.

Note A.

HAVING explained how we may excite the feeling requisite for sublime composition, I have taken this opportunity to describe how we may excite the feeling suitable to any species of composition. This we may do by directing our view to the feeling required, as to our sole purpose in undertaking the composition: and by considering the objects, which occur in the course of the composition, as bearing the air or character most apt to excite this feeling.

Thus, suppose I wish to distinguish the composition by the feeling of anger; I shall consider anger as the feeling, for the sole end of expressing which, I have entered upon the composition; and, in order to express it, I shall represent to myself each successive object or thought as bearing the air or character most apt to excite that feeling. This air or character is that of provocation.

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