This emotion of concord from conjoined emotions, is felt even where the emotions are not perfectly similar. Love is a pleasant passion; but then its sweetness and tenderness make it resemble in a considerable degree the painful passion of pity or grief; and for that reason, love accords better with these passions than with what are gay and sprightly. I give the following example from Catullus, where the concord betwixt love and grief, has a fine effect even in so slight a subject as the death of a sparrow. Lugete, ô Veneres, Cupidinesque, Et quantum est hominum venustiorum! Passer mortuus est meæ puellæ, Quem plus illa oculis suis amabat. Nam mellitus erat, suamque norat Ipsam tam bene, quam puella matrem: Nec sese a gremio illius movebat; Sed circumsiliens modo huc, modo illuc, Ad solam dominam usque pipilabat. Qui nunc it per iter tenebricosum, Illuc, unde negant redire quemquam. At vobis male sit, malæ tenebræ Orci, quæ omnia bella devoratis; Tarn bellum mihi passerem abstulistis. O factum male, ô miselle passer, Tua nunc opera, meæ puellæ Flendo turgiduli rubent ocelli. To complete this branch of the subject, I proceed to consider the effects of dissimilar emotions. These effects obviously must be opposite to what are above described; and in order to explain them with accuracy, dissimilar emotions proceeding from connected causes, must be distinguished from what proceed from causes that are unconnected. Dissimilar emotions of the former kind, being forced into a sort of unnatural union, produce a feeling of discord instead of harmony. It holds also that in computing their force, subtraction must be used in place of addition, which will be evident from what follows. Dissimilar emotions forced into union, are felt obscurely and imperfectly; for each tends to vary the tone of mind that is suited to the other; and the mind thus distracted betwixt two objects, is at no instant in a condition to receive a full impression from either. Dissimilar emotions proceeding from unconnected causes, are in a very different condition. Dissimilar emotions in general are averse to union; and as there is nothing to force them into union when their causes are unconnected emotions of this kind are never felt but in succession. By that means, they are not felt to be discordant, and each hath an opportunity to make a full impression. This curious theory must be illustrated by examples. In reading the description of the dismal waste, book 1. of _Paradise Lost_, we are sensible of a confused feeling, arising from dissimilar emotions forced into union, _viz._ the beauty of the description and the horror of the object described. Seest thou yon dreary plain, forlorn and wild, The seat of desolation, void of light, Save what the glimmering of these livid flames Casts pale and dreadful?