If difference of aim prevent the union of two passions though having the same object, much more will it prevent their union when their objects are also different. In both cases there is a fluctuation; but in the latter the fluctuation is slower than in the former. A beautiful situation of this kind is exhibited in the _Cid_ of Corneille. Don Diegue, an old soldier worn out with age, having received a mortal affront from the Count father to Chimene, employs his son Don Rodrigue, Chimene’s lover, to demand satisfaction. This situation occasions in the breast of Don Rodrigue a cruel struggle. It is a contest betwixt love and honour, one of which must be sacrificed. The scene is finely conducted, chiefly by making love in some degree take part with honour, Don Rodrigue reflecting, that if he lost his honour he could not deserve his mistress. Honour triumphs. The Count, provoked to a single combat, falls by the hand of Don Rodrigue. This produceth another beautiful situation respecting Chimene, which for the sake of connection is placed here, though it properly belongs to the foregoing head. It became the duty of that lady to demand justice against her lover, for whose preservation, in other circumstances, she chearfully would have sacrificed her own life. The struggle betwixt these opposite passions directed upon the same object, is finely expressed in the third scene of the third act. _Elvire._ Il vous prive d’un pére, et vous l’aimez encore! _Chimene._ C’est peu de dire aimer, Elvire, je l’adore; Ma passion s’oppose à mon ressentiment, Dedans mon ennemi je trouve mon amant, Et je sens qu’en depit de toute ma colére, Rodrigue dans mon cœur combat encore mon pére. Il l’attaque, il le presse, il céde, il se défend, Tantôt fort, tantôt foible, et tantôt triomphant; Mais en ce dur combat de colére et de flame, Il déchire mon cœur sans partager mon ame, Et quoique mon amour ait sur moi de pouvoir, Je ne consulte point pour suivre mon devoir. Je cours sans balancer où mon honneur m’oblige; Rodrigue m’est bien cher, son interêt m’afflige, Mon cœur prend son parti; mais malgré son effort, Je sai ce que je suis, et que mon pére est mort. Not less when the objects are different than when the same, are means sometimes afforded to gratify both passions; and such means are greedily embraced. In Tasso’s _Gerusalem_, Edward and Gildippe, husband and wife, are introduced fighting gallantly against the Saracens. Gildippe receives a mortal wound by the hand of Soliman. Edward inflamed with revenge as well as concern for Gildippe, is agitated betwixt the two different objects. The poet[40] describes him endeavouring to gratify both at once, applying his right hand against Soliman the object of his resentment, and his left hand to support his wife the object of his love. PART V. _The power of passion to adjust our opinions and belief to its gratification._