We see, therefore, from this view of our internal feelings, that no scenes of misery ought to be exhibited which are not connected with the display of some moral excellence, or agreeable quality. If fortitude, power, and strength of mind are called forth, they produce the sublime feelings of wonder and admiration: if the softer qualities of gentleness, grace, and beauty, they inspire love and pity. The management of these latter emotions is our present object. And let it be remembered, in the first place, that the misfortunes which excite pity must not be too horrid and overwhelming. The mind is rather stunned than softened by great calamities. They are little circumstances that work most sensibly upon the tender feelings. For this reason, a well-written novel generally draws more tears than a tragedy. The distresses of tragedy are more calculated to amaze and terrify, than to move compassion. Battles, torture and death are in every page. The dignity of the characters, the importance of the events, the pomp of verse and imagery interest the grander passions, and raise the mind to an enthusiasm little favourable to the weak and languid notes of pity. The tragedies of Young are in a fine strain of poetry, and the situations are worked up with great energy; but the pictures are in too deep a shade: all his pieces are full of violent and gloomy passions, and so over-wrought with horror, that instead of awakening any pleasing sensibility, they leave on the mind an impression of sadness mixed with terror. Shakespeare is sometimes guilty of presenting scenes too shocking. Such is the trampling out of Gloster’s eyes; and such is the whole play of Titus Andronicus. But Lee, beyond all others, abounds with this kind of images. He delighted in painting the most daring crimes, and cruel massacres; and though he has shewn himself extremely capable of raising tenderness, he continually checks its course by shocking and disagreeable expressions. His pieces are in the same taste with the pictures of Spagnolet, and there are many scenes in his tragedies which no one can relish who would not look with pleasure on the slaying of St. Bartholomew. The following speech of Marguerite, in the massacre of Paris, was, I suppose, intended to express the utmost tenderness of affection. Die for him! that’s too little; I could burn Piece-meal away, or bleed to death by drops, Be slay’d alive, then broke upon the wheel, Yet with a smile endure it all for Guise: And when let loose from torments, all one wound, Run with my mangled arms and crush him dead.