Unless a perpetual miracle were to intercept the natural operation of common causes, religion, not less than philosophy or poetry, will draw enthusiasts within its precincts. Nor, if we recollect on the one hand the fitness of the vast objects revealed in the Scriptures to affect the imagination, and on the other, the wide diffusion of religious ideas, can it seem strange if it be found, in fact, that religious enthusiasts outnumber any other class. It is also quite natural that enthusiastic and genuine religious emotions should be intermingled with peculiar intricacy; since the revelations which give them scope combine, in a peculiar manner, elements of grandeur, of power, and of sublimity (fitted to kindle the imagination), with those ideas that furnish excitement to the moral sentiments. The religion of the heart, it is manifest, may be supplanted by a religion of the imagination, just in the same way that the social affections are often dislodged or corrupted by factitious sensibilities. Every one knows that an artificial excitement of the kind and tender emotions of our nature may take place through the medium of the imagination. Hence the power of poetry and the drama. But every one must also know that these feelings, how vivid soever and seemingly pure and salutary they may be, and however nearly they may resemble the genuine workings of the soul, are so far from producing the same softening effect upon the character, that they tend rather to indurate the heart. Whenever excitements of any kind are regarded distinctly as a source of luxurious pleasure, then, instead of expanding the bosom with beneficent energy, instead of dispelling the sinister purposes of selfishness, instead of shedding the softness and warmth of generous love through the moral system, they become a freezing centre of solitary and unsocial indulgence; and at length displace every emotion that deserves to be called virtuous. No cloak of selfishness is, in fact, more impenetrable than that which usually envelops a pampered imagination. The reality of woe is the very circumstance that paralyses sympathy; and the eye that can pour forth its flood of commiseration for the sorrows of the romance or the drama, grudges a tear to the substantial wretchedness of the unhappy. Much more often than not, this kind of luxurious sensitiveness to fiction is conjoined with a callousness that enables the subject of it to pass through the affecting occasions of domestic life in immovable apathy:—the heart has become, like that of leviathan, "firm as a stone, yea, hard as a piece of the nether millstone."