Whatever supports and fills the passions is agreeable to us; as, on the contrary, what weakens and enfeebles them is uneasy. As opposition has the first effect, and facilitates the second, no wonder the mind, in certain dispositions, desires the former, and is averse to the latter. These principles have an effect on the imagination as well as on the passions. To be convinced of this, we need only consider the influence of _heights_ and _depths_ on that faculty. Any great elevation of place communicates a kind of pride or sublimity of imagination, and gives a fancied superiority over those that lie below; and, _vice versa_, a sublime and strong imagination conveys the idea of ascent and elevation. Hence it proceeds, that we associate, in a manner, the idea of whatever is good with that of height, and evil with lowness. Heaven is supposed to be above, and hell below. A noble genius is called an elevate and sublime one. _Atque udam spernit humum fugiente penna_. On the contrary, a vulgar and trivial conception is styled indifferently low or mean. Prosperity is denominated ascent, and adversity descent. Kings and princes are supposed to be placed at the top of human affairs; as peasants and day-labourers are said to be in the lowest stations. These methods of thinking and of expressing ourselves, are not of so little consequence as they may appear at first sight. 'Tis evident to common sense, as well as philosophy, that there is no natural nor essential difference betwixt high and low, and that this distinction arises only from the gravitation of matter, which produces a motion from the one to the other. The very same direction, which in this part of the globe is called _ascent_, is denominated _descent_ in our antipodes; which can proceed from nothing but the contrary tendency of bodies. Now 'tis certain, that the tendency of bodies, continually operating upon our senses, must produce, from custom, a like tendency in the fancy; and that when we consider any object situated in an ascent, the idea of its weight gives us a propensity to transport it from the place in which it is situated to the place immediately below it, and so on till we come to the ground, which equally stops the body and our imagination. For a like reason we feel a difficulty in mounting, and pass not without a kind of reluctance from the inferior to that which is situated above it; as if our ideas acquired a kind of gravity from their objects. As a proof of this, do we not find, that the facility, which is so much studied in music and poetry, is called the fall or cadency of the harmony or period; the idea of facility communicating to us that of descent, in the same manner as descent produces a facility?