It is agreeable to sympathize with joy; and wherever envy does not oppose it, our heart abandons itself with satisfaction to the highest transports of that delightful sentiment. But it is painful to go along with grief, and we always enter into it with reluctance[1]. When we attend to the representation of a tragedy, we struggle against that sympathetic sorrow which the entertainment inspires as long as we can, and we give way to it at last only when we can no longer avoid it: we even then endeavour to cover our concern from the company. If we shed any tears, we carefully conceal them, and are afraid lest the spectators, not entering into this excessive tenderness, should regard it as effeminacy and weakness. The wretch whose misfortunes call upon our compassion feels with what reluctance we are likely to enter into his sorrow, and therefore proposes his grief to us with fear and hesitation: he even smothers the half of it, and is ashamed, upon account of this hard-heartedness of mankind, to give vent to the fulness of his affliction. It is otherwise with the man who riots in joy and success. Wherever envy does not interest us against him, he expects our compleatest sympathy. He does not fear, therefore, to announce himself with shouts of exultation, in full confidence that we are heartily disposed to go along with him. Footnote 1: It has been objected to me that as I found the sentiment of approbation, which is always agreeable, upon sympathy, it is inconsistent with my system to admit any disagreeable sympathy. I answer, that in the sentiment of approbation there are two things to be taken notice of; first the sympathetic passion of the spectator; and, secondly, the emotion which arises from his observing the perfect coincidence between this sympathetic passion in himself, and the original passion in the person principally concerned. This last emotion, in which the sentiment of approbation properly consists, is always agreeable and delightful. The other may either be agreeable or disagreeable, according to the nature of the original passion, whose feature it must always, in some measure, retain. Two sounds I suppose, may, each of them, taken singly, be austere, and yet, if they are perfect concords, the perception of their harmony and coincidence may be agreeable. Why should we be more ashamed to weep than to laugh before company? We may often have as real occasion to do the one as to do the other: But we always feel that the spectators are more likely to go along with us in the agreeable, than in the painful emotion. It is always miserable to complain, even when we are oppressed by the most dreadful calamities. But the triumph of victory is not always ungraceful. Prudence, indeed, would often advise us to bear prosperity with more moderation; because prudence would teach us to avoid that envy which this very triumph is, more than any thing, apt to excite.