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bour bestowed by an eminent writer *: to whom however the world is greatly indebted, for removing a mountain of rubbish, and moulding the subject into a rational and correct form. The fame defect is remarkable in criticism, which has for its object the more delicate feelings. The terms that denote these feelings, are not more diftinct than thofe of logic. To reduce this science of criticism to any regular form, has never once been attempted. However rich the ore may be, no critical chymitt has been found to give us a regular analysis of its constituent parts, and to distinguish each by its own name.

In the fecond place, fociety among individuals is greatly promoted by this univerfal language. The distance and referve that strangers naturally discover, fhow its utility. Looks and geftures give direct access to the heart; and lead us to felect with tolerable accuracy the perfons who may be trufted. It is furprising how quickly, and

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for the most part how correctly, we judge of character from external appearances.

Thirdly, after focial intercourfe is com→ menced, these external figns contribute above all other means to the stricteft union, by diffufing through a whole affembly the feelings of each individual. Language no doubt is the most comprehenfive vehicle for communicating emotions but in expedition, as well as in the power of conviction, it falls fhort of the figns under confideration; the involuntary figns efpecially, which are incapable of deceit. Where the countenance, the tones, the geftures, the actions, join with the words, in communicating emotions, these united have a force irrefiftible. Thus all the agreeable emotions of the human heart, with all the focial and virtuous affections, are, by means of these external figns, not only perceived but felt. By this admirable contrivance, focial intercourse becomes that lively and animating amusement, without which life would at beft be infipid. One joyful countenance spreadschearfulness inftantaneously through a multitude of fpectators.

Fourthly,

Fourthly, diffocial paffions being hurtful by prompting violence and mifchief, are noted by the most confpicuous external figns, in order to put us upon our guard. Thus anger and revenge, especially when fuddenly provoked, difplay themselves on the countenance in legible characters*. The external figns again of every paffion that threatens danger, raife in us the paffion of fear. Nor is this paffion occafioned by consciousness of danger, though it may be infla

Rough and blunt manners, are allied to anger by an in ternal feeling, as well as by external expreffions resembling in a faint degree thofe of anger. Therefore fuch manners are cafily heightened into anger; and favages for that reafon are prone to anger. Thus rough and blunt manners are unhappy in two refpects. They are first readily converted into anger: and next, the change being imperceptible, because of the fimilitude of external figns, the perfon against whom the anger is directed is not put upon his guard. It is for these reasons a great object in fociety, to correct fuch manners, and to bring on a habit of sweetness and calmness. This temper has two oppofite good effects. First it is not easily provoked to wrath. Next the interval being great betwixt it and real anger, a perfon of this temper who receives an affront, has many changes to go through before his anger be inflamed. These changes have each of them their external fign, and the offending party is put upon his guard, to retire, or to endeavour a reconciliation.

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med by such consciousness. It is an instinctive paffion, which operating without reafon or reflection, moves us by a fudden impulfe to avoid the impending danger *.

In the fifth place, thefe external figns are made fubfervient in a curious manner to the cause of virtue. The external figns of a painful paffion that is virtuous or innocent, and confequently agreeable, produce indeed a painful emotion. But this emotion is attractive, and connects the spectator with the person who fuffers. Difagreeable paffions only, are productive of repulfive emotions involving the fpectator's averfion, and frequently his indignation. This artful contrivance makes us cling to the virtuous and abhor the wicked.

Sixthly, of all the external figns of pasfion, those of affliction or distress are the most illuftrious with respect to a final cause; and deservedly merit a place of diftinction. They are illustrious by the fingularity of their contrivance; and they are ftill more illuftrious: by the sympathy they infpire, a paffion to

See chap. 2. part 1. fect. 5.]

which human fociety is indebted for its greatest bleffing, that of fecuring relief in all cafes of diftrefs. A fubject fo interesting, ought to be examined with leisure and attention. The conformity of the nature of man to his external circumstances, is in eHis nature very particular wonderful. makes him prone to fociety; and his fituation makes it neceffary for him. In a folitary state he is the most helpless of beings; deftitute of fupport, and in his manifold diftreffes deftitute of relief. Mutual support, the shining attribute of fociety, being effential to the well-being of man, is not left upon reason, but is inforced even instinctively by the paffion of fympathy. Here sympathy makes a capital figure; and contributes, more than any other means, to make life eafy and comfortable. But however effential sympathy be to comfortable existence, one thinking of it beforehand, would find difficulty in conjecturing how it could be raised by external figns of diftrefs. For confidering the analogy of nature, if these figns be agreeable, they must give birth to a pleafant emotion leading every beholder to be pleased

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