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the force of habit. We approve every virtuous action, and bestow our affection on the author; but if virtuous actions produced no other effect upon us, good example would not have great influence: the sympathetic emotion under consideration bestows upon good example the utmost influence, by prompting us to imitate what we admire. This singular emotion will readily find an object to exert itself upon : and at any rate, it never exists without producing some effect; because virtuous emotions of that sort, are in some degree an exercise of virtue; they are a mental exercise at least, if they appear not externally. And every exercise of virtue, internal and external, leads to habit; for a disposition or propensity of the mind, like a limb of the body, becomes stronger by exercise. Proper means, at the same time, being ever at hand to raise this sympathetic emotion, its frequent reiteration may, in a good measure, supply the want of a more com plete exercise. Thus, by proper discipline, every person may acquire a settled habit of virtúe : intercourse with men of worth, histories of generous and disinterested actions, and frequent meditation upon them, keep the sympathetic emotion in constant exercise, which by degrees introduceth a habit, and confirms the authority of virtue: with respect to education in particular, what a spacious and commodious avenue to the heart of a young person is here opened!


In many instances one Emotion is productive of

another. The same of Passions.

In the first chapter it is observed, that the relations by which things are connected, have a remarkable influence on the train of our ideas. I here add, that they have an influence, no less remarkable, in the production of emotions and passions. Beginning with the former, (an agreeable object makes every thing connected with it appear agreeable ; for the mind gliding sweetly and easily through related objects, carries along the agreeable properties it meets with in its passage, and bestows them on the present object, which thereby appears more agreeable than when considered apart.* This reason may appear obscure and metaphysical, but the fact is beyond all dispute. (No relation is more intimate than that between a being and its qualities : and accordingly, every quality in a hero, even the slightest, makes a greater figure than more substantial qualities in others. The propensity of carrying along agreeable properties from one object to another, is sometimes so vigorous as to convert defeets into properties : the wry neck of Alexander was imitated by his courtiers as a real beauty, without intention to flatter: Lady Piercy, speaking of her husband Hotspur,

* Such proneness has the mind to this communication of properties, that we often find a property ascribed to a related object, of which naturally it is not susceptible. Sir Richard Grenville in a single ship, being surprised by the Spanish feet, was advised to retire. He utterly refused to turn from the enemy; declaring," he would rather “ die, than dishonour himself, his country, and her Majesty's ship." Hakluyt, vol. ii. part II. p. 169. To aid the communication of properties in instances like the present, there always must be a momentary personification: a ship must be imagined a sensible being, to make it susceptible of honour or dishonour. In the battle of Mantinea, Epaminondas being mortally wounded, was carried to his tent in a manner dead : recovering his senses, the first thing be inquired about was his shield; which being brought, he kissed it as the companion of his valour and glory. It must be remarked, that among the Greeks and Romans it was deemed infamous for a soldier to return from battle without his shield,

2 By his light
Did all the chivalry of England move,
To do brave acts. He was indeed the glass,
Wherein the noble youths did dress themselves.
He had no legs that practis'd not his gait:
And speaking thick, which Nature made his blemish,
Became the accents of the valiant :
For those who could speak slow and tardily,
Would turn their own perfection to abuse,
To seem like him.

Second Part, Henry IV, Act II. Sc. 6.

The same communication of passion obtains in the relation of principal and accessory. Pride, of which self is the object, expands itself upon a house, a garden, servants, equipage, and every accessory. A lover addresseth his mistress's glove in the following terms :

Sweet ornament that decks a thing divine.

Veneration for relics has the same natural foundation; and that foundation with the superstructure of superstition, has occasioned much blind devotion to the most ridiculous objects, to the supposed milk, for example, of the Virgin Mary, or the supposed blood of St. Japivarius.* A temple

* But why worship the cross which is supposed to be that upon which our Saviour suffered ? That cross ought to be the object of hatred, not of veneration. If it be urged, that as an instrument of Christ's suffering it was salutary to mankind, I answer, Why is not also Pontius Pilate reverenced, Caiaphas the high priest, and Judas Iscariot?

is in a proper sense an accessory of the deity to which it is dedicated : Diana is chaste, and not only her temple, but the very icicle which hangs on it, must partake of that property :

The noble sister of Poplicola,
The moon of Rome; chaste as the icicle
That's curdled by the frost from purest snow,
And hangs on Dian's temple.

Coriolanus, Act V. Sc. 3.

Thus it is, that the respect and esteem, which the great, the powerful, the opulent, naturally command, are in some measure communicated to their dress, to their manners, and to all their connexions : and it is this communication of properties, which, prevailing even over the natural taste of beauty, helps to give currency to what is called the fashion.

By means of the same easiness of communica. tion, every bad quality in an enemy is spread upon all his connexions. The sentence pronounced against Ravaillac for the assassination of Henry IV. of France, ordains, that the house in which he was born should be razed to the ground, and that no other building should ever be erected on that spot. Enmity will extend passion to objects still less connected. The Swiss suffer no peacocks to live, because the Duke of Austria, their ancient enemy, wears a peacock's tail in his crest. A relation more slight and transitory than that of enmity, may have the same effect: thus the bearer of bad tidings becomes an object of aversion :

Fellow, begone; I cannot brook thy sight;
This news hath made thee a most ugly man.

King John, Act III, Sc. i.

Yet the first bringer of unwelcome news
Hath but a losing office : and his tongue
Sounds ever after, as a sullen bell
Remember'd, tolling a departed friend.

Second Part, Henry IV. Act I. Sc. 3.

In borrowing thus properties from one object to bestow them on another, it is not any object indifferently that will answer. The object from which properties are borrowed, must be such as to warm the mind and enliven the imagination. Thus the beauty of a mistress, which inflames the imagination, is readily communicated to a glove, as above mentioned; but the greatest beauty a glove is susceptible of, touches the mind so little, as to be entirely dropped in passing from it to the owner. In general, it may be observed, that any dress upon a fine woman is becoming; but that ornaments upon one who is homely, must be elegant indeed to have any remarkable effect in mending her appearance.*

The emotions produced as above may properly be termed secondary, being occasioned either by antecedent emotions or antecedent passions, which in that respect may be termed primary. And to complete the present theory, I must add, that a secondary emotion may readily swell into a passion for the accessory object, provided the accessory be a proper object for desire. Thus it happens that one passion is often productive of another: examples are without number; the sole difficulty is a proper choice. (I begin with self-love, and the power it

* A house and gardens surrounded with pleasant fields, all in good order, bestow greater lustre upon the owner than at first will be imagined. The beauties of the former are, by intimacy of connexion, readily communicated to the latter; and if it have been done at the expense of the owner himself, we naturally transfer to him whatever of design, art, or taste, appears in the performance. Should not this be a strong motive with proprietors to embellish and improve their fields ?

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