Miscellaneous Pieces, in Prose

A judicious author will never attempt to raise pity by any thing mean or disgusting. As we have already observed, there must be a degree of complacence mixed with our sorrows to produce an agreeable sympathy; nothing, therefore, must be admitted which destroys the grace and dignity of suffering; the imagination must have an amiable figure to dwell upon; there are circumstances so ludicrous or disgusting, that no character can preserve a proper decorum under them, or appear in an agreeable light. Who can read the following description of Polypheme without finding his compassion entirely destroyed by aversion and loathing?

– His bloody handSnatch’d two unhappy of my martial band,And dash’d like dogs against the stony floor,The pavement swims with brains and mingled gore;Torn limb from limb, he spreads his horrid feast,And fierce devours it like a mountain beast,He sucks the marrow, and the blood he drains,Nor entrails, flesh, nor solid bone remains.

Or that of Scylla,

In the wide dungeon she devours her food,And the flesh trembles while she churns the blood.

Deformity is always disgusting, and the imagination cannot reconcile it with the idea of a favourite character; therefore the poet and romance-writer are fully justified in giving a larger share of beauty to their principal figures than is usually met with in common life. A late genius, indeed, in a whimsical mood, gave us a lady with her nose crushed for the heroine of his story; but the circumstance spoils the picture; and though in the course of the story it is kept a good deal out of sight, whenever it does recur to the imagination we are hurt and disgusted. It was an heroic instance of virtue in the nuns of a certain abbey, who cut off their noses and lips to avoid violation; yet this would make a very bad subject for a poem or a play. Something akin to this is the representation of any thing unnatural; of which kind is the famous story of the Roman charity, and for this reason I cannot but think it an unpleasing subject for either the pen or the pencil.

Poverty, if truly represented, shocks our nicer feelings; therefore, whenever it is made use of to awaken our compassion, the rags and dirt, the squalid appearance and mean employments incident to that state must be kept out of sight, and the distress must arise from the idea of depression, and the shock of falling from higher fortunes. We do not pity Belisarius as a poor blind beggar; and a painter would succeed very ill who should sink him to the meanness of that condition. He must let us still discover the conqueror of the Vandals, the general of the imperial armies, or we shall be little interested. Let us look at the picture of the old woman in Otway:

– A wrinkled hag with age grown double,Picking dry sticks, and muttering to herself;Her eyes with scalding rheum were gall’d and red;Cold palsie shook her head; her hands seem’d wither’d;And on her crooked shoulder had she wraptThe tatter’d remnant of an old strip’d hanging,Which serv’d to keep her carcase from the cold;So there was nothing of a piece about her.

Here is the extreme of wretchedness, and instead of melting into pity, we should turn away with disgust, if we were not pleased with it, as we are with a Dutch painting, from its exact imitation of nature. Indeed the author only intended it to strike horror. But how different are the sentiments we feel for the lovely Belvidera! We see none of those circumstances which render poverty an unamiable thing. When the goods are seized by an execution, our attention is turned to the piles of massy plate, and all the ancient, most domestic ornaments, which imply grandeur and consequence; or to such instances of their hard fortune as will lead us to pity them as lovers: we are struck and affected with the general face of ruin; but we are not brought near enough to discern the ugliness of its features. Belvidera ruined, Belvidera deprived of friends, without a home, abandoned to the wide world – we can contemplate with all the pleasing sympathy of pity; but had she been represented as really sunk into low life, had we seen her employed in the most servile offices of poverty, our compassion would have given way to contempt and disgust. Indeed, we may observe in real life, that poverty is only pitied so long as people can keep themselves from the effects of it. When in common language we say a miserable object, we mean an object of distress which, if we relieve, we turn away from at the same time. To make pity pleasing, the object of it must not in any view be disagreeable to the imagination. How admirably has the author of Clarissa managed this point? Amidst scenes of suffering which rend the heart, in poverty, in a prison, under the most shocking outrages, the grace and delicacy of her character never suffers even for a moment; there seems to be a charm about her which prevents her receiving a stain from anything which happens; and Clarissa, abandoned and undone, is the object not only of complacence, but veneration.

I would likewise observe, that if an author would have us feel a strong degree of compassion, his characters must not be too perfect. The stern fortitude and inflexible resolution of a Cato may command esteem, but does not excite tenderness; and faultless rectitude of conduct, though no rigour be mixed with it, is of too sublime a nature to inspire compassion. Virtue has a kind of self-sufficiency; it stands upon its own basis, and cannot be injured by any violence. It must therefore be mixed with something of helplessness and imperfection, with an excessive sensibility, or a simplicity bordering upon weakness, before it raises, in any great degree, either tenderness or familiar love. If there be a fault in the masterly performance just now mentioned, it is that the character of Clarissa is so inflexibly right, her passions are under such perfect command, and her prudence is so equal to every occasion, that she seems not to need that sympathy we should bestow upon one of a less elevated character; and perhaps we should feel a livelier emotion of tenderness for the innocent girl whom Lovelace calls his Rose-bud, but that the story of Clarissa is so worked up by the strength of colouring, and the force of repeated impressions, as to command all our sorrow.

Pity seems too degrading a sentiment to be offered at the shrine of faultless excellence. The sufferings of martyrs are rather beheld with admiration and sympathetic triumph than with tears; and we never feel much for those whom we consider as themselves raised above common feelings.

The last rule I shall insist upon is, that scenes of distress should not be too long continued. All our finer feelings are in a manner momentary, and no art can carry them beyond a certain point, either in intenseness or duration. Constant suffering deadens the heart to tender impressions; as we may observe in sailors, and others who are grown callous by a life of continual hardships. It is therefore highly necessary, in a long work, to relieve the mind by scenes of pleasure and gaiety; and I cannot think it so absurd a practice as our modern delicacy has represented it, to intermix wit and fancy with the pathetic, provided care be taken not to check the passions while they are flowing. The transition from a pleasurable state of mind to tender sorrow is not so difficult as we imagine. When the mind is opened by gay and agreeable scenes, every impression is felt more sensibly. Persons of a lively temper are much more susceptible of that sudden swell of sensibility which occasions tears, than those of a grave and saturnine cast: for this reason women are more easily moved to weeping than men. Those who have touched the springs of pity with the finest hand, have mingled light strokes of pleasantry and mirth in their most pathetic passages. Very different is the conduct of many novel-writers, who, by plunging us into scenes of distress without end or limit, exhaust the powers, and before the conclusion either render us insensible to every thing, or fix a real sadness upon the mind. The uniform stile of tragedies is one reason why they affect so little. In our old plays, all the force of language is reserved for the more interesting parts; and in the scenes of common life there is no attempt to rise above common language: whereas we, by that pompous manner and affected solemnity which we think it necessary to preserve through the whole piece, lose the force of an elevated or passionate expression where the occasion really suggests it.

Having thus considered the manner in which fictitious distress must be managed to render it pleasing, let us reflect a little upon the moral tendency of such representations. Much has been said in favour of them, and they are generally thought to improve the tender and humane feelings; but this, I own, appears to me very dubious. That they exercise sensibility, is true; but sensibility does not increase with exercise. By the constitution of our frame our habits increase, our emotions decrease, by repeated acts; and thus a wise provision is made, that as our compassion grows weaker, its place should be supplied by habitual benevolence. But in these writings our sensibility is strongly called forth without any possibility of exerting itself in virtuous action, and those emotions, which we shall never feel again with equal force, are wasted without advantage. Nothing is more dangerous than to let virtuous impressions of any kind pass through the mind without producing their proper effect. The awakenings of remorse, virtuous shame and indignation, the glow of moral approbation – if they do not lead to action, grow less and less vivid every time they recur, till at length the mind grows absolutely callous. The being affected with a pathetic story is undoubtedly a sign of an amiable disposition, but perhaps no means of increasing it. On the contrary, young people, by a course of this kind of reading, often acquire something of that apathy and indifference which the experience of real life would have given them, without its advantages.

Another reason why plays and romances do not improve our humanity is, that they lead us to require a certain elegance of manners and delicacy of virtue which is not often found with poverty, ignorance and meanness. The objects of pity in romance are as different from those in real life as our husbandmen from the shepherds of Arcadia; and a girl who will sit weeping the whole night at the delicate distresses of a lady Charlotte, or lady Julia, shall be little moved at the complaint of her neighbour, who, in a homely phrase and vulgar accent, laments to her that she is not able to get bread for her family. Romance-writers likewise make great misfortunes so familiar to our ears, that we have hardly any pity to spare for the common accidents of life: but we ought to remember, that misery has a claim to relief, however we may be disgusted with its appearance; and that we must not fancy ourselves charitable, when we are only pleasing our imagination.

It would perhaps be better, if our romances were more like those of the old stamp, which tended to raise human nature, and inspire a certain grace and dignity of manners of which we have hardly the idea. The high notions of honour, the wild and fanciful spirit of adventure and romantic love, elevated the mind; our novels tend to depress and enfeeble it. Yet there is a species of this kind of writing which must ever afford an exquisite pleasure to persons of taste and sensibility; where noble sentiments are mixed with well-fancied incidents, pathetic touches with dignity and grace, and invention with chaste correctness. Such will ever interest our sweetest passions. I shall conclude this paper with the following tale.

In the happy period of the golden age, when all the celestial inhabitants descended to the earth, and conversed familiarly with mortals, among the most cherished of the heavenly powers were twins, the offspring of Jupiter, LOVE and JOY. Where they appeared, the flowers sprung up beneath their feet, the sun shone with a brighter radiance, and all nature seemed embellished by their presence. They were inseparable companions, and their growing attachment was favoured by Jupiter, who had decreed that a lasting union should be solemnized between them as soon as they were arrived at maturer years. But in the mean time the sons of men deviated from their native innocence; vice and ruin over-ran the earth with giant strides; and Astrea, with her train of celestial visitants, forsook their polluted abodes. Love alone remained, having been stolen away by Hope, who was his nurse, and conveyed by her to the forests of Arcadia, where he was brought up among the shepherds. But Jupiter assigned him a different partner, and commanded him to espouse sorrow, the daughter of Até. He complied with reluctance; for her features were harsh and disagreeable, her eyes sunk, her forehead contracted into perpetual wrinkles, and her temples were covered with a wreath of cypress and wormwood. From this union sprung a virgin, in whom might be traced a strong resemblance to both her parents; but the sullen and unamiable features of her mother were so mixed and blended with the sweetness of her father, that her countenance, though mournful, was highly pleasing. The maids and shepherds of the neighbouring plains gathered round, and called her PITY. A red-breast was observed to build in the cabin where she was born; and while she was yet an infant, a dove, pursued by a hawk, flew into her bosom. This nymph had a dejected appearance, but so soft and gentle a mien that she was beloved to a degree of enthusiasm. Her voice was low and plaintive, but inexpressibly sweet; and she loved to lie for hours together on the banks of some wild and melancholy stream, singing to her lute. She taught men to weep, for she took a strange delight in tears; and often, when the virgins of the hamlet were assembled at their evening sports, she would steal in amongst them, and captivate their hearts by her tales full of a charming sadness. She wore on her head a garland composed of her father’s myrtles twisted with her mother’s cypress.

One day, as she sat musing by the waters of Helicon, her tears by chance fell into the fountain; and ever since, the Muses’ spring has retained a strong taste of the infusion. Pity was commanded by Jupiter to follow the steps of her mother through the world, dropping balm into the wounds she made, and binding up the hearts she had broken. She follows with her hair loose, her bosom bare and throbbing, her garments torn by the briars, and her feet bleeding with the roughness of the path. The nymph is mortal, for her mother is so; and when she has fulfilled her destined course upon the earth, they shall both expire together, and LOVE be again united to JOY, his immortal and long-betrothed bride.

THOUGHTS ON THE DEVOTIONAL TASTE, ON SECTS, AND ON ESTABLISHMENTS

Note. This Essay was first printed in 1735, and prefixed to Devotional Pieces compiled from the Psalms of David.

It is observed by a late most amiable and elegant writer, that Religion may be considered in three different views. As a system of opinions, its sole object is truth; and the only faculty that has any thing to do with it is Reason, exerted in the freest and most dispassionate enquiry. As a principle regulating our conduct, Religion is a habit, and like all other habits, of slow growth, and gaining strength only by repeated exertions. But it may likewise be considered as a taste, an affair of sentiment and feeling, and in this sense it is properly called Devotion. Its seat is in the imagination and the passions, and it has its source in that relish for the sublime, the vast, and the beautiful, by which we taste the charms of poetry and other compositions that address our finer feelings; rendered more lively and interesting by a sense of gratitude for personal benefits. It is in a great degree constitutional, and is by no means found in exact proportion to the virtue of a character.

It is with relation to this last view of the subject that the observations in this essay are hazarded: for though, as a rule of life, the authority and salutary effects of religion are pretty universally acknowledged, and though its tenets have been defended with sufficient zeal, its affections languish, the spirit of Devotion is certainly at a very low ebb amongst us, and what is surprising, it has fallen, I know not how, into a certain contempt, and is treated with great indifference, amongst many of those who value themselves on the purity of their faith, and who are distinguished by the sweetness of their morals. As the religious affections in a great measure rise and fall with the pulse, and are affected by every thing which acts upon the imagination, they are apt to run into strange excesses; and if directed by a melancholy or enthusiastic faith, their workings are often too strong for a weak head, or a delicate frame; and for this reason they have been almost excluded from religious worship by many persons of real piety. It is the character of the present age to allow little to sentiment, and all the warm and generous emotions are treated as romantic by the supercilious brow of a cold-hearted philosophy. The man of science, with an air of superiority, leaves them to some florid declaimer who professes to work upon the passions of the lower class, where they are so debased by noise and nonsense, that it is no wonder if they move disgust in those of elegant and better-informed minds.

Yet there is a devotion, generous, liberal, and humane, the child of more exalted feelings than base minds can enter into, which assimilates man to higher natures, and lifts him “above this visible diurnal sphere.” Its pleasures are ultimate, and, when early cultivated, continue vivid even in that uncomfortable season of life when some of the passions are extinct, when imagination is dead, and the heart begins to contract within itself. Those who want this taste, want a sense, a part of their nature, and should not presume to judge of feelings to which they must ever be strangers. No one pretends to be a judge in poetry or the fine arts, who has not both a natural and a cultivated relish for them; and shall the narrow-minded children of earth, absorbed in low pursuits, dare to treat as visionary, objects which they have never made themselves acquainted with? Silence on such subjects will better become them. But to vindicate the pleasures of devotion to those who have neither taste nor knowledge about them, is not the present object. It rather deserves our enquiry, what causes have contributed to check the operations of religious impressions amongst those who have steady principles, and are well disposed to virtue.

And, in the first place, there is nothing more prejudicial to the feelings of a devout heart, than a habit of disputing on religious subjects. Free enquiry is undoubtedly necessary to establish a rational belief; but a disputatious spirit, and fondness for controversy, give the mind a sceptical turn, with an aptness to call in question the most established truths. It is impossible to preserve that deep reverence for the Deity with which we ought to regard him, when all his attributes, and even his very existence, become the subject of familiar debate. Candor demands that a man should allow his opponent an unlimited freedom of speech, and it is not easy in the heat of discourse to avoid falling into an indecent or careless expression; hence those who think seldomer of religious subjects, often treat them with more respect than those whose profession keeps them constantly in their view. A plain man of a serious turn would probably be shocked to hear questions of this nature treated with that ease and negligence with which they are generally discussed by the practised Theologian, or the young lively Academic ready primed from the schools of logic and metaphysics. As the ear loses its delicacy by being obliged only to hear coarse and vulgar language, so the veneration for religion wears off by hearing it treated with disregard, though we ourselves are employed in defending it; and to this it is owing that many who have confirmed themselves in the belief of religion, have never been able to recover that strong and affectionate sense of it which they had before they began to enquire, and have wondered to find their devotion grown weaker when their faith was better grounded. Indeed, strong reasoning powers and quick feelings do not often unite in the same person. Men of a scientific turn seldom lay their hearts open to impression. Previously biassed by the love of system, they do indeed attend the offices of religion, but they dare not trust themselves with the preacher, and are continually upon the watch to observe whether every sentiment agrees with their own particular tenets.

The spirit of enquiry is easily distinguished from the spirit of disputation. A state of doubt is not a pleasant state. It is painful, anxious, and distressing beyond most others: it disposes the mind to dejection and modesty. Whoever therefore is so unfortunate as not to have settled his opinions in important points, will proceed in the search of truth with deep humility, unaffected earnestness, and a serious attention to every argument that may be offered, which he will be much rather inclined to revolve in his own mind, than to use as materials for dispute. Even with these dispositions, it is happy for a man when he does not find much to alter in the religious system he has embraced; for if that undergoes a total revolution, his religious feelings are too generally so weakened by the shock, that they hardly recover again their original tone and vigour.

Shall we mention Philosophy as an enemy to religion? God forbid! Philosophy,

Daughter of Heaven, that slow ascending stillInvestigating sure the form of thingsWith radiant finger points to heaven again.

Yet there is a view in which she exerts an influence perhaps rather unfavourable to the fervor of simple piety. Philosophy does indeed enlarge our conceptions of the Deity, and gives us the sublimest ideas of his power and extent of dominion; but it raises him too high for our imaginations to take hold of, and in a great measure destroys that affectionate regard which is felt by the common class of pious Christians. When, after contemplating the numerous productions of this earth, the various forms of being, the laws, the mode of their existence, we rise yet higher, and turn our eyes to that magnificent profusion of suns and systems which astronomy pours upon the mind – When we grow acquainted with the majestic order of nature, and those eternal laws which bind the material and intellectual worlds – When we trace the footsteps of creative energy through regions of unmeasured space, and still find new wonders disclosed and pressing upon the view – we grow giddy with the prospect; the mind is astonished, confounded at its own insignificance; we think it almost impiety for a worm to lift its head from the dust, and address the Lord of so stupendous a universe; the idea of communion with our Maker shocks us as presumption, and the only feeling the soul is capable of in such a moment is a deep and painful sense of its own abasement. It is true, the same philosophy teaches that the Deity is intimately present through every part of this complicated system, and neglects not any of his works: but this is a truth which is believed without being felt; our imagination cannot here keep pace with our reason, and the sovereign of nature seems ever further removed from us in proportion as we enlarge the bounds of his creation.

Philosophy represents the Deity in too abstracted a manner to engage our affections. A Being without hatred and without fondness, going on in one steady course of even benevolence, neither delighted with praises, nor moved by importunity, does not interest us so much as a character open to the feelings of indignation, the soft relentings of mercy, and the partialities of particular affections. We require some common nature, or at least the appearance of it, on which to build our intercourse. It is also a fault of which philosophers are often guilty, that they dwell too much in generals. Accustomed to reduce every thing to the operation of general laws, they turn our attention to larger views, attempt to grasp the whole order of the universe, and in the zeal of a systematic spirit seldom leave room for those particular and personal mercies which are the food of gratitude. They trace the great outline of nature, but neglect the colouring which gives warmth and beauty to the piece. As in poetry it is not vague and general description, but a few striking circumstances clearly related and strongly worked up – as in a landscape it is not such a vast extensive range of country as pains the eye to stretch to its limits, but a beautiful, well-defined prospect, which gives the most pleasure – so neither are those unbounded views in which philosophy delights, so much calculated to touch the heart as home views and nearer objects. The philosopher offers up general praises on the altar of universal nature; the devout man, on the altar of his heart, presents his own sighs, his own thanksgivings, his own earnest desires: the former worship is more sublime, the latter more personal and affecting.