and experiences, from their very aspect, a superior sensibility
or disposition of being affected with every sentiment, which he
shares with his fellow-creatures.

He observes the actors to be animated by the appearance of a full
audience, and raised to a degree of enthusiasm, which they cannot
command in any solitary or calm moment.

Every movement of the theatre, by a skilful poet, is
communicated, as it were by magic, to the spectators; who weep,
tremble, resent, rejoice, and are inflamed with all the variety
of passions, which actuate the several personages of the drama.

Where any event crosses our wishes, and interrupts the happiness
of the favourite characters, we feel a sensible anxiety and
concern. But where their sufferings proceed from the treachery,
cruelty, or tyranny of an enemy, our breasts are affected with
the liveliest resentment against the author of these calamities.
It is here esteemed contrary to the rules of art to represent
anything cool and indifferent. A distant friend, or a confident,
who has no immediate interest in the catastrophe, ought, if
possible, to be avoided by the poet; as communicating a like
indifference to the audience, and checking the progress of the
passions.

Few species of poetry are more entertaining than PASTORAL; and
every one is sensible, that the chief source of its pleasure
arises from those images of a gentle and tender tranquillity,
which it represents in its personages, and of which it
communicates a like sentiment to the reader. Sannazarius, who