The frivolousness of the subject too, we may observe, is not able
to detach us entirely from what carries an image of human
sentiment and affection.

When a person stutters, and pronounces with difficulty, we even
sympathize with this trivial uneasiness, and suffer for him. And
it is a rule in criticism, that every combination of syllables or
letters, which gives pain to the organs of speech in the recital,
appears also from a species of sympathy harsh and disagreeable to
the ear. Nay, when we run over a book with our eye, we are
sensible of such unharmonious composition; because we still
imagine, that a person recites it to us, and suffers from the
pronunciation of these jarring sounds. So delicate is our
sympathy!

Easy and unconstrained postures and motions are always beautiful:
An air of health and vigour is agreeable: Clothes which warm,
without burthening the body; which cover, without imprisoning the
limbs, are well-fashioned. In every judgement of beauty, the
feelings of the person affected enter into consideration, and
communicate to the spectator similar touches of pain or pleasure.
[Footnote: 'Decentior equus cujus astricta suntilia; sed idem
velocior. Pulcher aspectu sit athleta, cujus lacertos execitatio
expressit; idem certamini paratior nunquam enim SPECIES ab
UTILITATE dividitur. Sed hoc quidem discernere modici judicii
est.'- Quintilian, Inst. lib. viii. cap. 3.]

What wonder, then, if we can pronounce no judgement concerning
the character and conduct of men, without considering the