With charm of earliest birds; pleasant the sun,
When first on this delightful land he spreads
His orient beams, on herb, tree, fruit and flower,
Glist'ning with dew: fragrant the fertile earth'
After soft showers, and sweet the coming on
Of grateful evening mild; then silent night,
With this her solemn bird, and this fair moon,
And these the gems of heav'n her starry train:
But neither breath of morn, when she ascends
With charms of earliest birds; nor rising sun
On this delightful land; nor herb, fruit, flower,
Glist'ning with dew; nor fragrance after showers:
Nor grateful evening mild; nor silent night,
With this her solemn bird, nor walk by noon,
Or glittering star light, without thee is sweet.

PARADISE LOST. B. IV. L. 639.

It is observable, that when a passion or a strong affection is not suddenly raised, but is produced by deliberate meditation upon the subject, the process is opposite to the preceding. From Indifference, the mind begins to conceive an Affection of one kind or other; and according to the discovered nature, magnitude, or importance of the object, it may gradually work itself up, as the phrase is, into passion and ecstasy. In such cases, the train of thoughts will flow with increased velocity and force, according to the increased interest taken in the subject. Sterility of sentiment

and of language is succeeded by a rapid flow of each. Pertinent thoughts and copious expressions immediately present themselves, which the deepest study, and all the powers of recollection, would not have been able to produce. They are only to be inspired by the affections. In this state of mind, the Language gradually changes its tone; from the cool didactic style, it rises into the animated and energetic; though it seldom, if ever, indicates the embarrassment and confusion of thought, which are the offspring of wonder and surprise. Excess of animation will indeed sometimes check utterance, and the orator will feel a deficiency of Language, to do justice to the numerous ideas which crowd in upon the mind. the mind. See many excellent observations on this subject in Elements of Criticism, Vol. II. Comparisons: Figures.

If the above remarks be admitted as pertinent, they will point out the difference betwixt the language of the Passions and Affections, and that of cool dispassionate reason. The one is the language of feeling, which attempts to enforce some interesting idea; the other that of discrimination, which carefully marks the distinctions and differences which subsist in

things apparently analogous. The one is prone to substitute strong impressions for realities, and to mistake exaggerations for accurate state ments: the other analyzes and separates truth from error, facts from misrepresentations. The language of Passion and of strong Affections is always employed in pleading some cause. Aiming to give to that, the ascendancy over every other consideration, it rapidly collects and sets forth, in glowing colours, every circumstance favourable to its object, regardless of whatever may be advanced in opposition; while the language of Reason is that of a Judge, who compares, balances, and decides, according to the force of evidence, without being deceived by the force of expression, or seduced by the sympathy of the passions.

In these characters it is that the distinction between rhetoric and logic indicates itself. The former attempts to persuade; it is the province of the latter to convince. This employs itself in demonstrations, respecting the truth and nature of things; the other excites to feel and act, according to the opinion entertained of the good or bad properties which they possess, and are capable of exerting.

In our description of the different Passions

and Affections, it was requisite to point out those external signs which wore the characteristic marks of each; and to note the attitudes, gestures, and expressions of countenance, which are most correspondent to the nature of the emotion. We have only to subjoin upon the subject, that when utterance is given to thought, the tone of voice becomes a powerful auxiliary to the train of ideas suggested. Nature has accommodated the mode of utterance to the character of the passion. Thus it has rendered

Joy loud and vociferous, producing strong exclamations, mixed with triumphant Laughter. Sorrow communicates a plaintiveness to the voice, best adapted to wailings and lamentations.

Anger is loud and turbulent. The voice rises with the passion, in order to strike terror, and silence opposition.

Fear is oppressed and breathless, or screams aloud for help.

Love is soft, soothing, insinuating, and gentle; sometimes assuming the plaintiveness of sorrow, sometimes the vivacity of hope, and the transports of joy.

The other compounds partake of mixed effects. (See Note X.)

The minute investigation of the passions in which we have been engaged, presents us with numerous observations of a moral and practical nature. But as the present Treatise is purposely confined to philosophical researches, we shall not enlarge upon so copious a subject. There are two inquiries, however, which, although they have an intimate relation to morals, cannot be refused a place in the philosophical department. They refer to the influence of the passions upon character, and upon happiness ; and with these we shall close the subject.

SECTION III.

Influence of the Passions and Affections on

Character.

THE Nature of the Passions and Affections indulged, of the objects by which they are excited, and the degrees of influence and permanency, which they are suffered to exert upon us, constitute the moral characters of men;

Y