I am struck with horror at the prospect of so much misery, and am actuated by the strongest antipathy against its author.
In general, it is certain, that, wherever we go, whatever we reflect on or converse about, everything still presents us with the view of human happiness or misery, and excites in our breast a sympathetic movement of pleasure or uneasiness.

In our serious occupations, in our careless amusements, this principle still exerts its active energy.
A man who enters the theatre, is immediately struck with the view of so great a multitude, participating of one common amusement; 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 transferred the scene to the sea-shore, though he presented the most magnificent object in nature, is confessed to have erred in his choice.