The imagination is sure to be affected; though the passions excited may not always be so strong and steady as to have great influence on the conduct and behaviour.
The perusal of a history seems a calm entertainment; but would be no entertainment at all, did not our hearts beat with correspondent movements to those which are described by the historian.
Thucydides and Guicciardin support with difficulty our attention; while the former describes the trivial encounters of the small cities of Greece, and the latter the harmless wars of Pisa.

The few persons interested and the small interest fill not the imagination, and engage not the affections.

The deep distress of the numerous Athenian army before Syracuse; the danger which so nearly threatens Venice; these excite compassion; these move terror and anxiety.
The indifferent, uninteresting style of Suetonius, equally with the masterly pencil of Tacitus, may convince us of the cruel depravity of Nero or Tiberius: But what a difference of sentiment! While the former coldly relates the facts; and the latter sets before our eyes the venerable figures of a Soranus and a Thrasea, intrepid in their fate, and only moved by the melting sorrows of their friends and kindred.

What sympathy then touches every human heart! What indignation against the tyrant, whose causeless fear or unprovoked malice gave rise to such detestable barbarity! If we bring these subjects nearer: If we remove all suspicion of fiction and deceit: What powerful concern is excited, and how much superior, in many instances, to the narrow attachments of self-love and private interest! Popular sedition, party zeal, a devoted obedience to factious leaders; these are some of the most visible, though less laudable effects of this social sympathy in human nature.
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.