As many tragedies end happily, and no excellent one can be composed without some reverses of fortune, the spectator must sympathize with all these changes, and receive the fictitious joy as well as every other passion.

Unless, therefore, it be asserted, that every distinct passion is communicated by a distinct original quality, and is not derived from the general principle of sympathy above-explained, it must be allowed, that all of them arise from that principle.

To except any one in particular must appear highly unreasonable.

As they are all first present in the mind of one person, and afterwards appear in the mind of another; and as the manner of their appearance, first as an idea, then as an impression, is in every case the same, the transition must arise from the same principle.

I am at least sure, that this method of reasoning would be considered as certain, either in natural philosophy or common life.
Add to this, that pity depends, in a great measure, on the contiguity, and even sight of the object; which is a proof, that it is derived from the imagination.