ance of a real object, it may be painful; yet is so smoothed, and softened, and mollified, when raised by the finer arts, that it affords the highest entertainment.
To confirm this reasoning, we may observe, that if the movements of the imagination be not predominant above those of the passion, a contrary effect follows; and the former, being now subordinate, is converted into the latter, and still farther encreases the pain and affliction of the sufferer.
Who could ever think of it as a good expedient for comforting an afflicted parent, to exaggerate, with all the force of oratory, the irreparable loss, which he has met with by the death of a favorite child? The more power of imagination and expression you here employ, the more you encrease his despair and affliction.
The shame, confusion, and terror of Verres, no doubt, rose in proportion to the noble eloquence and vehemence of Cicero: So also did his pain and uneasiness. These former passions were too strong for the pleasure arising from the beauties of elocution; and operated,tho'
