tho' from the same principle, yet in a contrary manner, to the sympathy, compassion, and indignation of the audience.
Lord Clarendon, when he approaches the catastrophe of the royal party, supposes, that his narration must then become infinitely disagreeable; and he hurries over the King's death, without giving us one circumstance of it. He considers it as too horrid a scene to be contemplated with any satisfaction, or even without the utmost pain and aversion. He himself, as well as the readers of that age, were too deeply interested in the events, and felt a pain from subjects, which an historian and a reader of another age would regard as the most pathetic and most interesting, and by consequence, the most agreeable.
An action, represented in tragedy, may be too bloody and atrocious. It may excite such movements of horror as will not soften into pleasure; and the greatest energy of expression bestowed on descriptions of that nature serves only to augment our uneasiness. Such is that action represented in the ambitious Stepmother, where a venerable old man, raised to the heightof
