of his expostulation afterwards with Desdemona is at that
line [sic],

"But there where I had garner'd up my heart,
To be discarded thence!"--

One mode in which the dramatic exhibition of passion excites our
sympathy without raising our disgust is, that in proportion as it
sharpens the edge of calamity and disappointment, it strengthens the
desire of good. It enhances our consciousness of the blessing, by making
us sensible of the magnitude of the loss. The storm of passion lays bare
and shews us the rich depths of the human soul: the whole of our
existence, the sum total of our passions and pursuits, of that which we
desire and that which we dread, is brought before us by contrast; the
action and re-action are equal; the keenness of immediate suffering only
gives us a more intense aspiration after, and a more intimate
participation with the antagonist world of good; makes us drink deeper
of the cup of human life; tugs at the heart-strings; loosens the
pressure about them; and calls the springs of thought and feeling into
play with tenfold force.

Impassioned poetry is an emanation of the moral and intellectual part
of our nature, as well as of the sensitive--of the desire to know, the
will to act, and the power to feel; and ought to appeal to these
different parts of our constitution, in order to be perfect. The
domestic or prose tragedy, which is thought to be the most natural, is
in this sense the least so, because it appeals almost exclusively to one
of these faculties, our sensibility. The tragedies of Moore and Lillo,
for this reason, however affecting at the time, oppress and lie like a
dead weight upon the mind, a load of misery which it is unable to throw
off: the tragedy of Shakspeare, which is true poetry, stirs our inmost
affections; abstracts evil from itself by combining it with all the
forms of imagination, and with the deepest workings of the heart, and
rouses the whole man within us.

The pleasure, however, derived from tragic poetry, is not any thing
peculiar to it as poetry, as a fictitious and fanciful thing. It is not
an anomaly of the imagination. It has its source and ground-work in the
common love of strong excitement. As Mr. Burke observes, people flock to
see a tragedy; but if there were a public execution in the next street,
the theatre would very soon be empty. It is not then the difference
between fiction and reality that solves the difficulty. Children are
satisfi