reference to morals; and in like manner human
actions are a pleasure to us when we consider in them only the relation
of means to ends. But if a moral principle be added to these, and
impropriety be discovered, if the idea of moral agent comes in, a deep
indignation succeeds our pleasure, which no intellectual propriety can
remedy. We must not call to mind too vividly that Richard III., Iago,
and Lovelace are men; otherwise our sympathy for them infallibly turns
into an opposite feeling. But, as daily experience teaches, we have the
power to direct our attention to different sides of things; and pleasure,
only possible through this abstraction, invites us to exercise it, and to
prolong its exercise.

Yet it is not rare for intelligent perversity to secure our favor by
being the means of procuring us the pleasure of moral propriety. The
triumph of moral propriety will be great in proportion as the snares set
by Lovelace for the virtue of Clarissa are formidable, and as the trials
of an innocent victim by a cruel tyrant are severe. It is a pleasure to
see the craft of a seducer foiled by the omnipotence of the moral sense.
On the other hand, we reckon as a sort of merit the victory of a
malefactor over his moral sense, because it is the proof of a certain
strength of mind and intellectual propriety.

Yet this propriety in vice can never be the source of a perfect pleasure,
except when it is humiliated by morality. In that case it is an
essential part of our pleasure, because it brings moral sense into
stronger relief. The last impression left on us by the author of
Clarissa is a proof of this. The intellectual propriety in the plan of
Lovelace is greatly surpassed by the rational propriety of Clarissa.
This allows us to feel in full the satisfaction caused by both.

When the tragic poet has for object to awaken in us the feeling of moral
propriety, and chooses his means skilfully for that end, he is sure to
charm doubly the connoisseur, by moral and by natural propriety. The
first satisfies the heart, the second the mind. The crowd is impressed
through the heart without knowing the cause of the magic impression.
But, on the other hand, there is a class of connoisseurs on whom that
which affects the heart is entirely lost, and who can only be gained by
the appropriateness of the means; a strange contradiction resulting from
over-refined taste, especially when moral culture remains behind
intellectual. This class of conn