Miscellaneous Pieces, in Prose. John Aikin

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       Mrs. Barbauld, John Aikin

      Miscellaneous Pieces, in Prose

      Published by Good Press, 2019

       [email protected]

      EAN 4064066154479

Table of Contents

       CONTENT S.

       ON THE PROVINCE OF COMED Y.

       THE HILL OF SCIENC E, A VISIO N.

       ON ROMANCE S, AN IMITATIO N.

       SELÁM A; AN IMITATION OF OSSIA N.

       AGAINST INCONSISTENCY IN OUR EXPECTATIONS.

       THE CANAL AND THE BROOK. An APOLOGU E.

       ON MONASTIC INSTITUTIONS.

       ON THE PLEASURE DERIVED FROM OBJECTS OF TERROR; WITH Sir BERTRAN D, A FRAGMEN T.

       ON THE HEROIC POEM OF GONDIBER T.

       AN ENQUIRY INTO THOSE KINDS OF DISTRESS WHICH EXCITE AGREEABLE SENSATIONS.

       THOUGHTS ON THE DEVOTIONAL TAST E, ON SECT S, AND ON ESTABLISHMENT S.

       Published by the Authors of this Work.

       I. By Mrs. BARBAULD.

       II. By Dr. AIKIN.

      CONTENTS.

       Table of Contents

	Page
On the Province of Comedy	1
The Hill of Science, a Vision	27
On Romances, an Imitation	39
Seláma, an Imitation of Ossian	47
Against Inconsistency in our Expectations	59
The Canal and the Brook, an Apologue	79
On Monastic Institutions	88
On the Pleasure derived from Objects of Terror; with Sir Bertrand, a Fragment	119
On the Heroic Poem of Gondibert	138
An Enquiry into those Kinds of Distress which excite agreeable Sensations; with a Tale	190
Essay on Devotional Taste	220

ON THE

       PROVINCE

       OF

       COMEDY.

       Table of Contents

      Various are the methods which art and ingenuity have invented to exhibit a picture of human life and manners. These have differed from each other, both in the mode of representation, and in the particular view of the subject which has been taken. With respect to the first, it is universally allowed that the dramatic form is by far the most perfect. The circumstance of leaving every character to display itself in its own proper language, with all the variations of tone and gesture which distinguish it from others, and which mark every emotion of the mind; and the scenic delusions of dress, painting, and machinery, contribute to stamp such an appearance of reality upon dramatic representations as no other of the imitative arts can attain. Indeed, when in their perfection, they can scarcely be called imitations, but the very things themselves; and real nature would perhaps appear less perfect than her counterfeit.

      The Drama has from early antiquity been distinguished into the two grand divisions of Tragedy and Comedy. It would seem that the general character of these was universally understood and agreed on, by the adoption of the terms tragic and comic, derived from them, into the language of every civilized people. The former of these is, we know, constantly applied to objects of terror and distress; the latter, to those of mirth and pleasantry. There is, however, a more comprehensive distinction of our feelings, which it is proper first to consider.

      When we examine the emotions produced in our minds by the view of human actions, we shall observe a division into the serious, and the ludicrous. I do not think it necessary to define or analyse feelings with which all are well acquainted. It is enough to observe that serious emotions are produced by the display of all the great passions which agitate the soul, and by all those actions, which are under the jurisdiction of the grand rules of religion and morality; and that ludicrous emotions are excited by the improprieties and inconsistencies of conduct or judgment in smaller matters; such as the effects of false taste, or trifling passions. When we now apply the words tragic and comic, we shall at once perceive that the former can relate solely to such subjects as occasion serious, and the latter to such as occasion ludicrous emotions.

      Now, although the practice of writers has frequently introduced ludicrous parts into the composition called a Tragedy, and serious parts into