| This agreeable idea or impression is connected with love, which is an agreeable passion. |
| It proceeds from a thinking conscious being, which is the very object of love. |
| From this relation of impressions, and identity of ideas, the passion arises, according to my hypothesis. |
| The best method of reconciling us to this opinion is to take a general survey of the universe, and observe the force of sympathy through the whole animal creation, and the easy communication of sentiments from one thinking being to another. |
| In all creatures, that prey not upon others, and are not agitated with violent passions, there appears a remarkable desire of company, which associates them together, without any advantages they can ever propose to reap from their union. |
| This is still more conspicuous in man, as being the creature of the universe, who has the most ardent desire of society, and is fitted for it by the most advantages. |
| We can form no wish, which has not a reference to society. |
| A perfect solitude is, perhaps, the greatest punishment we can suffer. |
| Every pleasure languishes when enjoyed a-part from company, and every pain becomes more cruel and intolerable. |
| Whatever other passions we may be actuated by; pride, ambition, avarice, curiosity, revenge or lust; the soul or animating principle of them all is sympathy; nor would they have any force, were we to abstract entirely from the thoughts and sentiments of others. |
| Let all the powers and elements of nature conspire to serve and obey one man: Let the sun rise and set at his command: The sea and rivers roll as he pleases, and the earth furnish spontaneously whatever may be useful or agreeable to him: He will still be miserable, till you give him some one person at least, with whom he may share his happiness, and whose esteem and friendship he may enjoy. |
| This conclusion from a general view of human nature, we may confirm by particular instances, wherein the force of sympathy is very remarkable. |
| Most kinds of beauty are derived from this origin; and though our first object be some senseless inanimate piece of matter, it is seldom we rest there, and carry not our view to its influence on sensible and rational creatures. |
| A man, who shews us any house or building, takes particular care among other things to point out the convenience of the apartments, the advantages of their situation, and the little room lost in the stairs, antichambers and passages; and indeed it is evident, the chief part of the beauty consists in these particulars. |
| The observation of convenience gives pleasure, since convenience is a beauty. |
| But after what manner does it give pleasure? It is certain our own interest is not in the least concerned; and as this is a beauty of interest, not of form, so to speak, it must delight us merely by communication, and by our sympathizing with the proprietor of the lodging. |
| We enter into his interest by the force of imagination, and feel the same satisfaction, that the objects naturally occasion in him. |
| This observation extends to tables, chairs, scritoires, chimneys, coaches, sadles, ploughs, and indeed to every work of art; it being an universal rule, that their beauty is chiefly derived from their utility, and from their fitness for that purpose, to which they are destined. |
| But this is an advantage, that concerns only the owner, nor is there any thing but sympathy, which can interest the spectator. |
| It is evident, that nothing renders a field more agreeable than its fertility, and that scarce any advantages of ornament or situation will be able to equal this beauty. |
| It is the same case with particular trees and plants, as with the field on which they grow. |