however trivial in themselves, constitute by far
the greatest portion of our daily happiness. Stories are the novels of
childhood. We know, from common experience, the effects which are
produced upon the female mind by immoderate novel reading. To those
who acquire this taste, every object becomes disgusting which is not
in an attitude for poetic painting; a species of moral picturesque is
sought for in every scene of life, and this is not always compatible
with sound sense, or with simple reality. Gainsborough's Country Girl,
as it has been humorously[106] remarked, "is a much more picturesque
object, than a girl neatly dressed in a clean white frock; but for
this reason, are all children to go in rags?" A tragedy heroine,
weeping, swooning, dying, is a moral picturesque object; but the
frantic passions, which have the best effect upon the stage, might,
when exhibited in domestic life, appear to be drawn upon too large a
scale to please. The difference between reality and fiction, is so
great, that those who copy from any thing but nature, are continually
disposed to make mistakes in their conduct, which appear ludicrous to
the impartial spectator. Pathos depends on such nice circumstances,
that domestic, sentimental distresses, are in a perilous situation;
the sympathy of their audience, is not always in the power of the fair
performers. Frenzy itself may be turned to farce.[107] "Enter the
princess mad in white satin, and her attendant mad in white linen."

Besides the danger of creating a romantic taste, there is reason to
believe, that the species of reading to which we object, has an effect
directly opposite to what it is intended to produce. It diminishes,
instead of increasing, the sensibility of the heart; a combination of
romantic imagery, is requisite to act upon the associations of
sentimental people, and they are virtuous only when virtue is in
perfectly good taste. An eloquent philosopher[108] observes, that in
the description of scenes of distress in romance and poetry, the
distress is always made _elegant_; the imagination, which has been
accustomed to this delicacy in fictitious narrations, revolts from the
disgusting circumstances which attend real poverty, disease and
misery; the emotions of pity, and the exertions of benevolence, are
consequently repressed precisely at the time when they are necessary
to humanity.

With respect to pity, it is a spontaneous, natural emotion, which is
strongly felt