234. Hence, we see the grand importance of the choice of our means of
enhancing effect, and we derive the simple rule for that choice, namely,
that, when we wish to increase abstract impression, or to call upon the
sympathy of the spectator, we are to use contrast; but, when we wish to
extend the operation of the impression, or to awaken the selfish
feelings, we are to use assimilation.
This rule, however, becomes complicated, where the feature of contrast
is not altogether passive; that is, where we wish to give a conception
of any qualities inherent in that feature, as well as in what it
relieves; and, besides, it is not always easy to know whether it will be
best to increase the abstract idea, or its operation. In most cases,
energy, the degree of influence, is beauty; and, in many, the duration
of influence is monotony. In others, duration is sublimity, and energy
painful: in a few, energy and duration are attainable and delightful
together.
235. It is impossible to give rules for judgment in every case; but the
following points must always be observed:--First, when we use contrast,
it must be natural and likely to occur. Thus the contrast in tragedy is
the natural consequence of the character of human existence; it is what
we see and feel every day of our lives. When a contrast is unnatural, it
destroys the effect it should enhance.
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