The strong connection of the events, as it facilitates the passage of the thought or imagination from one to another, facilitates also the transfusion of the passions and preserves the affection still in the same channel and direction. Our sympathy and concern for Eve prepares the way for a like sympathy with Adam: The affection is preserved almost entire in the transition, and the mind seizes immediately the new object as strongly related to that which formerly engaged its attention. But were the poet to make a total digression from his subject and introduce a new actor no way connected with the personages, the imagination, feeling a breach in the transition, would enter coldly into the new scene; would kindle by slow degrees; and in returning to the main subject of the poem would pass, as it were, upon foreign ground and have its concern to excite anew in order to take party with the principal actors. The same inconvenience follows in a lesser degree where the poet traces his events to too great a distance and binds together actions which, though not altogether disjoined, have not so strong a connection as is requisite to forward the transition of the passions. Hence arises the artifice of oblique narration employed in the and --where the hero is introduced, at first, near the period of his designs, and afterwards shows us, as it were in perspective, the more distant events and causes. By this means, the reader's curiosity is immediately excited; the events follow with rapidity, and in a very close connection;and the concern preserved alive, and continually increases by means of the near relation of the objects, from the beginning to the end of the narration.
The same rule takes place in dramatic poetry; nor is it ever permitted in a regular composition to introduce an actor who has no connection, or but a small one, with the principle personages of the fable. The spectator's concern must not be diverted by any scenes disjoined and separated from the rest. This breaks the course of the passions, and prevents that communication of the several emotions by which one scene adds force to another, and transfuses the pity and terror which it excites upon each succeeding scene until the whole produces that rapidity of movement which is peculiar to the theater. How must it extinguish this warmth or affection to be entertained on a sudden with a new action and new personages no way related to the former; to find so sensible a breach or vacuity in the course of the passions, by means of this breach in the connection of ideas; and instead of carrying the sympathy of one scene into the following, to be obliged every moment to excite a new concern, and take party in a new scene of action?
