Itisthesamecasewiththosepassionswehavebeenjustnowconsidering。Theirimmediateeffectsaresodisagreeable，thatevenwhentheyaremostjustlyprovoked，thereisstillsomethingaboutthemwhichdisgustsus。These，therefore，aretheonlypassionsofwhichtheexpressions，asIformerlyobserved，donotdisposeandprepareustosympathizewiththem，beforeweareinformedofthecausewhichexcitesthem。Theplaintivevoiceofmisery，whenheardatadistance，willnotallowustobeindifferentaboutthepersonfromwhomitcomes。Assoonasitstrikesourear，itinterestsusinhisfortune，and，ifcontinued，forcesusalmostinvoluntarilytoflytohisassistance。Thesightofasmilingcountenance，inthesamemanner，elevateseventhepensiveintothatgayandairymood，whichdisposeshimtosympathizewith，andsharethejoywhichitexpresses；andhefeelshisheart，whichwiththoughtandcarewasbeforethatshrunkanddepressed，instantlyexpandedandelated。Butitisquiteotherwisewiththeexpressionsofhatredandresentment。Thehoarse，boisterous，anddiscordantvoiceofanger，whenheardatadistance，inspiresuseitherwithfearoraversion。Wedonotflytowardsit，astoonewhocriesoutwithpainandagony。Women，andmenofweaknerves，trembleandareovercomewithfear，thoughsensiblethatthemselvesarenottheobjectsoftheanger。Theyconceivefear，however，byputtingthemselvesinthesituationofthepersonwhoisso。Eventhoseofstouterheartsaredisturbed；notindeedenoughtomakethemafraid，butenoughtomakethemangry；forangeristhepassionwhichtheywouldfeelinthesituationoftheotherperson。Itisthesamecasewithhatred。Mereexpressionsofspiteinspireitagainstnobody，butthemanwhousesthem。Boththesepassionsarebynaturetheobjectsofouraversion。Theirdisagreeableandboisterousappearanceneverexcites，neverprepares，andoftendisturbsoursympathy。Griefdoesnotmorepowerfullyengageandattractustothepersoninwhomweobserveit，thanthese，whileweareignorantoftheircause，disgustanddetachusfromhim。
Itwas，itseems，theintentionofNature，thatthoserougherandmoreunamiableemotions，whichdrivemenfromoneanother，shouldbelesseasilyandmorerarelycommunicated。
Whenmusicimitatesthemodulationsofgrieforjoy，iteitheractuallyinspiresuswiththosepassions，oratleastputsusinthemoodwhichdisposesustoconceivethem。Butwhenitimitatesthenotesofanger，itinspiresuswithfear。Joy，grief，love，admiration，devotion，areallofthempassionswhicharenaturallymusical。Theirnaturaltonesareallsoft，clear，andmelodious；andtheynaturallyexpressthemselvesinperiodswhicharedistinguishedbyregularpauses，andwhichuponthataccountareeasilyadaptedtotheregularreturnsofthecorrespondentairsofatune。Thevoiceofanger，onthecontrary，andofallthepassionswhichareakintoit，isharshanddiscordant。Itsperiodstooareallirregular，sometimesverylong，andsometimesveryshort，anddistinguishedbynoregularpauses。Itiswithdifficulty，therefore，thatmusiccanimitateanyofthosepassions；andthemusicwhichdoesimitatethemisnotthemostagreeable。Awholeentertainmentmayconsist，withoutanyimpropriety，oftheimitationofthesocialandagreeablepassions。Itwouldbeastrangeentertainmentwhichconsistedaltogetheroftheimitationsofhatredandresentment。
Ifthosepassionsaredisagreeabletothespectator，theyarenotlesssotothepersonwhofeelsthem。Hatredandangerarethegreatestpoisontothehappinessofagoodmind。Thereis，intheveryfeelingofthosepassions，somethingharsh，jarring，andconvulsive，somethingthattearsanddistractsthebreast，andisaltogetherdestructiveofthatcomposureandtranquillityofmindwhichissonecessarytohappiness，andwhichisbestpromotedbythecontrarypassionsofgratitudeandlove。Itisnotthevalueofwhattheylosebytheperfidyandingratitudeofthosetheylivewith，whichthegenerousandhumanearemostapttoregret。
Whatevertheymayhavelost，theycangenerallybeveryhappywithoutit。Whatmostdisturbsthemistheideaofperfidyandingratitudeexercisedtowardsthemselves；andthediscordantanddisagreeablepassionswhichthisexcites，constitute，intheirownopinion，thechiefpartoftheinjurywhichtheysuffer。