interested in any tragic scene, and has leisure to attend to no other circumstances than what are appropriate to sympathy, it may be sensible to feelings which are in their nature pleasant, but chiefly, if not entirely, springing out of these collateral circumstances. But when the increasing distress of the scene entire possesses the mind, all semblance of pleasure vanishes, and the feelings are those of pure compassion; but not unless in some particular instances, painful up to the degree of aversion. It is not strictly just, therefore, to say, that the feelings at such an instant are in any degree pleasant; as it would be grossly false to say, that we are instigated to this participation of distress by the view of pleasure; unless all the sympathetic feelings be referred to the class of the agreeable ones. We are carried, indeed, by a virtuous impulse to converse with distress; the certainty that we shall not be spectators of any real suffering, withdraws all aversion to this impulse; but under this assurance we surrender ourselves up entirely to the poet; we enter into his views; we are carried out of ourselves into his fictitious scenes, as if they were real. We often feel from them an exquisite pain, which oppresses our minds for a considerable time after the representation is over, and sinks too deeply into those of a delicate and susceptible make. Yet

we return to such scenes; not that pain is desirable, not to seek for pleasure in the field of pain; but the better inclination of our natures determines our conduct; and the distressing sensations, to which we are exposing ourselves, appear with that softened aspect, that grace, which a virtuous and benevolent melancholy always wears.

This investigation of the effect of tragedy on the mind, will account, in a great measure, for the superiority of the best productions of the moderns above those of the ancients, and of the English tragedy above that of the French. The pictures are more exquisitely finished; the characters of the sufferers are more interesting; and more powerfully lay hold on our affections, and plead for our compassion. Domestic life and domestic manners were more gross and undressed among the antients; the social passions were but half awakened among them; and, therefore, the pictures of domestic happiness are not near so interesting, nor can, to our improved taste, present such rich subjects of compassion. The French tragedies are in this respect also far inferior to the English; wit, gallantry, and philosophic declamation, are more displayed than touching scenes of pure and ingenuous distress. Tragedy, in order to be perfect, ought to be throughout an animated picture; enlivened, en

riched by grandeur of sentiment, by every exhibition of mind which is fitted to interest a fellow mind; but still it must be a picture. When this is conducted by a masterly artist; it is then that all yield to the genius of tragedy; we feel that there is an eloquence in the exhibition of virtuous distress, suffering from the incidents of our natures, from the pardonable errors of human judgment, from the follies or vices of others, or under the iron hand of oppression and cruelty, which mocks all the power of wisdom to equal; which the lettered and the polished can no more resist than the most uncultivated child of nature. And this eloquence is the instrument of a wise providence, whereby he forms and fashions our hearts according to what he designs and approves, and calls forth those benevolent affections which move not at the voice of reason and calm philosophy.

346

Experiments and Observations to determine whether the Quantity of RAIN and DEW is equal to the Quantity of WATER carried off by the Rivers and raised by Evaporation; with an Enquiry into the ORIGIN of SPRINGS.

BY JOHN DALTON..

READ MARCH 1, 1799.

It is scarcely possible to contemplate without admiration the beautiful system of nature by which the surface of the earth is continually supplied with water, and that unceasing circulation of a fluid so essentially necessary to the very being of the animal and vegetable kingdoms takes place. Naturalists, however, are not unanimous in their opinions whether the rain that falls is sufficient to supply the demands of springs and rivers, and to afford the earth besides such a large portion for evaporation as it is well known is raised daily. To ascertain this point is an object of importance to the science of agriculture, and to every concern in which the procuration and management of water makes a part, whether for domestic purposes or for the arts and manufactures.

For the sake of perspicuity I have distributed the subject under four heads:

1. Of the Quantity of Rain and Dew.

2. Of the Quantity of Water that flows into the

Sea.

3. Of the Quantity of Water raised by Evaporation.

4. Of the Origin of Springs.

SECTION I.

An Estimate of the Quantity of Rain and Dew that falls in England and Wales in a year.

Rain-gages have been fixed of late years in almost every part of the kingdom; by means of them we are enabled to determine, with considerable exactness, the depth of water that the rain yields in any given place. Inland counties have less rain than maritime ones, especially those which border on the western seas. But a still greater difference seems to take place between a mountainous country and a champaigne, or flat country: In the former there often falls double or triple the quantity of rain in a year, that there does in the latter, and never less than an equal quantity. It may be observed, that several years account of the rain at any place is required before a medium yearly quantity can be obtained with sufficient accuracy. The following is perhaps the largest collection of accounts of rain fallen in different places in Eng