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. Canning called on a French refugee in 1794. The conversation naturally turned on the execution of the queen, then a recent event. Overcome by his feelings, the Parisian threw himself upon the ground, exclaiming, in an agony of tears, "La bonne reine! la pauvre reine!" Presently he sprang up, exclaiming, "Cependant, Monsieur, il faut vous faire voir mon petit chien danser." This contrast, though natural in a Parisian, was unnatural in the nature of things, and therefore injurious.
2dly. When the general influence, instead of being external, is an attribute or energy of the thing itself, so as to bestow on it a permanent character, the contrast which is obtained by the absence of that character is injurious and becomes what is called an interruption of the unity. Thus, the raw and colorless tone of the Swiss cottage, noticed at page 36, is an injurious contrast to the richness of the landscape, which is an inherent and necessary energy in surrounding objects. So, the character of Italian landscape is curvilinear; therefore, the outline of the buildings entering into its composition must be arranged on curvilinear principles, as investigated at page 130.
3dly. But, if the pervading character can be obtained
