The nearer people are to us in mode of life, social status, and intellectual interests, the closer is community of feeling and "consciousness of kind." Two Americans meeting in a foreign country have a quick and sympathetic understanding of each other. Two alumni of the same college meeting in a distant city have a common basis of interest and feeling.
This easy give-and-take of feeling and emotion makes the deep attractiveness of intimate companionship. Our companion has but to mention a name or a place, and we experience the same associations, the pleasures, or antipathies which he does. A gesture, a curious glance of the eye, a pause, we understand as quickly as if he had spoken a sentence. But not only do we understand his feelings; he (or she) understands ours. And for most people, all their interests and enjoyments are heightened by the presence of an intimately known companion.
Many children manifest very clearly this tendency of active sympathy; they demand that their every emotion shall be shared at once. "Oh, come and look!" is their constant cry when out for a walk, and every object that excites their curiosity or admiration is brought at once, or pointed out, to their companion.... On the other hand, another child, brought up, perhaps, under identical conditions, but in whom this impulse is relatively weak, will explore a garden, interested and excited for hours together, without once feeling the need for sympathy, without once calling on others to share his emotions.[1]
[Footnote 1: McDougall: _loc. cit._, p. 172.]
In adult life, few people care to go to theater or concert alone, and a man at a club will wander half through the dining-room until he will find some one with whom he will feel like sitting through a dinner conversation.
The fact that emotions exhibited in one individual are readily aroused in another makes art possible and makes it interesting. A poet by a phrase, a musician by a chord or melody, can suddenly reproduce in us his own feeling of gayety or exaltation. A painter by disposition of line and color can suggest the majesty of mountains, or the sadness of a sunset as he himself has experienced it. In novels and dramas we can _relive_ the feelings that the writer imagines to have been experienced by others. It is testimony to the easy excitability of sympathy as well as to an artist's skill that this can sometimes be done in a few lines or paragraphs. Witness the famous opening of Poe's _Fall of the House of Usher:_