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have a sufficient proof in the acknowledged and powerful effects of instrumental music. In reality, a great clearness helps but little towards affecting the passions, as it is in some sort an enemy to all enthusiasms whatsoever.
SECT. [ıv.j—THE SAME SUBJECT CONTINUED. THERE are two verses in Horace's Art of Poetry, that seem to contradict this opinion; for which reason I shall take a little more pains in clearing it up. The verses are,
Segnius irritant animos demissa per aures,
Quam quæ sunt oculis subjecta fidelibus. On this the Abbé du Bos founds a criticism, wherein he gives painting the preference to poetry in the article of moving the passions; principally on account of the greater clearness of the ideas it represents. I believe this excellent judge was led into this mistake (if it be a mistake) by his system; to which he found it more conformable than I'imagine it will be found by experience. I know several who adwire and love painting, and yet who regard the objects of their admiration in that art with coolness enough in comparison of that warmth with which they are animated by affecting pieces of poetry or rhetoric. Among the common sort of people, I never could perceive that painting had much influence on their passions. It is true, that the best sorts of painting, as well as the best sorts of poetry, are not much understood in that sphere. But it is most certain, that their passions are very strongly roused by a fanatic preacher, or by the ballads of Chevy-chace, or the Children in the Wood, and by other little popular poems and tales that are current in that rank of life. I do not know of any paintings, bad good, that produce the same effect. So that poetry, with all its obscurity, has a more general, as well as a more powerful, dominion over the passions, than the other art. And I think there are reasons in nature, why the obscure idea, when properly conveyed, should be more affecting than the clear. It is our ignorance of things that causes all our admir. ation, and chiefly excites our passions. Knowledge and acquaintance make the most striking causes affect but little. It is thus with the vulgar; and all men are as the vulgar in
what they do not understand. The ideas of eternity and infinity are among the most affecting we bave; and yet perhaps there is nothing of which we really understand so little, as of infinity and eternity. We do not anywhere meet a more sub ime description than this justly celebrated one of Milton, whereir he gives the portrait of Satan with a dignity 80 suitable to the subject :
-He above the rest
Perplexes monarchs.Here is a very noble picture; and in what does this poetical picture consist? In images of a tower, an archangel, the sun rising through mists, or in an eclipse, the ruin of monarchs, and the revolutions of kingdoms. The mind is hurried out of itself, by a crowd of great and confused images; which affect because they are crowded and confused. For, separate them, and you lose much of the greatness; and join them, and you infallibly lose the clearness. The images raised by poetry are always of this obscure kind; though in general the effects of poetry are by no means to be attributed to the images it raises ; which point we shall examine more at large hereafter.1 But painting, when we have allowed for the pleasure of imitation, can only affect simply by the images it presents; and even in painting, a judicious obscurity in some things contributes to the effect of the picture; because the images in painting are exactly similar to those in nature; and in nature, dark, confused, uncertain images have a greater power on the fancy to form the grander passions, than those have which are more clear and determinate. But where and when this observation
be applied to practice, and how far it shall be extended, will be better deduced from the nature of the subject, and from the occasion, than from any rules that can be given.
1 Part V.
I am sensible that this idea has met with opposition, and is likely still to be rejected by several. But let it be considered, that hardly anything can strike the mind with its greatness, which does not make some sort of approach towards infinity; which nothing can do whilst we are able to perceive its bounds ; but to see an object distinctly, and to perceive its bounds, is one and the same thing. A clear idea is therefore another name for a little idea. There is a passage in the book of Job amazingly sublime, and this sublimity is principally due to the terrible uncertainty of the thing described : In thoughts from the visions of the night, when deep sleep falleth upon men, fear came upon me, and trembling, which made all my bones to shake. Then a spirit passed before my face ; the hair of my flesh stood up. It stood still, but I could not discern the form thereof: an image was before mine eyes, there was silence, and I heard a voice, - Shall mortal man be more just than God? We are first prepared with the utmost solemnity for the vision; we are first terrified, before we are let even into the obscure cause of our emotion: but when this grand cause of terror makes its appearance, what is it? Is it not wrapt up in the shades of its own incomprehensible darkness, more awful, more striking, more terrible, than the liveliest description, than the clearest painting, could possibly represent it ? When painters have attempted to give us clear representations of these very fanciful and terrible ideas, they have, I think, almost always failed; insomuch that I have been at a loss, in all the pictures I have seen of hell, to determine whether the painter did not intend something ludi
Several painters have handled a subject of this kind, with a view of assembling as many horrid phantoms as their imagination could suggest ; but all the designs I have chanced to meet of the temptation of St. Anthony were rather a sort of odd, wild grotesques, than anything capable of producing a serious passion. In all these subjects poetry is very bappy. Its apparitions, its chimeras, its harpies, its allegorical figures, are grand and affecting; and though Virgil's Fame and Homer's Discord are obscure, they are magnificent figures. These figures in painting would be clear enough, but I fear they might become ridiculous.
SEOT. V. -POWER.
BESIDES those things which directly suggest the idea of danger, and those which produce a similar effect from a mechanical cause, I know of nothing sublime, which is not some modification of power. And this branch rises, as naturally as the other two branches, from terror, the com. mon stock of everything that is sublime. The idea of power, at first view, seems of the class of those indifferent ones, which may equally belong to pain or to pleasure. But in reality, the affection, arising from the idea of vast power, is extremely remote from that neutral character. For first, we must remember, that the idea of pain, in its highest degree, is much stronger than the highest degree of pleasure; and that it preserves the same superiority through all the subordinate gradations. From hence it is, that where the chances for equal degrees of suffering or enjoyment are in any sort equal, the idea of the suffering must always be prevalent. And indeed the ideas of pain, and, above all, of death, are so very affecting, that whilst we remain in the. presence of whatever is supposed to have the
of inflicting either, it is impossible to be perfectly free from terror. Again, we know by experience, that, for the enjoyment of pleasure, no great efforts of power are at all necessary; nay, we know, that such efforts would go a great way towards destroying our satisfaction: for pleasure must be stolen, and not forced upon us; pleasure follows the will ; and therefore we are generally affected with it by many things of a force greatly inferior to our own. But pain is always inflicted by a power in some way superior, because we never submit to pain willingly. So that strength, violence, pain, and terror, are ideas that rush in upon the mind together. Look at a man, or any other animal of prodigious strength, and what is your idea before reflection ? Is it that this strength will be subservient to you, to your ease, to your pleasure, to
your interest in any sense ? No; the emotion you feel is, lest this enormous strength should be employed to the purposes of rapine? and destruction. That power derives all its sublimity from the terror with which it is i Par. I. sect. 7.
3 Vide Part III. sect. 21.
generally accompanied, will appear evidently from its effect in the very few cases, in which it may be possible to strip a considerable degree of strength of its ability to burt. When you do this, you spoil it of everything sublime, and it immediately becomes contemptible. An ox is a creature of vast strength; but he is an innocent creature, extremely serviceable, and not at all dangerous; for which reason the idea of an ox is by no means grand. A bull is strong too: but his strength is of another kind; often very destructive, seldom (at least amongst us) of any use in our business; the idea of a bull is therefore great, and it has frequently a place in sublime descriptions, and elevating comparisons. Let us look at another strong animal, in the two distinct lights in which we may consider bim. The horse in the light of a niseful beast, fit for the plough, the road, the draft; in every social, useful light, the horse has nothing sublime: but is it thus that we are affected with him, whose neck is clothed with thunder, the glory of whose nostrils is terrible, who swalloweth the ground with fierceness and rage, neither believeth that it is the sound of the trumpet ? In this description, the useful character of the horse entirely disappears, and the terrible and sublime blaze out together.
We have continually about us animals of a strength that is considerable, but not pernicious. Amongst these we never look for the sublime; it comes upon us in the gloomy forest, and in the howling wilderness, in the form of the lion, the tiger, the panther, or rhinoceros. Whenever strength is only useful, and employed for our benefit or our pleasure, then it is never sublime: for nothing can act agreeably to us, that does not act in conformity to our will; but to act agreeably to our will, it must be subject to us, and therefore can never be the cause of a grand and commanding conception. The description of the wild ass, in Job, is worked up into no small sublimity, merely by insisting on his freedom, and his setting mankind at defiance; otherwise the description of such an animal could have had nothing noble in it. Who hath loosed (says he) the bands of the wild ass ? whose house I have made the wilderness, and the barren land his dwellings. He scorneth the multitude of the city, neither regardeth he the voice of the driver. The range of the mountains is his pasture. The magnificent description of the unicorn and of leviathan, in