fcape, I prefent a very clear idea of thofe objects; but then (allowing for the effect of imitation, which is fomething) my picture can at most affect only as the palace, temple, or landfcape, would have affected in the reality. On the other hand, the moft lively and fpirited verbal description I can give, raifes a very obfcure and imperfect idea of fuch objects; but then it is in my power to raise a stronger emotion by the defcription than I could do by the beft painting. This experience conftantly evinces. The proper manner of conveying the affections of the mind from one to another, is by words; there is a great infufficiency in all other methods of communication; and fo far is a clearness of imagery from being abfolutely neceffary to an influence upon the paffions, that they may be confiderably operated upon, without presenting any image at all, by certain founds, adapted to that purpofe; of which we have a fufficient proof in the acknowledged and powerful effects of inftrumental mufick. In reality, a great clearness helps but little towards affecting the paffions, as it is in fome fort an enemy to all enthu fiams whatsoever. SECT. [IV.] THE SAME SUBJECT CONTINUED. to THERE are two verfes in Horace's Art of Poetry that seem to contradict this opinion, for which reafon I fhall take a little more pains in clearing it up. The verses are, Segnius irritant animos demiffa per aures, On this the Abbé du Bos founds a criticism, wherein he gives painting the preference to poetry in the article of moving the paffions; 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 fyftem, to which he found it more conformable than I imagine it will be found by experience. I know feveral who admire 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 rhetorick. Among the common fort of people, I never could perceive that painting had much influence on their paffions. It is true, that the best forts of painting, as well as the best forts of poetry, are not much understood in that sphere. But it is most certain, that their paffions are very ftrongly roufed by a fanatick 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 or good, that produce the fame effect. So that poetry, with all its obfcurity, has a more general, as well as a more powerful dominion over the paffions than the other art. And I think there are reafons in nature, why the obfcure idea, when properly conveyed, fhould be more affecting than the clear. It is our ignorance of things that causes all our admiration, and chiefly excites our paffions. Knowledge and acquaintance make the moft ftriking caufes 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 moft affecting we have: and perhaps there is no thing of which we really understand fo little, as of infinity and eternity. We do not any where meet a more fublime defcription than this juftlycelebrated one of Milton, wherein he gives the portrait of Satan with a dignity fo fuitable to the fubject: He above the rest In shape and gesture proudly eminent Lefs Lefs than archangel ruin'd, and th' excefs On half the nations; and with fear of change Here is a very noble picture; and in what does this poetical picture confift? in images of a tower, an archangel, the fun rifing through mifts, or in an eclipfe, the ruin of monarchs, and the revolu tions of kingdoms. The mind is hurried out of itself, by a crowd of great and confused images ; which affect because they are crowded and confufed. For feparate them, and you lose much of the greatness; and join them, and you infallibly lofe the clearnefs. The images raised by poetry are always of this obfcure kind; though in general the effects of poetry are by no means to be attributed to the images it raifes; which point we shall examine more at large hereafter.* But painting, when we have allowed for the pleasure of imitation, can only affect fimply by the images it prefents; and even in painting, a judicious obfcurity in fome things contributes to the effect of the picture; because the images in painting are exactly fimilar to thofe in nature; and in nature dark, confufed, uncertain images have a greater power on the fancy to form the grander paffions, than those have which are more clear and determinate. But where and when this obfervation may be applied to practice, and how far it shall be extended, will be better deduced from the nature of the fubject, and from the occafion, than from any rules that can be given. I am fenfible that this idea has met with oppofition, and is likely ftill to be rejected by several, But let it be confidered, that hardly any thing can strike the mind with its greatness, which does not make fome fort of approach towards infinity; which nothing can do whilst we are able to perceive its bounds; but to fee an object distinctly, and to perceive its bounds, is one and the fame thing. A clear idea is therefore another name for a little idea. There is a paffage in the book of Job amazingly fublime, and this fublimity is principally due to the terrible uncertainty of the thing described: In thoughts from the vifions of the night, when deep Sleep falleth upon men, fear came upon me and trembling, which made all my bones to Jhake. Then a spirit paf fed before my face. The hair of my flesh stood up. Stood Still, but I could not difcern the form thereof; an image was before mine eyes; there was filence; and I heard a voice,-Shall mortal man be more just than God? We are first prepared with the utmost folemnity for the vifion; we are first terrified, be It fore |