an agitated gesture, which affect independently of the things about which they are exerted, so there are words, and certain dispositions of words, which being peculiarly devoted to passionate subjects, and always used by those who are under the influence of any passion, touch and move us more than those which far more clearly and distinctly express the subject-matter.  We yield to sympathy what we refuse to description.  The truth is, all verbal description, merely as naked description, though never so exact, conveys so poor and insufficient an idea of the thing described, that it could scarcely have the smallest effect, if the speaker did not call in to his aid those modes of speech that mark a strong and lively feeling in himself.  Then, by the contagion of our passions, we catch a fire already kindled in another, which probably might never have been struck out by the object described.  Words, by strongly conveying the passions by those means which we have already mentioned, fully compensate for their weakness in other respects.  It may be observed, that very polished languages, and such as are praised for their superior clearness and perspicuity, are generally deficient in strength.  The French language has that perfection and that defect.  Whereas the Oriental tongues, and in general the languages of most unpolished people, have a great force and energy of expression, and this is but natural.  Uncultivated people are but ordinary observers of things, and not critical in distinguishing them; but, for that reason they admire more, and are more affected with what they see, and therefore express themselves in a warmer and more passionate manner.  If the affection be well conveyed, it will work its effect without any clear idea, often without any idea at all of the thing which has originally given rise to it.

It might be expected, from the fertility of the subject, that I should consider poetry, as it regards the sublime and beautiful, more at large; but it must be observed, that in this light it has been often and well handled already.  It was not my design to enter into the criticism of the sublime and beautiful in any art, but to attempt to lay down such principles as may tend to ascertain, to distinguish, and to form a sort of standard for them; which purposes I thought might be best effected by an inquiry into the properties of such things in nature, as raise love and astonishment in us; and by showing in what manner they operated to produce these passions.  Words were only so far to be considered as to show upon what principle they were capable of being the representatives of these natural things, and by what powers they were able to affect us often as strongly as the things they represent, and sometimes much more strongly.

A

SHORT ACCOUNT

OF

A LATE SHORT ADMINISTRATION.

1766.