“The other shape,
    If shape it might be called that shape had none
    Distinguishable, in member, joint, or limb;
    Or substance might be called that shadow seemed;
    For each seemed either; black he stood as night;
    Fierce as ten furies; terrible as hell;
    And shook a deadly dart.  What seemed his head
    The likeness of a kingly crown had on.”

In this description all is dark, uncertain, confused, terrible, and sublime to the last degree.

SECTION IV.

OF THE DIFFERENCE BETWEEN CLEARNESS AND OBSCURITY WITH REGARD TO THE PASSIONS.

It is one thing to make an idea clear, and another to make it affecting to the imagination.  If I make a drawing of a palace, or a temple, or a landscape, I present a very clear idea of those objects; but then (allowing for the effect of imitation which is something) my picture can at most affect only as the palace, temple, or landscape, would have affected in the reality.  On the other hand, the most lively and spirited verbal description I can give raises a very obscure and imperfect idea of such objects; but then it is in my power to raise a stronger emotion by the description than I could do by the best painting.  This experience constantly evinces.  The proper manner of conveying the affections of the mind from one to another is by words; there is a great insufficiency in all other methods of communication; and so far is a clearness of imagery from being absolutely necessary to an influence upon the passions, that they may be considerably operated upon, without presenting any image at all, by certain sounds adapted to that purpose; of which we 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.

SECTION [IV].

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 quae sunt oculis subjecta fidelibus.

On this the Abbe 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 to experience.  I know several 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