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 qu? 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 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 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 Chase, 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 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 admiration, 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 have: 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 sublime description than this justly-celebrated one of Milton, wherein he gives the portrait of Satan with a dignity so suitable to the subject:

“He above the rest

In shape and gesture proudly eminent

Stood like a tower; his form had yet not lost

All her original brightness, nor appeared

Less than archangel ruined, and th’ e............