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 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 affec