ndications of unassisted
sense.

Burke in his "Essay on the Sublime and Beautiful," lays down the
proposition that distinctness of imagery is often injurious to the
effect of art. "It is one thing," he says, "to make an idea clear,
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 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 can do by the best
painting. This experience constantly evinces. The proper manner of
conveying the AFFECTIONS of the mind from one to the other is by words;
there is great insufficiency in all other method 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." If by image is meant only what the eye can see, Burke is
undoubtedly right. But this is obviously not our restricted meaning of
the word when we speak of poetic imagery; and Burke's error becomes
apparent when he proceeds to show that there "are reasons in nature why
an obscure idea, when properly conveyed, should be more affecting than
the clear." He does not seem to have considered that the idea of an
indefinite object can only be properly conveyed by indefinite images;
any image of Eternity or Death that pretended to visual distinctness
would be false. Having overlooked this, he says, "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 not yet lost
All her original brightness, nor appeared
Less than archangel ruined and the excess
Of glory obscured: as when the sun new risen
Looks through the horizontal misty air
Shorn of his beams; or from behind the moon
In dim eclipse disastrous twilight sheds
On half the nations; and with fear of change
Perplexes monarchs."

"Here is a very noble picture,"