Selections from the Speeches and Writings of Edmund Burke [17]
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.
UNITY OF IMAGINATION.
Since the imagination is only the representation of the senses, it can only be pleased or displeased with the images, from the same principle on which the sense is pleased or displeased with the realities; and consequently there must be just as close an agreement in the imaginations as in the senses of men. A little attention will convince us that this must of necessity be the case.
EFFECT OF WORDS.
If words have all their possible extent of power, three effects arise in the mind of the hearer. The first is, the SOUND; the second, the PICTURE, or representation of the thing signified by the sound; the third is, the AFFECTION of the soul produced by one or by both of the foregoing. COMPOUNDED ABSTRACT words, of which we have been speaking (honour, justice, liberty, and the like), produce the first and the last of these effects, but not the second. SIMPLE ABSTRACTS, are used to signify some one simple idea without much adverting to others which may chance to attend it, as blue, green, hot, cold, and the like; these are capable of effecting all three of the purposes of words; as the AGGREGATE words, man, castle, horse, etc. are in a yet higher degree. But I am of opinion, that the most general effect, even of these words, does not arise from their forming pictures of the several things they would represent in the imagination; because, on a very diligent examination of my own mind, and getting others to consider theirs, I do not find that once in twenty times any such picture is formed, and, when it is, there is most commonly a particular effort of the imagination for that purpose. But the aggregate words operate, as I said of the compound?abstracts, not by presenting any image to the mind, but by having from use the same effect on being mentioned, that their original has when it is seen.
INVESTIGATION.
I am convinced that the method of teaching which approaches most nearly to the method of investigation is incomparably the best; since, not content with serving up a few barren and lifeless truths, it leads to the stock on which they grew; it tends to set the reader himself in the track of invention, and to direct him into those paths in which the author has made his own discoveries, if he should be so happy as to have made any that are valuable.
THE SUBLIME.
Whatever is fitted in any sort to excite the ideas of pain, and danger, that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror, is a source of the SUBLIME; that is, it is productive of the strongest emotion which the mind is capable of feeling.
OBSCURITY.
Those despotic governments which are founded on the passions of men, and principally upon the passion of fear, keep their chief as much as may be from the public eye. The policy has been the same in many cases of religion. Almost all the heathen temples were dark. Even in the barbarous temples of the Americans at this day, they keep their idol in a dark part of the hut which is consecrated to his worship. For this purpose too the Druids performed all their ceremonies in the bosom of the darkest woods, and in the shade of the oldest and most spreading oaks. No person seems better to have understood the secret of heightening, or of setting terrible things, if I may use the expression, in their strongest light, by the force of a judicious obscurity, than Milton.
PRINCIPLES OF TASTE.
Whatever certainty is to be acquired in morality and the science of life; just the same degree of certainty have we in what relates to them in works of imitation. Indeed, it is for the most part in our skill in manners, and in the observances of time and
UNITY OF IMAGINATION.
Since the imagination is only the representation of the senses, it can only be pleased or displeased with the images, from the same principle on which the sense is pleased or displeased with the realities; and consequently there must be just as close an agreement in the imaginations as in the senses of men. A little attention will convince us that this must of necessity be the case.
EFFECT OF WORDS.
If words have all their possible extent of power, three effects arise in the mind of the hearer. The first is, the SOUND; the second, the PICTURE, or representation of the thing signified by the sound; the third is, the AFFECTION of the soul produced by one or by both of the foregoing. COMPOUNDED ABSTRACT words, of which we have been speaking (honour, justice, liberty, and the like), produce the first and the last of these effects, but not the second. SIMPLE ABSTRACTS, are used to signify some one simple idea without much adverting to others which may chance to attend it, as blue, green, hot, cold, and the like; these are capable of effecting all three of the purposes of words; as the AGGREGATE words, man, castle, horse, etc. are in a yet higher degree. But I am of opinion, that the most general effect, even of these words, does not arise from their forming pictures of the several things they would represent in the imagination; because, on a very diligent examination of my own mind, and getting others to consider theirs, I do not find that once in twenty times any such picture is formed, and, when it is, there is most commonly a particular effort of the imagination for that purpose. But the aggregate words operate, as I said of the compound?abstracts, not by presenting any image to the mind, but by having from use the same effect on being mentioned, that their original has when it is seen.
INVESTIGATION.
I am convinced that the method of teaching which approaches most nearly to the method of investigation is incomparably the best; since, not content with serving up a few barren and lifeless truths, it leads to the stock on which they grew; it tends to set the reader himself in the track of invention, and to direct him into those paths in which the author has made his own discoveries, if he should be so happy as to have made any that are valuable.
THE SUBLIME.
Whatever is fitted in any sort to excite the ideas of pain, and danger, that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror, is a source of the SUBLIME; that is, it is productive of the strongest emotion which the mind is capable of feeling.
OBSCURITY.
Those despotic governments which are founded on the passions of men, and principally upon the passion of fear, keep their chief as much as may be from the public eye. The policy has been the same in many cases of religion. Almost all the heathen temples were dark. Even in the barbarous temples of the Americans at this day, they keep their idol in a dark part of the hut which is consecrated to his worship. For this purpose too the Druids performed all their ceremonies in the bosom of the darkest woods, and in the shade of the oldest and most spreading oaks. No person seems better to have understood the secret of heightening, or of setting terrible things, if I may use the expression, in their strongest light, by the force of a judicious obscurity, than Milton.
PRINCIPLES OF TASTE.
Whatever certainty is to be acquired in morality and the science of life; just the same degree of certainty have we in what relates to them in works of imitation. Indeed, it is for the most part in our skill in manners, and in the observances of time and