The Portable Edmund Burke (Portable Library) (17 page)

If pretended revelations have caused wars where they were opposed, and slavery where they were received, the pretended wise inventions of politicians have done the same. But the slavery has been much heavier, the wars far more bloody, and both more universal by many degrees. Show me any mischief produced by the madness or wickedness of theologians, and I will show you a hundred resulting from the ambition and villany of conquerors and statesmen. Show me an absurdity in religion, and I will undertake to show you a hundred for one in political laws and institutions. If you say that natural religion is a sufficient guide without the foreign aid of revelation, on what principle should political laws become necessary? Is not the same reason available in theology and in politics? If the laws of nature are the laws of God, is it consistent with the Divine wisdom to prescribe rules to us, and leave the enforcement of them to the folly of human institutions? Will you follow truth but to a certain point?

We are indebted for all our miseries to our distrust of that guide which Providence thought sufficient for our condition, our own natural reason, which rejecting both in human and divine things, we have given our necks to the yoke of political and theological slavery. We have renounced the prerogative of man, and it is no wonder that we should be treated like beasts. But our misery is much greater than theirs, as the crime we commit in rejecting the lawful dominion of our reason is greater than any which they can commit. If, after all, you should confess all these things, yet plead the necessity of political institutions, weak and wicked as they are, I can argue with equal, perhaps superior, force, concerning the necessity of artificial religion; and every step you advance in your argument, you add a strength to mine. So that if we are resolved to submit our reason and our liberty to civil usurpation, we have nothing to do but to conform as quietly as we can to the vulgar notions which are connected with this, and take up the theology of the vulgar as well as their politics. But if we think this necessity rather imaginary than real, we should renounce their dreams of society, together with their visions of religion, and vindicate ourselves into perfect liberty....

 

THE PASSION CAUSED by the great and sublime in
nature,
when those causes operate most powerfully, is astonishment; and astonishment is that state of the soul, in which all its motions are suspended, with some degree of horror. In this case the mind is so entirely filled with its object, that it cannot entertain any other, nor by consequence reason on that object which employs it. Hence arises the great power of the sublime, that, far from being produced by them, it anticipates our reasonings, and hurries us on by an irresistible force. Astonishment, as I have said, is the effect of the sublime in its highest degree; the inferior effects are admiration, reverence, and respect....

No passion so effectually robs the mind of all its powers of acting and reasoning
as fear.
For fear being an apprehension of pain or death, it operates in a manner that resembles actual pain. Whatever therefore is terrible, with regard to sight, is sublime too, whether this cause of terror be endued with greatness of dimensions or not; for it is impossible to look on anything as trifling, or contemptible, that may be dangerous. There are many animals, who though far from being large, are yet capable of raising ideas of the sublime, because they are considered as objects of terror. As serpents and poisonous animals of almost all kinds. And to things of great dimensions, if we annex an adventitious idea of terror, they become without comparison greater. A level plain of a vast extent on land, is certainly no mean idea; the prospect of such a plain may be as extensive as a prospect of the ocean: but can it ever fill the mind with anything so great as the ocean itself? This is owing to several causes; but it is owing to none more than this, that the ocean is an object of no small terror. Indeed, terror is in all cases whatsoever, either more openly or latently, the ruling principle of the sublime. Several languages bear a strong testimony to the affinity of these ideas. They frequently use the same word, to signify indifferently the modes of astonishment or admiration, and those of terror.
θάµβoç
is in Greek, either fear or wonder;
δεɩνòç
is terrible or respectable;
α
δέω
, to reverence or to fear.
Vereor
in Latin, is what α
δέω is in Greek. The Romans used the verb
stupeo,
a term which strongly marks the state of an astonished mind, to express the effect either of simple fear or of astonishment; the word
attonitus
(thunder-struck) is equally expressive of the alliance of these ideas; and do not the French
etonnement,
and the English
astonishment
and
amazement,
point out as clearly the kindred emotions which attend fear and wonder? They who have a more general knowledge of languages, could produce, I make no doubt, many other and equally striking examples....

To make anything very terrible, obscurity seems in general to be necessary. When we know the full extent of any danger, when we can accustom our eyes to it, a great deal of the apprehension vanishes. Every one will be sensible of this, who considers how greatly night adds to our dread, in all cases of danger, and how much the notions of ghosts and goblins, of which none can form clear ideas, affect minds which give credit to the popular tales concerning such sorts of beings. 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. His description of Death in the second book is admirably studied; it is astonishing with what a gloomy pomp, with what a significant and expressive uncertainty of strokes and colouring, he has finished the portrait of the king of terrors:

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

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....

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,

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 by 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-chace, 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:

Here is a very noble picture; and in what does this poetical picture consist? In images of a tower, an archangel, the sun rising through mists, or in an eclipse, the ruin of monarchs, and the revolutions of kingdoms. The mind is hurried out of itself, by a crowd of great and confused images; which affect because they are crowded and confused. For, separate them, and you lose much of the greatness; and join them, and you infallibly lose the clearness. The images raised by poetry are always of this obscure kind; though in general the effects of poetry are by no means to be attributed to the images it raises; which point we shall examine more at large hereafter. But painting, when we have allowed for the pleasure of imitation, can only affect simply by the images it presents; and even in painting, a judicious obscurity in some things contributes to the effect of the picture; because the images in painting are exactly similar to those in nature; and in nature, dark, confused, uncertain images have a greater power on the fancy to form the grander passions, than those have which are more clear and determinate. But where and when this observation may be applied to practice, and how far it shall be extended, will be better deduced from the nature of the subject, and from the occasion, than from any rules that can be given.