adds Burke, "and in what does this
poetical picture consist? In images of a tower, an archangel, the sun
rising through mists, or an eclipse, the ruin of monarchs, and the
revolution of kingdoms." Instead of recognising the imagery here as the
source of the power, he says, "The mind is hurried out of itself,
[rather a strange result!], 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." This is altogether a mistake. The images are vivid
enough to make us feel the hovering presence of an awe-inspiring figure
having the height and firmness of a tower, and the dusky splendour of a
ruined archangel. The poet indicates only that amount of concreteness
which is necessary for the clearness of the picture,---only the height
and firmness of the tower and the brightness of the sun in eclipse.
More concretness would disturb the clearness by calling attention to
irrelevant details. To suppose that these images produce the effect
because they are crowded and confused (they are crowded and not
confused) is to imply that any other images would do equally well, if
they were equally crowded. "Separate them, and you lose much of the
greatness." Quite true: the image of the tower would want the splendour
of the sun. But this much may be said of all descriptions which proceed
upon details. And so far from the impressive clearness of the picture
vanishing in the crowd of images, it is by these images that the
clearness is produced: the details make it impressive, and affect our
imagination.

It should be added that Burke came very near a true explanation in the
following passage:--"It is difficult to conceive how words can move the
passions which belong to real objects without representing these
objects clearly. This is difficult to us because we do not sufficiently
distinguish between a clear expression and a strong expression. The
former regards the understanding; the latter belongs to the passions.
The one describes a thing as it is, the other describes it as it is
felt. Now as there is a moving tone of voice, an impassioned
countenance, an agitated gesture, which affect independently of the
things about which they are exerted, so there are words and certain
dispositions of words which being peculiarly devoted to passionate
subjects, and always used by those who are under the influenc