"The mind is hurried out of itself, by a crowd of great and confused images; which affect because they are crowded and confused"
— Burke, Edmund (1729-1797)
Author
Place of Publication
London
Publisher
Printed for R. and J. Dodsley
Date
1757
Metaphor
"The mind is hurried out of itself, by a crowd of great and confused images; which affect because they are crowded and confused"
Metaphor in Context
--He above the rest
In shape and gesture proudly eminent
Stood like a tower; his form had yet not lost
All her original brightness, nor appeared
Less than archangel ruined, and th' 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; 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. 1 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.
In shape and gesture proudly eminent
Stood like a tower; his form had yet not lost
All her original brightness, nor appeared
Less than archangel ruined, and th' 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; 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. 1 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.
Categories
Provenance
Reading. Drawing from online edition at http://www.bartleby.com/
Citation
18 entries in the ESTC (1757, 1759, 1761, 1764, 1765, 1766, 1767, 1770, 1771, 1772, 1773, 1776, 1782, 1787, 1792, 1793, 1796, 1798).
See (London: Printed for R. and J. Dodsley, 1757). <Link to ESTC><Link to ECCO-TCP>
Text from Edmund Burke, On the Sublime and Beautiful. Vol. XXIV, Part 2. The Harvard Classics. New York: P.F. Collier & Son, 1909–14; Bartleby.com, 2001.
Reading Edmund Burke, A Philosophical Enquiry into the Sublime and Beautiful and Other Pre-Revolutionary Writings, ed. David Wommersly (London: Penguin Classics, 1998).
See (London: Printed for R. and J. Dodsley, 1757). <Link to ESTC><Link to ECCO-TCP>
Text from Edmund Burke, On the Sublime and Beautiful. Vol. XXIV, Part 2. The Harvard Classics. New York: P.F. Collier & Son, 1909–14; Bartleby.com, 2001.
Reading Edmund Burke, A Philosophical Enquiry into the Sublime and Beautiful and Other Pre-Revolutionary Writings, ed. David Wommersly (London: Penguin Classics, 1998).
Date of Entry
10/09/2005
