Payne Knight shows that terror is even opposed to sublimity: "All the great and terrible convulsions of nature; such as storms, tempests, hurricanes, earthquakes, volcanoes, &c., excite sublime ideas, and impress sublime sentiments by the prodigious exertions of energy and power which they seem to display: for though these objects are, in their nature, terrible, and generally known to be so, it is not this attribute of terror that contributes, in the smallest degree to render them sublime.... Timid women fly to a cellar, or a darkened room, to avoid the sublime effects of a thunder-storm; because to them they are not sublime, but terrible. To those only are they sublime, '_qui formidine nulla imbuti spectant_,' who behold them without any fear at all; and to whom, therefore, they are in no degree terrible." This farther confirms the distinction which I made of beauty into minor or subordinate, and grand or sublime beauty, although Knight adopted other principles, if principles they may be called, and neglected such distinction. There is but one other error on this subject which I need to notice. Burke says: "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.... 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." From what has already been said, it is evident that all this contributes to terror, not to sublimity; and that the same error is made by Blair when he says, "As obscurity, so disorder, too, is very compatible with grandeur, nay, frequently heightens it." To expose the weakness and to destroy the authority of some writers on this subject, can only set the mind free for the investigation of truth. I may, therefore, conclude this chapter by quoting the shrewd remarks of Knight on some of the principles of Burke. I shall afterward be forced critically to examine the notions of Knight in their turn. Burke states that the highest degree of sublime sensation is astonishment; and the subordinate degrees, awe, reverence, and respect; all which he considers as modes of terror. And Knight observes that this graduated scale of the sublime, from respect to astonishment, cannot, perhaps be better illustrated than by applying it to his own character.