This rule is also applicable to other fine arts. In painting it is established, that the principal figure must be put in the strongest light; that the beauty of attitude consists in placing the nobler parts most in view, and in suppressing the smaller parts as much as possible; that the folds of the drapery must be few and large; that foreshortenings are bad, because they make the parts appear little; and that the muscles ought to be kept as entire as possible, without being divided into small sections. Every one at present is sensible of the importance of this rule when applied to gardening, in opposition to the antiquated taste of parterres split into a thousand small parts in the strictest regularity of figure. Those who have succeeded best in architecture, have governed themselves by this rule in all their models. Another rule chiefly regards the sublime, though it may be applied to every literary performance intended for amusement; and that is, to avoid as much as possible abstract and general terms. Such terms, perfectly well fitted for reasoning and for conveying instruction, serve but imperfectly the ends of poetry. They stand upon the same footing with mathematical signs, contrived to express our thoughts in a concise manner. But images, which are the life of poetry, cannot be raised in any perfection, otherwise than by introducing particular objects. General terms, that comprehend a number of individuals, must be excepted from this rule. Our kindred, our clan, our country, and words of the like import, though they scarce raise any image, have notwithstanding a wonderful power over our passions. The greatness of the complex object over-balances the obscurity of the image. What I have further to say upon this subject, shall be comprehended in a few observations. A man is capable of being raised so much above his ordinary pitch by an emotion of grandeur, that it is extremely difficult by a single thought or expression to produce that emotion in perfection. The rise must be gradual and the result of reiterated impressions. The effect of a single expression can be but momentary; and if one feel suddenly somewhat like a swelling or exaltation of mind, the emotion vanisheth as soon as felt. Single expressions, I know, are often justly cited as examples of the sublime. But then their effect is nothing compared with a grand subject displayed in its capital parts. I shall give a few examples, that the reader may judge for himself. In the famous action of Thermopylæ, where Leonidas the Spartan King with his chosen band fighting for their country, were cut off to the last man, a saying is reported of Dieneces one of the band, which, expressing chearful and undisturbed bravery, is well intitled to the first place in examples of this kind. Talking of the number of their enemies, it was observed, that the arrows shot by such a multitude would intercept the light of the sun. So much the better, says he; for we shall then fight in the shade[65].