But though the position here advanced must necessarily exclude many
objects which have hitherto, though, as we think, improperly, been
classed with the sublime, it will still leave enough, and more than
enough, for the utmost exercise of our limited powers; inasmuch as, in
addition to the multitude of objects in the material world, not only
the actions, passions, and thoughts of men, but whatever concerns the
human being, that in any way--by a hint merely--leads the mind, though
indirectly, to the Infinite attributes,--all come of right within the
ground assumed.

It will be borne in mind, that the conscious presence of the Infinite
Idea is not only _not_ insisted on, but expressly admitted to be, in
most cases, unthought of; it is also admitted, that a sublime effect is
often powerfully felt in many instances where this Idea could not truly
be predicated of the apparent object. In such cases, however, some kind
of resemblance, or, at least, a seeming analogy to an infinite
attribute, is nevertheless essential. It must _appear_ to us, for the
time, either limitless, indefinite, or in some other way beyond the
grasp of the mind: and, whatever an object may _seem_ to be, it must
needs _in effect_ be to _us_ even that which it seems. Nor does this
transfer the emotion to a different source; for the Infinite Idea, or
something analogous, being thus imputed, is in reality its true cause.

It is still the unattainable, the _ever-stimulating_, yet
_ever-eluding_, in the character of the sublime object, that
gives to it both its term and its effect. And whence the conception of
this mysterious character, but from its mysterious prototype, the Idea
of the Infinite? Neither does it matter, as we have said, whether
actual or supposed; for what the imagination cannot master will master