at once burdens and hinders, so also does language; for it forces the fluid and modifiable thoughts, with their infinitely fine distinctions of difference, into certain rigid, permanent forms, and thus in fixing also fetters them. This hindrance is to some extent got rid of by learning several languages. For in these the thought is poured from one mould into another, and somewhat alters its form in each, so that it becomes more and more freed from all form and clothing, and thus its own proper nature comes more distinctly into consciousness, and it recovers again its original capacity for modification. The ancient languages render this service very much better than the modern, because, on account of their great difference from the latter, the same thoughts are expressed in them in quite another way, and must thus assume a very different form; besides which the more perfect grammar of the ancient languages renders a more artistic and more perfect construction of the thoughts and their connection possible. Thus a Greek or a Roman might perhaps content himself with his own language, but he who understands nothing but some single modern patois will soon betray this poverty in writing and speaking; for his thoughts, firmly bound to such narrow stereotyped forms, must appear awkward and monotonous. Genius certainly makes up for this as for everything else, for example in Shakespeare.
Burke, in his "Inquiry into the Sublime and Beautiful," p. 5, § 4 and 5, has given a perfectly correct and very elaborate exposition of what I laid down in § 9 of the first volume, that the words of a speech are perfectly understood without calling up ideas of perception, pictures in our heads. But he draws from this the entirely false conclusion that we hear, apprehend, and make use of words without connecting with them any idea whatever; whereas he ought to have drawn the conclusion that all ideas are not perceptible images, but that precisely those ideas which must be expressed by means of words are abstract notions
