 The expansion presumably responds to a problem arising from the application Addison’s fundamental idea—the idea that the pleasures of taste are pleasures of visual representation—to objects that do not present themselves visually, such as literary and musical works. With respect to such objects Addison is forced to maintain either that they function mainly to prompt mental images of objects that do present themselves visually, or that the pleasures they afford are not mainly pleasures of taste (he takes the former line with respect to literary works and the latter, apparently, with respect to music (Addison and Steele 1879, no. 416)). It is presumably to mitigate this difficulty that Burke adopts a conception of the imagination that encompasses all five sense modalities. Thus whereas for Addison one can imagine merely how things look, for Burke one can also imagine how they sound, taste, smell, and feel. Though this broadened conception is not unique to Burke, it is unlikely that any other theorist of taste so fully exploits its breadth: each sense modality has its moment in A Philosophical Enquiry, from a section on the beauty of surfaces as revealed by touch (Burke 1757 [1990, 110–111]) to one on the sublimity of “Bitters and Stenches” (Burke 1757 [1990, 78–79]).