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Edmund Burke, A Philosophical Enquiry into the Origin od Our Ideas of the Sublime and Beautiful
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What is the Sublime in today’s society?
In todays society we often use the word ‘Sublime’ in a colloquial manner. It seems to have been put into the category of words used to describe something better than just ‘good’: fantastic, amazing, magnificent, - sublime. The history of the sublime however does not indicate that the word was intended for such use; but in being a term that has a complex and rich history of development there is no wonder in todays society that the word is being used colloquially. Therefore we must ask, what is the true sublime in today’s society?
The word sublime “comes from the Latin ‘sublimis’ (elevated, lofty; sublime)” and the first philosopher to write about the sublime; Longinus imitated this. He wrote of how the
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To the Romanticists the focus of the sublime began in landscape. This idea of ‘the sublime’ focusing on landscapes could have stemmed from Edmund Burke’s Philosophical Enquiry (1757) in which Burke writes of how the sublime is connected with experiences of awe, terror and danger. Nature to Burke was seen to be the most sublime; the object that is the most able to inflict terror, awe and danger onto us as human beings. We cannot control nature, we cannot fully understand it and this is why it evokes powerful emotions in us. The sublime must address grand and important subjects “that surpass our understanding and our imagination due to their unbounded, excessive or chaotic character” Therefore nature seems to fit the bill of being the most sublime in terms of what Kant says about it surpassing our understanding. Take a storm at sea for instance; we can stand on the harbour and watch it happening, but we do not understand fully what the storm is like as we are viewing from a safe distance like we do when we are looking at an artwork such as a painting. However due to this some could argue “We might experience the grandeur of the storm, but not its sublime character. An experience can only truly be sublime when our lives are actually endangered by the superior forces of
This has led to a trend common to all centuries, that of puncturing ideals by showing them to be less than what they are supposed to be. In art and literature we see manifestations of this mechanism. It is a protective mechanism in a sense, for it prevents total absorption in the ideal, forcing us to see it for what it is, a benchmark and not a realistic goal. Even in the works where men and women achieve the ideal, it is usually accomplished by supernatural means, for a concomitant of the ideal is that it cannot truly exist in the natural and hence imperfect world. Examples of such mechanisms range from the colloquialism "out of this world" to describe the superlative to the common mythological pattern of the religious leader being the son of a god.
Perceptions of the natural world have fluctuated throughout humanity’s short time on this earth, going in and out of style as societies and technologies have grown and died. As is the the very nature of literature itself, literature and its authors have managed to capture these shifting views, expressed and illustrated by the art of written word. Naturally, the literature chosen for us to read based on this fluid theme of nature encompasses an array of perspectives. One of these views is that nature is sublime and above all else, a reflection of all that which is perfection. Another is that nature is cold, uncaring, and indifferent to the vanities of humanity.
While Romantics did seek inspiration in solitude and the grandeur of nature, it is difficult to say whether there is only one Romantic notion of the sublime. It is doubtful that the sublime we encounter in Shelley’s ‘Ode to the West Wind’ is the same as the sublime of ‘Tintern Abbey’. Wordsworth tells us how “… in lonely rooms, and ’mid the din / Of towns and cities” he has received “tranquil restoration” from the memory of nature, and how this has sometimes led to the realization of a gift of “aspect more sublime”, which is a trance-like state, a “classical religious meditation” (Wlecke, 158) in which he can “see into the life of things” (lines 36-49). This seems to be a notion of the sublime that gradually reveals itself through the interaction between the human mind and the objects of its contemplation. Moreover, this philosophical gift is “abundant recompense” (line 89) for something that he has lost – the ability to be moved at a level below that of thought, by the sublime aspect of nature. At the time of his visit five years before, he had been “more like a man ...
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
In The Sacred & The Profane: A Nature of Religion, Mircea Eliade attempts to define the sacred by stating it is “the opposite of the profane” (pg. 10). Through out the book he tries to explain this statement through the concept of hierophany (the idea that one can experience, sensorily, the manifestation of the holy/sacred), however his main explanation of the sacred being “the opposite of the profane” is the comparison of a modern religious man and a modern non-religious man (a profane man). Eliade compares the two by explaining how each would react to space, time, nature, and life. This essay will explain the idea of sacred space, how a religious and a profane man would experience it, and how the idea of sacred space might be applied to the study of medieval art and architecture.
In the opening paragraphs of his first chapter, Emerson finds that nature, like stars is always present and creates a reverence in the observer, but is also always inaccessible (14). Emerson also brings forth the idea that not everyone can really observe nature, but one must have the correct mental/spiritual state, as a child might. He discusses the improving aspects one can find in nature - youth, reason, and faith. Intrigued by visual perceptions, he claims that he looses contact with everything but nature becomes a 'transparent eye-ball' and feels that "I am part or parcel of God" (16). Emerson's emphatic words are perhaps the best description of the enthralling emotions of a 'sublime' experience as possible.
Schiller takes the position that his age is lacking something, meaning that it is missing a certain something that is essential for all human beings. In other words, the "part’’ is missing the "whole’’. Friedrich Schiller on the Sixth Letter of his text "On the Aesthetic Education of Man in a Series of Letters’’ gives an example of a culture, which was not wanting. This culture, the Hellenic Greeks, seemed to manage a perfect balance between art and wisdom, and their connection to nature, for they realized art and wisdom were not something of their own that detached them from nature, but that they were the road itself, which one had to take to find his way towards nature. Schiller states this differently. "For they were wedded [the Greeks] to all the delights of art and all the dignity of wisdom, without however, like us, falling a prey to their seduction’’ (31). Schiller believes that not only do these parts of human nature come together to create a better society but they mesh through art to connect man's soul and mind. Schiller’s philosophical fascination with aesthetics goes beyond a critic of art or even a philosophical discussion of the Beautiful or the Sublime; Schiller seems to be concerned with Man’s realization of freedom and of himself. Schiller fails to provide a clear analysis of the relationship between the beautiful and the sublime. His writings may allow the read to conceive the aesthetic merely as a means to a higher end, the moral state. Meaning that instead of regarding the aesthetic education as an end in itself, he invokes man to use aesthetics to try to reach the ideal. Since his work is an aesthetic object by virtue of its effect on the reader, it invokes feelings and leaves the reader free, it is also a s...
The dawning of the nineteen century brought with it a change in the political and social climate, the world was ready to usher in a new era of artistic thought. This new awareness was called “Romanticism” and saw its height during the Industrial Revolution. At this time, the Romantic era centered on the ideas of emotion, fantasy and hope. The end of the French Revolution became an important force in propelling a new train of thought. For the first time people were now regarded as individuals, oppression was sympathized and the banner of equality was flying high.
Blake, Wordsworth, and Keats all represent the Romantic style of literature with their unorthodox themes of nature, art, and life; and how those three points can be tied together and used for creative purposes among humankind. Art and life are counterparts; one is lacking without the other. The Romantic period was about passion; finding inspiration and beauty in things people see every day. Wordsworth found childhood memories in a familiar landscape, Blake found himself captivated by the mysteries of how the majestic tiger was created, and Keats’ urn triggered him to put his inquiries of it into poetry. Each man expressed his individual view within their works; and like many of their Romantic contemporaries, their ideas ran against the flow of their time’s societal beliefs.
The Romanticism period started in 1789 and lasted till 1830. This time period was a major international movement, shaping modern views of art, literature, music, and other aspects in life. Romanticism was the “reaction against artistic styles of classical antiquity, which was neoclassicism.” Neoclassicists focused on the power of reasoning to discover the truth while Romantics focused on the hope to transform the world through the power of imagination. They had a deep love for nature (Furst 302). The aspects of romanticism are important; they are the beliefs of this period. The first aspect includes nature, which allows them to be free from the artificial aspects of civilization; they were with man’s true setting. Nature was there to reveal and heal individuals. An example of the love for nature in Samuel Taylor Coleridge’s poetry ‘Frost at Midnight’ is he is describing how happy he is that his baby will be able to see nature instead of living in the city like he did, “But thou, my babe! shalt wander like ...
During the 18th century, two great companions, William Wordsworth, collaborated together to create Lyrical Ballad, one of the greatest works of the Romantic period. The two major poems of Lyrical Ballad are Wordsworth’s “Lines Composed a Few Miles above Tintern Abbey” and Coleridge’s “Frost at Midnight.” Even though these two poems contain different experiences of the two speakers, upon close reading of these poems, the similarities are found in their use of language, the tone, the use of illustrative imagery to fascinate the reader’s visual sense and the message to their loved ones. The speaker of “Lines Composed of a Few Miles above Tintern Abbey” is Wordsworth himself. He represents Romanticism’s spiritual view of nature.
In the first stanza, the poet seems to be offering a conventional romanticized view of Nature:
By analyzing the structure, the reader encounters the imagination and individuality prized by the Romantics. In addition, an examination of the literary devices presents the reader with the personal connection Romantic writers longed to have with nature. Lastly, the content of these pieces proved to be intertwined and demonstrated the desire to spread creativity and inspiration to others. As said by Michelle Williams “Everything’s connected, and everything has meaning if you look for it”
Nature is often a focal point for many author’s works, whether it is expressed through lyrics, short stories, or poetry. Authors are given a cornucopia of pictures and descriptions of nature’s splendor that they can reproduce through words. It is because of this that more often than not a reader is faced with multiple approaches and descriptions to the way nature is portrayed. Some authors tend to look at nature from a deeper and personal observation as in William Wordsworth’s “I Wandered Lonely as a Cloud”, while other authors tend to focus on a more religious beauty within nature as show in Gerard Manley Hopkins “Pied Beauty”, suggesting to the reader that while to each their own there is always a beauty to be found in nature and nature’s beauty can be uplifting for the human spirit both on a visual and spiritual level.
Through the poems of Blake and Wordsworth, the meaning of nature expands far beyond the earlier century's definition of nature. "The road of excess leads to the palace of wisdom." The passion and imagination portrayal manifest this period unquestionably, as the Romantic Era. Nature is a place of solace where the imagination is free to roam. Wordsworth contrasts the material world to the innocent beauty of nature that is easily forgotten, or overlooked due to our insensitivities by our complete devotion to the trivial world. “But yet I know, where’er I go, that there hath passed away a glory from the earth.