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By Edmund Burke

ISBN-10: 0192835807

ISBN-13: 9780192835802

In 1757 the 27-year-old Edmund Burke argued that our aesthetic responses are skilled as natural emotional arousal, unencumbered via highbrow issues. In so doing he overturned the Platonic culture in aesthetics that had prevailed from antiquity until eventually the eighteenth century, and changed metaphysics with psychology or even body structure because the foundation for the topic. Burke's concept of attractiveness encompasses the feminine shape, nature, paintings, and poetry, and he analyses our savor chic results that thrill and excite us. His revolution in technique maintains to have repercussions within the aesthetic theories of this day, and his revolution in sensibility has lead the way for literary and inventive events from the Gothic novel via Romanticism, twentieth-century portray, and past.

Readership: scholars of philosophy, aesthetics, paintings historical past, English literature, the Romantics, comparative literature, and normal readers drawn to the background of responses to attractiveness and the guidelines of Edmund Burke.

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Additional info for A Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful (Oxford World's Classics)

Sample text

20. ] thinks that the removal or lessening of a pain is considered and operates as a pleasure, and the loss or diminishing of pleasure as a pain. It is this opinion which we consider here. 31 THE SUBLIME AND BEAUTIFUL sitions will, I believe, be much more readily allowed than the latter; because it is very evident that pleasure, when it has run its career, sets us down very nearly where it found us. Pleasure of every kind quickly satisfies ; and when it is over, we relapse into indifference, or rather we fall into a soft tranquillity, which is tinged with the agreeable colour of the former sensation.

The Sublime and Beautiful compared 99 too i oo 101 102 102 103 104 105 106 107 107 108 108 109 109 11 o 111 113 113 PART IV SECTION I. Of the efficient cause of the Sublime and Beautiful 117 SECTION II. Association 118 SECTION III. Cause of Pain and Fear 119 SECTION IV. Continued 120 SECTION V. How the Sublime is produced 121 SECTION VI. How pain can be a cause of Delight 122 SECTION VII. Exercise necessary for the finer organs 123 SECTION VIII. Why things not dangerous sometimes produce a passion like Terror 124 SECTION IX.

But whatever these powers are, or upon what principle soever they affect the mind, it is absolutely necessary that they should not be exerted in those things which a daily and vulgar use have brought into a stale unaffecting familiarity. Some degree of novelty must be one of the materials in every instrument which works upon the mind; and curiosity blends itself more or less with all our passions. T 29 THE SUBLIME AND BEAUTIFUL S E C T I O N II PAIN and PLEASURE It seems then necessary towards moving the passions of people advanced in life to any considerable degree, that the objects designed for that purpose, besides their being in some measure new, should be capable of exciting pain or pleasure from other causes.

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