Sublime (philosophy) 1

Sublime (philosophy)
In aesthetics, the sublime (from the Latin sublīmis "sloping up to the lintel, uplifted, high, lofty, elevated, exalted")
is the quality of greatness or vast magnitude, whether physical, moral, intellectual, metaphysical, aesthetic, spiritual
or artistic. The term especially refers to a greatness with which nothing else can be compared and which is beyond
all possibility of calculation, measurement or imitation.

Ancient philosophy
The Bhagavad Gita, written circa 1200 BCE, talks about the sublime mystery in the ninth teaching of Krishna.
The first known study of the sublime is ascribed to Longinus: Peri Hupsous/Hypsous or On the Sublime. This is
thought to have been written in the 1st century AD though its origin and authorship are uncertain. For Longinus, the
sublime is an adjective that describes great, elevated, or lofty thought or language, particularly in the context of
rhetoric. As such, the sublime inspires awe and veneration, with greater persuasive powers. Longinus' treatise is also
notable for referencing not just Greek writers such as Homer but also biblical sources such as Genesis.
This treatise was rediscovered in the 16th century, and its subsequent impact on aesthetics is usually attributed to its
translation into French by Nicolas Boileau-Despréaux in 1674. Later the treatise was translated into English by John
Pultney in 1680, Leonard Welsted in 1712, and William Smith in 1739 whose translation had its fifth edition in
1800.

Eighteenth century

British philosophy
The development of the concept of the sublime as an
aesthetic quality in nature distinct from beauty was first
brought into prominence in the 18th century in the
writings of Anthony Ashley Cooper, third earl of
Shaftesbury, and John Dennis, in expressing an
appreciation of the fearful and irregular forms of
external nature, and Joseph Addison's synthesis of
concepts of the sublime in his The Spectator, and later
the Pleasures of the Imagination. All three Englishmen
had, within the span of several years, made the journey
across the Alps and commented in their writings of the
horrors and harmony of the experience, expressing a
contrast of aesthetic qualities.[1] Grosser Mythen, Swiss Alps. British writers, taking the Grand Tour
in the 17th and 18th centuries, first used the sublime to describe
John Dennis was the first to publish his comments in a objects of nature.

journal letter published as Miscellanies in 1693, giving

an account of crossing the Alps where, contrary to his prior feelings for the beauty of nature as a "delight that is
consistent with reason", the experience of the journey was at once a pleasure to the eye as music is to the ear, but
"mingled with Horrours, and sometimes almost with despair".[2] Shaftesbury had made the journey two years prior to
Dennis but did not publish his comments until 1709 in the Moralists. His comments on the experience also reflected
pleasure and repulsion, citing a "wasted mountain" that showed itself to the world as a "noble ruin" (Part III, Sec. 1,
390–91), but his concept of the sublime in relation to beauty was one of degree rather than the sharp
Sublime (philosophy) 2

contradistinction that Dennis developed into a new form of literary criticism. Shaftesbury's writings reflect more of a
regard for the awe of the infinity of space ("Space astonishes" referring to the Alps), where the sublime was not an
aesthetic quality in opposition to beauty, but a quality of a grander and higher importance than beauty. In referring to
the Earth as a "Mansion-Globe" and "Man-Container" Shaftsbury writes "How narrow then must it appear compar'd
with the capacious System of its own Sun...tho animated with a sublime Celestial Spirit...." (Part III, sec. 1, 373).[3]
Joseph Addison embarked on the Grand Tour in 1699 and commented in Remarks on Several Parts of Italy etc. that
"The Alps fill the mind with an agreeable kind of horror".[4] The significance of Addison's concept of the sublime is
that the three pleasures of the imagination that he identified; greatness, uncommonness, and beauty, "arise from
visible objects" (that is, from sight rather than from rhetoric). It is also notable that in writing on the "Sublime in
external Nature", he does not use the term "sublime", but uses terms that would be considered as absolutive
superlatives, e.g. "unbounded", "unlimited", as well as "spacious", "greatness", and on occasion terms denoting
excess.[2]
Addison's notion of greatness was integral to the concept of the sublime. An art object could be beautiful but it could
not rise to greatness. His work Pleasures of the Imagination, as well as Mark Akenside's Pleasures of the
Imagination (1744), and Edward Young's Night Thoughts (1745), are generally considered as the starting points for
Burke's analysis.

Edmund Burke
Edmund Burke's concept of the sublime was developed in A Philosophical Enquiry into the Origin of Our Ideas of
the Sublime and Beautiful (1756).[2] Burke was the first philosopher to argue that the sublime and the beautiful are
mutually exclusive. The dichotomy is not as simple as Dennis' opposition, but antithetical to the same degree as light
and darkness. Beauty may be accentuated by light, but either intense light or darkness (the absence of light) is
sublime to the degree that it can obliterate the sight of an object. The imagination is moved to awe and instilled with
a degree of horror by what is "dark, uncertain, and confused."[5] While the relationship of the sublime and the
beautiful is one of mutual exclusiveness, either one can produce pleasure. The sublime may inspire horror, but one
receives pleasure in knowing that the perception is a fiction.[6]
Burke's concept of the sublime was an antithetical contrast to the classical notion of the aesthetic quality of beauty as
the pleasurable experience described by Plato in several of his dialogues (Philebus, Ion, Hippias Major, and
Symposium) and suggested ugliness as an aesthetic quality in its capacity to instill feelings of intense emotion,
ultimately creating a pleasurable experience.[7] Prior to Burke, the classical notion of the ugly, most notably related
in the writings of Augustine of Hippo, had conceived it as lacking form and therefore as non-existent. Beauty was,
for St. Augustine, the consequence of the benevolence and goodness of God's creation, and as a category had no
opposite. The ugly, lacking any attributive value, was a formlessness in its absence of beauty.[8] For Aristotle the
function of art forms was to create pleasure, and had first pondered the problem of an object of art representing the
ugly as producing "pain." Aristotle's detailed analysis of this problem involves his study of tragic literature and its
paradoxical nature to be shocking as well as having poetic value.[9]
Burke's treatise is also notable for focusing on the physiological effects for the sublime, in particular the dual
emotional quality of fear and attraction noted by other writers. Burke described the sensation attributed to the
sublime as a 'negative pain' which he called delight, and which is distinct from positive pleasure. Delight is taken to
result from the removal of pain (caused by confronting the sublime object) and is supposedly more intense than
positive pleasure. Though Burke's explanations for the physiological effects of the sublime experience (such as
tension resulting from eye strain) were not taken seriously by later writers, his empiricist method of reporting from
his own psychological experience was more influential, especially in contrast to Kant's analysis. Burke is also
distinguished from Kant in his emphasis on the subject's realization of his physical limitations rather than any
supposed sense of moral or spiritual transcendence.[10]
Sublime (philosophy) 3

German philosophy

Immanuel Kant
See also Immanuel Kant's Aesthetic philosophy
Kant, in 1764, made an attempt to record his thoughts
on the observing subject's mental state in Observations
on the Feeling of the Beautiful and Sublime.
In his Critique of Judgment (1790),[11] Kant
investigates the sublime, stating "We call that sublime
which is absolutely great"(§ 25). He distinguishes
between the "remarkable differences" of the Beautiful
and the Sublime, noting that beauty "is connected with
the form of the object", having "boundaries", while the
sublime "is to be found in a formless object",
represented by a "boundlessness" (§ 23). Kant then
further divides the sublime into the mathematical and
the dynamical, where in the mathematical "aesthetical Viviano Codazzi: Rendition of St. Peter's Square, Rome, dated 1630.
Kant referred to St. Peter's as "splendid", a term he used for objects
comprehension" is not a consciousness of a mere
producing feeling for both the beautiful and the sublime.
greater unit, but the notion of absolute greatness not
inhibited with ideas of limitations (§ 27). The
dynamically sublime is "nature considered in an aesthetic judgment as might that has no dominion over us", and an
object can create a fearfulness "without being afraid of it" (§ 28). He considers both the beautiful and the sublime as
"indefinite" concepts, but where beauty relates to the "Understanding", sublime is a concept belonging to "Reason",
and "shows a faculty of the mind surpassing every standard of Sense" (§ 25). For Kant, one's inability to grasp the
enormity of a sublime event such as an earthquake demonstrates inadequacy of one's sensibility and imagination.
Simultaneously, one's ability to subsequently identify such an event as singular and whole indicates the superiority of
one's cognitive, supersensible powers. Ultimately, it is this "supersensible substrate," underlying both nature and
thought, on which true sublimity is located.[12]

Schopenhauer
In order to clarify the concept of the feeling of the sublime, Schopenhauer listed examples of its transition from the
beautiful to the most sublime. This can be found in the first volume of his The World as Will and Representation, §
39.
For him, the feeling of the beautiful is pleasure in simply seeing a benign object. The feeling of the sublime,
however, is pleasure in seeing an overpowering or vast malignant object of great magnitude, one that could destroy
the observer.
• Feeling of Beauty – Light is reflected off a flower. (Pleasure from a mere perception of an object that cannot hurt
observer).
• Weakest Feeling of Sublime – Light reflected off stones. (Pleasure from beholding objects that pose no threat, yet
themselves are devoid of life).
• Weaker Feeling of Sublime – Endless desert with no movement. (Pleasure from seeing objects that could not
sustain the life of the observer).
• Sublime – Turbulent Nature. (Pleasure from perceiving objects that threaten to hurt or destroy observer).
• Full Feeling of Sublime – Overpowering turbulent Nature. (Pleasure from beholding very violent, destructive
objects).
Sublime (philosophy) 4

• Fullest Feeling of Sublime – Immensity of Universe's extent or duration. (Pleasure from knowledge of observer's
nothingness and oneness with Nature).

Georg Wilhelm Friedrich Hegel

Hegel considered the sublime to be a marker of cultural difference and a characteristic feature of oriental art. His
teleological view of history meant that he considered 'oriental' cultures as less 'developed', more autocratic in terms
of their political structures and more fearful of divine law. According to his reasoning, this meant that oriental artists
were more inclined towards the aesthetic and the sublime: they could engage god only through 'sublated' means. He
believed that the excess of intricate detail that is characteristic of Chinese art, or the dazzling metrical patterns
characteristic of Islamic art, were typical examples of the sublime and argued that the disembodiment and
formlessness of these art forms inspired the viewer with an overwhelming aesthetic sense of awe.[13]

Romantic period

Victor Hugo

Victor Hugo touched on aspects of the sublime in both nature

and man in many of his poems (Poems of Victor Hugo). In his
preface [14] to Cromwell, he defined the sublime as a
combination of the grotesque and beautiful as opposed to the
classical ideal of perfection. He also dealt with how authors
and artists could create the sublime through art. Both the
Hunchback and Notre Dame Cathedral can be considered
embodiments of the sublime as can many elements of Les
Misérables.

Post-Romantic and twentieth century

The last decades of the 19th century saw the rise of
Kunstwissenschaft, or the "science of art", which was a
movement to discern laws of aesthetic appreciation and arrive
at a scientific approach to aesthetic experience.[15]
Caspar David Friedrich, Wanderer above the Sea of Fog,
At the beginning of the 20th century Neo-Kantian German
1817, Kunsthalle Hamburg. Romantic artists during the 19th
philosopher and theorist of aesthetics Max Dessoir founded century used the epic of nature as an expression of the
the Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft, sublime
which he edited for many years, and published the work
Ästhetik und allgemeine Kunstwissenschaft in which he formulated five primary aesthetic forms: the beautiful, the
sublime, the tragic, the ugly, and the comic.[16]

The experience of the sublime involves a self-forgetfulness where personal fear is replaced by a sense of well-being
and security when confronted with an object exhibiting superior might, and is similar to the experience of the tragic.
The "tragic consciousness" is the capacity to gain an exalted state of consciousness from the realization of the
unavoidable suffering destined for all men and that there are oppositions in life that can never be resolved, most
notably that of the "forgiving generosity of deity" subsumed to "inexorable fate".[17]
Thomas Weiskel re-examined Kant's aesthetics and the Romantic conception of the sublime through the prism of
semiotic theory and psychoanalysis.[18] He argued that Kant's 'mathematical' sublime' could be seen in semiotic
terms as the presence of an excess of signifiers, a monotonous infinity threatens to dissolve all oppositions and
distinctions. The 'dynamic sublime', on the other hand, was an excess of signifieds: meaning was always
Sublime (philosophy) 5

overdetermined.
According to Jean-François Lyotard, the sublime, as a theme in aesthetics, was the founding move of the Modernist
period.[19] Lyotard argued that the modernists attempted to replace the beautiful with the release of the perceiver
from the constraints of the human condition. For him, the sublime's significance is in the way it points to an aporia in
human reason; it expresses the edge of our conceptual powers and reveals the multiplicity and instability of the
postmodern world.
There has also been some resurgence of interest in the sublime in analytic philosophy in the last 15 years, with
occasional articles in The Journal of Aesthetics and Art Criticism and The British Journal of Aesthetics, as well as
monographs by writers such as Malcolm Budd, James Kirwan and Kirk Pillow. As in the postmodern or critical
theory tradition, analytic philosophical studies often begin with accounts of Kant or other philosophers of the 18th or
early 19th centuries.

Footnotes
[1] Nicolson, Marjorie Hope. Mountain Gloom and Mountain Glory. Ithaca, 1959
[2] Nicolson, Marjorie Hope. "Sublime in External Nature". Dictionary of the History of Ideas. New York, 1974.
[3] Cooper, Anthony Ashley, Third Earl of Shaftesbury. The Moralists: A Philosophical Rhapsody. 1709.
[4] Joseph Addison, Remarks on Several Parts of Italy etc. in the years 1701, 1702, 1703. 1773 edition, printed for T. Walker. Chapter on
‘Geneva and the Lake’: 261 Located on Google books, accessed 11.12.07
[5] Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, Part I, Section VII, "Whatever is fitted in
any sort to excite the ideas of pain, and danger, that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or
operates in a manner analogous to terror, is a source of the sublime; that is, it is productive of the strongest emotion which the mind is capable
of feeling...." In Part II, Section II, Burke wrote: "...terror is in all cases whatsoever, either more openly or latently, the ruling principle of the
sublime."
[6] Beardsley, Monroe C. "History of Aesthetics". Encyclopedia of Philosophy. Vol. 1, p. 27, Macmillan, 1973. But, Edmund Burke disagreed.
"Nor is it, either in real or fictitious distresses, our immunity from them which produces our delight...it is absolutely necessary that my life
should be out of any imminent hazard, before I can take a delight in the sufferings of others, real or imaginary...it is a sophism to argue from
thence, that this immunity is the cause of my delight...." A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and Beautiful,
Part I, Section XV.
[7] Stolnitz, Jerome. "Ugliness". Encyclopedia of Philosophy. McMillan, 1973.
[8] Stolnitz, Jerome. "Ugliness". Encyclopedia of Philosophy, McMillan, 1973. Also, Beardsley, Monroe C. "History of Aesthetics".
Encyclopedia of Philosophy. Vol. 1, p. 22, Macmillan, 1973.
[9] Beardsley, Monroe C. "History of Aesthetics". Encyclopedia of Philosophy. Vol. 1, p. 20, Macmillan, 1973.
[10] Vanessa L. Ryan "The Physiological Sublime: Burke’s Critique of Reason" Journal of the History of Ideas. Vol. 62, No. 1, April 2001.
[11] Kant, Immanuel. Critique of Judgment. Trans. J.H. Bernard. Macmillan, 1951.
[12] Kant, Immanuel. Critique of Judgment. Trans. J.H. Bernard. Macmillan, 1951. Translator's introduction and notes to the Critique of
Judgment)
[13] Hegel, G.W.F. Aesthetics: Lectures on Fine Art. Translated by T.M. Know. Oxford: Clarendon, 1975.
[14] http:/ / www. gavroche. org/ vhugo/ cromwellpreface. shtml
[15] Stolnitz, Jerome. "Beauty". In Encyclopedia of Philosophy. Vol. 1, p. 266. Macmillan (1973).
[16] Emery, Stephen A.. "Dessoir, Max". In Encyclopedia of Philosophy. Vol. 2, p. 355. Macmillan (1973).
[17] Emery, Stephen A.. "Dessoir, Max". In Encyclopedia of Philosophy. Vol. 2, p. 356. Macmillan (1973).
[18] Weiskel, Thomas. The Romantic Sublime (Baltimore: Johns Hopkins University Press, 1976)
[19] Lyotard, Jean-François. Lessons on the Analytic of the Sublime. Trans. Elizabeth Rottenberg. Stanford University Press, 1994. Lyotard
expresses his own elements of the sublime but recommends Kant's Critique of Judgment, §23–§29 as a preliminary reading requirement in
order to understand his analysis.
Sublime (philosophy) 6

Further reading
• Addison, Joseph. The Spectator. Ed. Donald E. Bond. Oxford, 1965.
• Beidler. P. G. ‘The Postmodern Sublime: Kant and Tony Smith’s Anecdote of the Cube’. The Journal of
Aesthetics and Art Criticism, Vol. 53, No. 2 (Spring 1995): 177–186.
• Brady, E. ‘Imagination and the Aesthetic Appreciation of Nature’. The Journal of Aesthetics and Art Criticism,
Vol. 56, No. 2 (Spring 1998): 139–147.
• Brett, R.L. The Third Earl of Shaftesbury. London, 1951. ASIN: B0007IYKBU
• Budd, M. The Aesthetic Appreciation of Nature. Oxford, Oxford University Press, 2003.
• Burke, Edmund. A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful. London,
1958. ISBN 0-935005-28-5
• Collingwood, R.G. The Idea of Nature. Oxford, 1945. ISBN 0-313-25166-5
• Cooper, Anthony Ashley, Third Earl of Shaftesbury. The Moralists: A Philosophical Rhapsody, in
Characteristics, Vol. II. Ed. John M. Robertson. London, 1900.
• de Bolla, P. The Discourse of the Sublime. Basil Blackwell, 1989.
• Dennis, John. Miscellanies in Verse and Prose, in Critical Works, Vol. II. Ed. Edward Niles Hooker. Baltimore,
1939–1943. ASIN: B0007E9YR4
• Dessoir, Max. Aesthetics and theory of art. Ästhetik und allgemeine Kunstwissenschaft. Translated by Stephen A.
Emery. With a foreword by Thomas Munro. Detroit, Wayne State University Press, 1970. ISBN 0-8143-1383-3
• Duffy, C. Shelley and the revolutionary sublime. Cambridge, 2005.
• Ferguson, F. Solitude and the Sublime: romanticism and the aesthetics of individuation. Routledge, 1992.
• Fisher, P. Wonder, the rainbow and the aesthetics of rare experiences. Harvard University Press, 1999.
• Fudge, R. S. ‘Imagination and the Science-Based Aesthetic Appreciation of Unscenic Nature’. The Journal of
Aesthetics and Art Criticism, Vol. 59, No. 3 (Summer 2001): 275–285.
• Hipple, Walter John, Jr. The Beautiful, the Sublime, and the Picturesque in Eighteenth-Century British Aesthetic
Theory. Carbondale, IL, 1957.
• Kant, Immanuel. Critique of Judgment. Trans. J.H. Bernard. Macmillan, 1951.
• Kant, Immanuel. Observations on the Feeling of the Beautiful and Sublime. Translated by John T. Goldthwaite.
University of California Press, 2003. ISBN 0-520-24078-2
• Kirwan, J. (2005). Sublimity: The Non-Rational and the Irrational in the History of Aesthetics. Routledge, 2005.
• Lyotard, Jean-François. Lessons on the Analytic of the Sublime. Trans. Elizabeth Rottenberg. Stanford University
Press, 1994.
• Monk, Samuel H. The Sublime: A Study of Critical Theories in XVIII-Century England. Ann Arbor: University of
Michigan Press, 1935/1960.
• Nicolson, Marjorie Hope. Mountain Gloom and Mountain Glory. Ithaca, 1959. ISBN 0-295-97577-6
• Navon, Mois. "Sublime Tekhelet". The Writings of Mois Navon (http://www.divreinavon.com/pdf/
SublimeTekhelet.pdf)
• Nicolson, Marjorie Hope. "Sublime in External Nature". Dictionary of the History of Ideas. New York, 1974.
• Noel, J. ‘Space, Time and the Sublime in Hume’s Treatise’. British Journal of Aesthetics, Vol. 34, No. 3, July
1994: 218–225.
• Pillow, K. Sublime Understanding: Aesthetic Reflection in Kant and Hegel. MIT Press, 2000.
• George Santayana. The Sense of Beauty. Being the Outlines of Aesthetic Theory. New York, Modern Library,
1955. Pp. 230–240.
• Ryan, V. (2001). 'The physiological sublime: Burke's critique of reason'. Journal of the history of ideas, vol. 62,
no. 2 (2001): 265–279.
• Saville, A. ‘Imagination and Aesthetic Value’. British Journal of Aesthetics, Vol. 46, No. 3, July 2006: 248–258.
• Shaw, P. The Sublime. Routledge, 2006.
Sublime (philosophy) 7

• Shusterman, R. ‘Somaesthetics and Burke’s Sublime’. British Journal of Aesthetics, Vol. 45, No. 4, October 2005:
323–341.
• Sircello, G. ‘How is a Theory of the Sublime Possible?’ The Journal of Aesthetics and Art Criticism, Vol. 51, No.
4 (Autumn 1993): 541–550.
• Schopenhauer, Arthur. The World as Will and Representation. Volume I. New York: Dover Press. ISBN
0-486-21761-2
• Slocombe, Will. Nihilism and the Sublime Postmodern: The (Hi)Story of a Difficult Relationship. New York:
Routledge, 2006.
• Stolnitz, Jerome. "On the Significance of Lord Shaftesbury in Modern Aesthetic Theory". Philosophical
Quarterly, 43(2):97–113, 1961.
• Zuckert, R. ‘Awe or Envy? Herder contra Kant on the Sublime’. The Journal of Aesthetics and Art Criticism, Vol.
61, No. 3 (Summer 2003): 217–232.

External links
• Friedrich Schiller, On the Sublime (http://www.schillerinstitute.org/transl/trans_on_sublime.html)
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