If it should not appear on the face of the work, I must caution the reader against imagining that I intended a full dissertation on the Sublime and Beautiful. My inquiry went no farther than to the origin of these ideas. If the qualities which I have ranged under the head of the Sublime be all found consistent with each other, and all different from those which I place under the head of Beauty; and if those which compose the class of the Beautiful have the same consistency with themselves, and the same opposition to those which are classed under the denomination of Sublime, I am in little pain whether anybody chooses to follow the name I give them or not, provided he allows that what I dispose under different heads are in reality different things in nature. The use I make of the words may be blamed, as too confined or too extended; my meaning cannot well be misunderstood.
To conclude: whatever progress may be made towards the discovery of truth in this matter, I do not repent the pains I have taken in it. The use of such inquiries may be very considerable. Whatever turns the soul inward on itself, tends to concentre its forces, and to fit it for greater and stronger flights of science. By looking into physical causes our minds are opened and enlarged; and in this pursuit, whether we take or whether we lose our game, the chase is certainly of service. Cicero, true as he was to the academic philosophy, and consequently led to reject the certainty of physical, as of every other kind of knowledge, yet freely confesses its great importance to the human understanding: "Est animorum inge
niorumque nostrorum naturale quoddam quasi pabulum consideratio contemplatioque naturæ." If we can direct the lights we derive from such exalted speculations upon the humbler field of the imagination, whilst we investigate the springs, and trace the courses of our passions, we may not only communicate to the taste a sort of philosophical solidity, but we may reflect back on the severer sciences some of the graces and elegances of taste, without which the greatest proficiency in those sciences will always have the appearance of something illiberal.
CONTENTS.
- Page
- [INTRODUCTION: On Taste] [79]
- [PART I] [101]
- I. Novelty [101]
- II. Pain and Pleasure [102]
- III. The Difference between the Removal of Pain and Positive Pleasure [104]
- IV. Of Delight and Pleasure, as opposed to each other [106]
- V. Joy and Grief [108]
- VI. Of the Passions which belong to Self-Preservation [110]
- VII. Of the Sublime [110]
- VIII. Of the Passions which belong to Society [111]
- IX. The Final Cause of the Difference between the Passions belonging to Self-Preservation, and those which regard the Society of the Sexes [113]
- X. Of Beauty [114]
- XI. Society and Solitude [115]
- XII. Sympathy, Imitation, and Ambition [116]
- XIII. Sympathy [117]
- XIV. The Effects of Sympathy in the Distresses of Others [119]
- XV. Of the Effects of Tragedy [120]
- XVI. Imitation [122]
- XVII. Ambition [123]
- XVIII. The Recapitulation [125]
- XIX. The Conclusion [126]
- [PART II.] [130]
- I. Of the Passion caused by the Sublime [130]
- II. Terror [130]
- III. Obscurity [132]
- IV. Of the Difference between Clearness and Obscurity with regard to the Passions [133]
- [IV.] The Same Subject continued [134]
- V. Power [138]
- VI. Privation [146]
- VII. Vastness [147]
- VIII. Infinity [148]
- IX. Succession and Uniformity [149]
- X. Magnitude in Building [152]
- XI. Infinity in Pleasing Objects [153]
- XII. Difficulty [153]
- XIII. Magnificence [154]
- XIV. Light [156]
- XV. Light in Building [157]
- XVI. Color considered as productive of the Sublime [158]
- XVII. Sound and Loudness [159]
- XVIII. Suddenness [160]
- XIX. Intermitting [160]
- XX. The Cries of Animals [161]
- XXI. Smell and Taste—Bitters and Stenches [162]
- XXII. Feeling.—Pain [164]
- [PART III.] [165]
- I. Of Beauty [165]
- II. Proportion not the Cause of Beauty in Vegetables [166]
- III. Proportion not the Cause of Beauty in Animals [170]
- IV. Proportion not the Cause of Beauty in the Human Species [172]
- V. Proportion further considered [178]
- VI. Fitness not the Cause of Beauty [181]
- VII. The Real Effects of Fitness [184]
- VIII. The Recapitulation [187]
- IX. Perfection not the Cause of Beauty [187]
- X. How far the Idea of Beauty may be applied to the Qualities of the Mind [188]
- XI. How far the Idea of Beauty may be applied to Virtue [190]
- XII. The Real Cause of Beauty [191]
- XIII. Beautiful Objects Small [191]
- XIV. Smoothness [193]
- XV. Gradual Variation [194]
- XVI. Delicacy [195]
- XVII. Beauty in Color [196]
- XVIII. Recapitulation [197]
- XIX. The Physiognomy [198]
- XX. The Eye [198]
- XXI. Ugliness [199]
- XXII. Grace [200]
- XXIII. Elegance and Speciousness [200]
- XXIV. The Beautiful in Feeling [201]
- XXV. The Beautiful in Sounds [203]
- XXVI. Taste and Smell [205]
- XXVII. The Sublime and Beautiful compared [205]
- [PART IV.] [208]
- I. Of the Efficient Cause of the Sublime and Beautiful [208]
- II. Association [209]
- III. Cause of Pain and Fear [210]
- IV. Continued [212]
- V. How the Sublime is produced [215]
- VI. How Pain can be a Cause of Delight [215]
- VII. Exercise necessary for the Finer Organs [216]
- VIII. Why Things not Dangerous sometimes produce a Passion like Terror [217]
- IX. Why Visual Objects of Great Dimensions are Sublime [217]
- X. Unity, why requisite to Vastness [219]
- XI. The Artificial Infinite [220]
- XII. The Vibrations must be Similar [222]
- XIII. The Effects of Succession in Visual Objects explained [222]
- XIV. Locke's Opinion concerning Darkness considered [225]
- XV. Darkness Terrible in its own Nature [226]
- XVI. Why Darkness is Terrible [227]
- XVII. The Effects of Blackness [229]
- XVIII. The Effects of Blackness moderated [231]
- XIX. The Physical Cause of Love [232]
- XX. Why Smoothness is Beautiful [234]
- XXI. Sweetness, its Nature [235]
- XXII. Sweetness relaxing [237]
- XXIII. Variation, why Beautiful [239]
- XXIV. Concerning Smallness [240]
- XXV. Of Color [244]
- [PART V.] [246]
- I. Of Words [246]
- II. The Common Effect of Poetry, not by raising Ideas of Things [246]
- III. General Words before Ideas [249]
- IV. The Effect of Words [250]
- V. Examples that Words may affect without raising Images [252]
- VI. Poetry not strictly an Imitative Art [257]
- VII. How Words influence the Passions [258]