A Philosophical Enquiry Into the Sublime and Beautiful

Edmund Burke

• Editorial: Routledge
• Año: 2009
• ISBN:
  9781135246204
• Edición: 1
• Categoría: Art
• Categoría: History of Art

Edited with an introduction and notes by James T. Boulton.

'One of the greatest essays ever written on art.'– The Guardian

Edmund Burke's A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful is one of the most important works of aesthetics ever published. Whilst many writers have taken up their pen to write of "the beautiful", Burke's subject here was the quality he uniquely distinguished as "the sublime"—an all-consuming force beyond beauty that compelled terror as much as rapture in all who beheld it. It was an analysis that would go on to inspire some of the leading thinkers of the age, including Immanuel Kant and Denis Diderot. The Routledge Classics edition presents the authoritative text of the first critical edition of Burke's essay ever published, including a substantial critical and historical commentary.

Edmund Burke (1729–1797). A politician, philosopher and orator, Burke lived during a turbulent time in world history, which saw revolutions in America and France that inspired his most famous work, Reflections on the Revolution in France.

Part I
A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful

SECTION I NOVELTY

The first and the simplest emotion which we discover in the human mind, is Curiosity. By curiosity, I mean whatever desire we have for, or whatever pleasure we take in novelty. We see children perpetually running from place to place to hunt out something new; they catch with great eagerness, and with very little choice, at whatever comes before them; their attention is engaged by every thing, because every thing has, in that stage of life, the charm of novelty to recommend it. But as those things which engage us merely by their novelty, cannot attach us for any length of time, curiosity is the most superficial of all the affections; it changes its object perpetually; it has an appetite which is very sharp, but very easily satisfied; and it has always an appearance of giddiness, restlessness and anxiety. Curiosity from its nature is a very active principle; it quickly runs over the greatest part of its objects, and soon exhausts the variety which is commonly to be met with in nature; the same things make frequent returns, and they return with less and less of any agreeable effect. In short, the occurrences of life, by the time we come to know it a little, would be incapable of affecting the mind with any other sensations than those of loathing and weariness, if many things were not adapted to affect the mind by means of other powers besides novelty in them, and of other passions besides curiosity in ourselves. These powers and passions shall be considered in their place. 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.

SECTION 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. Pain and pleasure are simple ideas, incapable of definition.¹ People are not liable to be mistaken in their feelings, but they are very frequently wrong in the names they give them, and in their reasonings about them. Many are^j of opinion, that pain arises necessarily from the removal of some pleasure; as they think pleasure does from the ceasing or diminution of some pain.² For my part I am rather inclined to imagine, that pain and pleasure in their most simple and natural manner of affecting, are each of a positive nature, and by no means necessarily dependent on each other for their existence. The human mind is often, and I think it is for the most part, in a state neither of pain nor pleasure, which I call a state of indifference. When I am carried from this state into a state of actual pleasure, it does not appear necessary that I should pass through the medium of any sort of pain. If in such a state of indifference, or ease, or tranquillity, or call it what you please, you were to be suddenly entertained with a concert of music; or suppose some object of a fine shape, and bright lively^k colours to be presented before you; or imagine your smell is gratified with the fragrance of a rose; or if without any previous thirst you were to drink of some pleasant kind of wine; or to taste of some sweetmeat without being hungry; in all the several senses, of hearing, smelling, and tasting, you undoubtedly find a pleasure; yet if I enquire into the state of your mind previous to these gratifications,

you will hardly tell me that they found you in any kind of pain; or having satisfied these several senses with their several pleasures, will you say that any pain has succeeded, though the pleasure is absolutely over? Suppose on the other hand, a man in the same state of indifference, to receive a violent blow, or to drink of some bitter potion, or to have his ears wounded with some harsh and grating sound; here is no removal of pleasure; and yet here is felt, in every sense which is affected, a pain very distinguishable. It may be said perhaps, that the pain in these cases had its rise from the removal of the pleasure which the man^l enjoyed before, though that pleasure was of so low a degree as to be perceived only by the removal. But this seems to me a subtilty,^m that is not discoverable in nature. For if, previous to the pain, I do not feel any actual pleasure, I have no reason to judge that any such thing exists; since pleasure is only pleasure as it is felt. The same may be said of pain, and with equal reason. I can never persuade myself that pleasure and pain are mere relations, which can only exist as they are contrasted: but I think I can discern clearly that there are positive pains and pleasures, which do not at all depend upon each other. Nothing is more certain to my own feelings than this. There is nothing which I can distinguish in my mind with more clearness than the three states, of indifference, of pleasure, and of pain. Every one of these I can perceive without any sort of idea of its relation to any thing else. Caius is afflicted with a fit of the cholic; this man is actually in pain; stretch Caius upon the rack, he will feel a much greater pain; but does this pain of the rack arise from the removal of any pleasure? or is the fit of the cholic a pleasure or a pain just as we are pleased to consider it?

SECTION III The difference between the removal of Pain and positive PLEASURE

We shall carry this proposition yet a step further. We shall venture to propose, that pain and pleasure are not only, not necessarily dependent

for their existence on their mutual diminution or removal, but that, in reality, the diminution or ceasing of pleasure does not operate like positive pain; and that the removal of diminution of pain, in its effect has very little resemblance to positive pleasure.* The former of these propositions 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. I own, it is not at first view so apparent, that the removal of a great pain does not resemble positive pleasure: but let us recollect in what state we have found our minds upon escaping some imminent danger, or on being released from the severity of some cruel pain. We have on such occasions found, if I am not much mistaken, the temper of our minds in a tenor very remote from that which attends the presence of positive pleasure; we have found them in a state of much sobriety, impressed with a sense of awe, in a sort of tranquillity shadowed with horror. The fashion of the countenance and the gesture of the body on such occasions is so correspondent to this state of mind, that any person, a stranger to the cause of the appearance, would rather judge us under some consternation, than in the enjoyment of any thing like positive pleasure.

Iliad. 24.³

As when a wretch, who conscious of his crime,
Pursued for murder from his native clime,
Just gains some frontier, breathless, pale, amaz’d;
All gaze, all wonder!⁴

This striking appearance of the man whom Homer supposes to have just escaped an imminent danger, the sort of mixt passion of terror and surprize, with which he affects the spectators, paints very strongly the manner in which we find ourselves affected upon occasions any way similar. For when we have suffered from any violent emotion, the mind naturally continues in something like the same condition, after the cause which first produced it has ceased to operate. Theⁿ tossing of the sea remains after the storm; and when this remain of horror has entirely subsided, all the passion, which the accident raised, subsides along with it; and the mind returns to its usual state of indifference. In short, pleasure (I mean any thing either in the inward sensation, or in the outward appearance like pleasure from a positive cause) has never, I imagine, its origin from the removal of pain or danger.

SECTION IV Of DELIGHT and PLEASURE, as opposed to each other

But shall we therefore say, that the removal of pain or its diminution is always simply painful? or affirm that the cessation or the lessening of pleasure is always attended itself with a pleasure? by no means. What I advance is no more than this; first, that there are pleasures and pains of a positive and independent nature; and secondly, that the feeling which results from the ceasing or diminution of pain does not bear a sufficient resemblance to positive pleasure to have it considered as of the same nature, or to entitle it to be known by the same name; and thirdly, that^o upon the same principle the removal or qualification of pleasure has no resemblance to positive pain. It is...