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“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 .... When danger or pain press too nearly, they are incapable of giving any delight, and [yet] with certain modifications, they may be, and they are delightful, as we every day experience.”
Edmund Burke“He was terrified by the sublime horror of it, for intensity of feeling, carried to this degree, is sublime. ("A Woman's Vengeance")”
Jules Barbey d'Aurevilly, Les Diaboliques“Horse Frightened by a Lion depicts a majestic stallion in a very different situation. Stubbs painted this magnetic masterpiece to illustrate the nature of the sublime, which was one of his era's most popular philosophical concepts,and its relation to a timelessly riveting feeling: fear. The magnificent horse galloping through a vast wilderness encounters the bottom-up stimulus of a crouching predator and responds with a dramatic display of what psychologists mildly call "negative emotion." The equine superstar's arched neck, dilated eyes, and flared nostrils are in fact the very picture of overwhelming dread. The painting's subject matter reflects he philosopher Edmund Burke's widely circulated Philosophical Enquiry into the Origins of Our Ideas of the Sublime and Beautiful, which asserts that because "terror" is unparalleled in commanding "astonishment," or total, single-pointed,--indeed, rapt--attention, it is "the ruling principle of the sublime.”
Winifred Gallagher“Whereas the beautiful is limited, the sublime is limitless, so that the mind in the presence of the sublime, attempting to imagine what it cannot, has pain in the failure but pleasure in contemplating the immensity of the attempt”
Immanuel Kant, Critique of Pure Reason“For thousands of years, it had been nature--and its supposed creator--that had had a monopoly on awe. It had been the icecaps, the deserts, the volcanoes and the glaciers that had given us a sense of finitude and limitation and had elicited a feeling in which fear and respect coagulated into a strangely pleasing feeling of humility, a feeling which the philosophers of the eighteenth century had famously termed the sublime.But then had come a transformation to which we were still the heirs.... Over the course of the nineteenth century, the dominant catalyst for that feeling of the sublime had ceased to be nature. We were now deep in the era of the technological sublime, when awe could most powerfully be invoked not by forests or icebergs but by supercomputers, rockets and particle accelerators. We were now almost exclusively amazed by ourselves.”
Alain de Botton, The Pleasures and Sorrows of Work“Sublime natures are seldom clean!”
Longinus, Longinus on the Sublime: The Greek Text“We all live in the sublime. Where else can we live? That is the only place of life.”
Maurice Maeterlinck, The Treasure of the humble“The soul that loves and suffers is in the sublime state.”
Victor Hugo, Les Misérables“...The sublime feeling is not mere pleasure as taste is – it is a mixture of pleasure and pain... Confronted with objects that are too big according to their magnitude or tooviolent according to their power, the mind experiences its own limitations.”
Jean-François Lyotard, Peregrinations Law Form (Wellek Library Lectures