[Tenim una noció de sublim com a “Que desperta una emoció pregona per la seva altíssima bellesa, immensa grandesa, per quelcom que ultrapassa la comprensió humana.” (IEC) suggerint una connexió amb un tot transcendent, el mysterium fascinans. Un tractat sobre el sublim ens fa pensar en la contemplació de la naturalesa i l’art.
En canvi Burke associa sublim a una emoció forta per tal com n’és de gran i terrorífica. És més aviat, un repàs a les sensacions i emocions.]
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