A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful Quotes

“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.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“It is our ignorance of things that causes all our admiration and chiefly excites our passions.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“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, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“For there is in mankind an unfortunate propensity to make themselves, their views and their works, the measure of excellence in every thing whatsoever”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“So that poetry, with all its obscurity, has a more general, as well as a more powerful dominion over the passions, than the other art. And I think there are reasons in nature, why the obscure idea, when properly conveyed, should be more affecting than the clear. It is our ignorance of things that causes all our admiration, and chiefly excites our passions. Knowledge and acquaintance make the most striking causes affect but little. It is thus with the vulgar; and all men are as the vulgar in what they do not understand.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“[A]rt can never give the rules that make an art.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“I have often observed, that on mimicking the looks and gestures of angry, or placid, or frighted, or daring men, I have involuntarily found my mind turned to that passion, whose appearance I endeavored to imitate; nay, I am convinced it is hard to avoid it, though one strove to separate the passion from its correspondent gestures. Our minds and bodies are so closely and intimately connected, that one is incapable of pain or pleasure without the other.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“There are also many descriptions in the poets and orators, which owe their sublimity to a richness and profusion of images, in which the mind is so dazzled as to make it impossible to attend to that exact coherence and agreement of the allusions, which we should require on every other occasion.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“But let it be considered that hardly anything can strike the mind with its greatness, which does not make some sort of approach towards infinity; which nothing can do whilst we are able to perceive its bounds; but to see an object distinctly, and to perceive its bounds, is one and the same thing. A clear idea is therefore another name for a little idea.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“The mind of man possesses a sort of creative power on its own; either in representing at pleasure the images of things in the order and manner in which they were received by the senses, or in combining those images in a new manner, and according to a different order. This power is called imagination.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“The great has terror for its basis... the beautiful is founded on mere positive pleasure...”
― Edmund Burke, On Taste On the Sublime & Beautiful Reflections on the French Revolution A Letter to a Noble

“This is difficult to us, because we do not sufficiently distinguish, in our observations upon language, between a clear expression and a strong expression. These are frequently confounded with each other, though they are in reality extremely different. The former regards the understanding, the latter belongs to the passions. The one describes a thing as it is, the latter describes it as it is felt. [...] It may be observed, that very polished languages, and such as are praised for their superior clearness and perspicuity, are generally deficient in strength. The French language has that perfection and that defect. Whereas the Oriental tongues, and in general the languages of most unpolished people, have a great force and energy of expression, and this is but natural. Uncultivated people are but ordinary observers of things, and not critical in distinguishing them; but, for that reason they admire more, and are more affected with what they see, and therefore express themselves in a warmer and more passionate manner. If the affection be well conveyed, it will work its effect without any clear idea, often without any idea at all of the thing which has originally given rise to it.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“I shall begin with the third sort of words; compound abstracts, such as virtue, honor, persuasion, docility. Of these I am convinced, that whatever power they may have on the passions, they do not derive it from any representation raised in the mind of the things for which they stand. As compositions, they are not real essences, and hardly cause, I think, any real ideas.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“But surely beauty is no idea belonging to mensuration; nor has it anything to do with calculation and geometry. If it had, we might then point out some certain measures which we could demonstrate to be beautiful, either as simply considered, or as related to others; and we could call in those natural objects, for whose beauty we have no voucher but the sense, to this happy standard, and confirm the voice of our passions by the determination of our reason.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“Thus are two ideas as opposite as can be imagined reconciled in the extremes of both; and both, in spite of their opposite nature, brought to concur in producing the sublime. And this is not the only instance wherein the opposite extremes operate equally in favor of the sublime, which in all things abhors mediocrity.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“Before the Christian religion had, as it were, humanized the idea of the Divinity, and brought it somewhat nearer to us, there was very little said of the love of God. The followers of Plato have something of it, and only something; the other writers of pagan antiquity, whether poets or philosophers, nothing at all. And they who consider with what infinite attention, by what a disregard of every perishable object, through what long habits of piety and contemplation it is that any man is able to attain an entire love and devotion to the Deity, will easily perceive that it is not the first, the most natural, and the most striking effect which proceeds from that idea. Thus we have traced power through its several gradations unto the highest of all, where our imagination is finally lost; and we find terror, quite throughout the progress, its inseparable companion, and growing along with it, as far as we can possibly trace them.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“The mind is hurried out of itself, by a crowd of great and confused images; which affect because they are crowded and confused. For separate them, and you lose much of the greatness; and join them, and you infallibly lose the clearness. [...] But painting, when we have allowed for the pleasure of imitation, can only affect simply by the images it presents; and even in painting, a judicious obscurity in some things contributes to the effect of the picture; because the images in painting are exactly similar to those in nature; and in nature, dark, confused, uncertain images have a greater power on the fancy to form the grander passions, than those have which are more clear and determinate. But where and when this observation may be applied to practice, and how far it shall be extended, will be better deduced from the nature of the subject, and from the occasion, than from any rules that can be given.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“I should imagine, that the influence of reason in producing our passions is nothing near so extensive as it is commonly believed.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“Hence it is that men are much more naturally inclined to belief than to incredulity. And it is upon this principle, that the most ignorant and barbarous nations have frequently excelled in similitudes, comparisons, metaphors, and allegories, who have been weak and backward in distinguishing and sorting their ideas. And it is for a reason of this kind, that Homer and the oriental writers, though very fond of similitudes, and though they often strike out such as are truly admirable, seldom take care to have them exact; that is, they are taken with the general resemblance, they paint it strongly, and they take no notice of the difference which may be found between the things compared.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“Both the Sublime and the Beautiful induce a state of submission that is often combined with the possibility of getting lost. They disorientate and undermine purpose. In one of several erotic sections in the Enquiry Burke describes the experience of looking at a beautiful woman’s body: it is, he writes, like a ‘deceitful maze, through which the unsteady eye glides giddily, without knowing where to fix, or whither it is carried’. It”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“I am convinced that the method of teaching which approaches most nearly to the method of investigation is incomparably the best; since, not content with serving up a few barren and lifeless truths, it leads to the stock on which they grew; it tends to set the reader himself in the track of invention, and to direct him into those paths in which the author has made his own discoveries, if he should be so happy as to have made any that are valuable.”
― Edmund Burke, A Philosophical Enquiry Into the Origin of Our Ideas of the Sublime and Beautiful - Primary Source Edition

“Now, as words affect, not by any original power, but by representation, it might be supposed, that their influence over the passions should be but light; yet it is quite otherwise; for we find by experience, that eloquence and poetry are as capable, nay indeed much more capable, of making deep and lively impressions than any other arts, and even than nature itself in very many cases. And this arises chiefly from these three causes. First, that we take an extraordinary part in the passions of others, and that we are easily affected and brought into sympathy by any tokens which are shown of them; and there are no tokens which can express all the circumstances of most passions so fully as words; so that if a person speaks upon any subject, he can not only convey the subject to you, but likewise the manner in which he is himself affected by it. [...] Secondly, there are many things of a very affecting nature, which can seldom occur in the reality, but the words that represent them often do; and thus they have an opportunity of making a deep impression and taking root in the mind, whilst the idea of the reality was transient [...] Thirdly, by words we have it in our power to make such combinations as we cannot possibly do otherwise. By this power of combining we are able, by the addition of well-chosen circumstances, to give a new life and force to the simple object.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“Indeed it is impossible, in the rapidity and quick succession of words in conversation, to have ideas both of the sound of the word, and of the thing represented; besides, some words, expressing real essences, are so mixed with others of a general and nominal import, that it is impracticable to jump from sense to thought, from particulars to generals, from things to words, in such a manner as to answer the purposes of life; nor is it necessary that we should.

I find it very hard to persuade several that their passions are affected by words from whence they have no ideas; and yet harder to convince them that in the ordinary course of conversation we are sufficiently understood without raising any images of the things concerning which we speak.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“Fear or terror, which is an apprehension of pain or death, exhibits exactly the same effects, approaching in violence to those just mentioned, in proportion to the nearness of the cause, and the weakness of the subject. [...] From hence I conclude, that pain and fear act upon the same parts of the body, and in the same manner, though somewhat differing in degree: that pain and fear consist in an unnatural tension of the nerves; that this is sometimes accompanied with an unnatural strength, which sometimes suddenly changes into an extraordinary weakness; that these effects often come on alternately, and are sometimes mixed with each other. This is the nature of all convulsive agitations, especially in weaker subjects, which are the most liable to the severest impressions of pain and fear. The only difference between pain and terror is, that things which cause pain operate on the mind by the intervention of the body; whereas things that cause terror generally affect the bodily organs by the operation of the mind suggesting the danger; but both agreeing, either primarily or secondarily, in producing a tension, contraction, or violent emotion of the nerves, they agree likewise in everything else.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“Who ever said we ought to love a fine woman, or even any of these beautiful animals which please us? Here to be affected, there is no need of the concurrence of our will.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“Beauty in distress is much the most affecting beauty. Blushing has little less power; and modesty in general, which is a tacit allowance of imperfection, is itself considered as an amiable quality, and certainly heightens every other that is so.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“If I am not mistaken, a great deal of the prejudice in favor of proportion has arisen, not so much from the observation of any certain measures found in beautiful bodies, as from a wrong idea of the relation which deformity bears to beauty, to which it has been considered as the opposite; on this principle it was concluded that where the causes of deformity were removed, beauty must naturally and necessarily be introduced. This I believe is a mistake. For deformity is opposed not to beauty, but to the complete common form.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“But before I proceed further, I hope it will not be thought amiss, if I lay down the rules which governed me in this inquiry, and which have misled me in it, if I have gone astray. 1. If two bodies produce the same or a similar effect on the mind, and on examination they are found to agree in some of their properties, and to differ in others; the common effect is to be attributed to the properties in which they agree, and not to those in which they differ. 2. Not to account for the effect of a natural object from the effect of an artificial object. 3. Not to account for the effect of any natural object from a conclusion of our reason concerning its uses, if a natural cause may be assigned. 4. Not to admit any determinate quantity, or any relation of quantity, as the cause of a certain effect, if the effect is produced by different or opposite measures and relations; or if these measures and relations may exist, and yet the effect may not be produced.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“We shall have a strong desire for a woman of no remarkable beauty; whilst the greatest beauty in men, or in other animals, though it causes love, yet excites nothing at all of desire. Which shows that beauty, and the passion caused by beauty, which I call love, is different from desire, though desire may sometimes operate along with it; but it is to this latter that we must attribute those violent and tempestuous passions, and the consequent emotions of the body which attend what is called love in some of its ordinary acceptations, and not to the effects of beauty merely as it is such.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful

“This is the reason of an appearance very frequent in madmen; that they remain whole days and nights, sometimes whole years, in the constant repetition of some remark, some complaint, or song; which having struck powerfully on their disordered imagination, in the beginning of their frenzy, every repetition reinforces it with new strength, and the hurry of their spirits, unrestrained by the curb of reason, continues it to the end of their lives.”
― Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful