Sublime (literary)
Encyclopedia
The sublime is a form of expression in literature in which the author refers to things in nature or art that affect the mind with a sense of overwhelming grandeur or irresistible power. It is calculated to inspire awe, deep reverence, or lofty emotion, by reason of its beauty, vastness, or grandeur. When thinking of the literary sublime, most scholars point to the Romantic Period as the age in which it flourished. In Romantic poetry
, authors often referred to mountains or deep crags, things that they considered both awe-inspiring and terrifying, in order to express the literary sublime.
in his work Peri Hyposous (trans. On the Sublime). Longinus defines the literary sublime as "excellence in language," the "expression of a great spirit" and the power to provoke "ecstasy" in one's readers. Longinus holds that the sublime may be found in every work, since the goal of a writer should always be to produce a form of ecstasy.
Most scholars point to Edmund Burke
's A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and Beautiful as the landmark treatise on the sublime. Burke defines the sublime as "whatever is fitted in any sort to excite the ideas of pain and danger... Whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror." Burke believed that the sublime was something that could provoke terror in the audience, for terror and pain were the strongest of emotions. However, he also believed there was an inherent "pleasure" in this emotion. Anything that is great, infinite or obscure could be an object of terror and the sublime, for there was an element of the unknown about them. Burke spends a great deal of time referencing the elements of terror and the sublime in John Milton
's Paradise Lost
, in which the figures of Death and Satan are considered sublime.
Immanuel Kant
in his The Critique of Judgment (1790) further clarifies Burke's definition of the sublime, mostly in contrast to the beautiful. He says that the beautiful in nature is quantifiable, in the color, form, surface, etc. of an object. Therefore, the beautiful is to be "regarded as a presentation of an indeterminate concept of understanding." However, to Kant, the sublime is more infinite and can be found even in an object that has no form. The sublime should be regarded as a "presentation of an indeterminate concept of reason." Basically, Kant argues that beauty is a temporary response of understanding, but the sublime goes beyond the aesthetics into a realm of reason. Whereas Burke argues that the sublime arises from an object that incites terror, Kant says that an object can be terrifying and thus, sublime, without the beholder actually being afraid of it. But there is much more to Kant's definition of the sublime. He claims that the sublime in itself is so great than anything compared to it must necessarily be considered small. And, because of that, an aspect of the sublime is the work of our imagination to comprehend something so great; thus, one major aspect of the sublime is the power of mankind's mind to recognize it. Kant transforms the sublime from a terrifying object of nature to something intricately connected to the rational mind.
The literary sublime (and the philosophical, aesthetic sublimes as well) are inherently connected to nature, but, with most literary terms, the sublime evolved alongside literature. More authors began to connect the natural sublime to an internalized emotion of terror. Authors began to see the sublime, with its inherent contradictions (pain and pleasure, terror and awe) as representative of the changing political and cultural climate of the times. They began to incorporate more aspects of the sublime into their literary works as a way of externalizing their inner conflicts. In this way, the sublime particularly appealed to the Romantics.
So the English Romantics began to view the sublime as referring to a "realm of experience beyond the measurable" that is beyond rational thought, that arises chiefly from the terrors and awe-inspiring natural phenomena . Others agreed with Kant's definition of the sublime: that it had everything to do with mankind's rational thought and perceptions. But all Romantics agreed that the sublime was something to be studied and contemplated. And in doing so, the Romantics internalized their thoughts of the sublime and attempted to understand it. Although the moment may have been fleeting, the Romantics believed one could find enlightenment in the sublime.
However, each of the Romantics did have a slightly different interpretation on the sublime.
is the Romantic best known for working with the sublime. Many scholars actually place Wordsworth's idea of the sublime as the standard of the romantic sublime. In his essay on the sublime, Wordsworth says that the "mind {tries} to grasp at something which it can make approaches but which it is incapable of attaining." In trying to "grasp" at this sublime idea, the mind loses consciousness, and the spirit is able to grasp the sublime - but it is only temporary. Wordsworth expresses the emotion that this elicits in his poem "Lines Composed a Few Miles above Tintern Abbey":
was a poet, critic and scholar, and he was very concerned with the sublime, especially in contrast to the beautiful. Coleridge argues his view best when he says that:
was undoubtedly a Romantic poet; however, his ideas often differ from the other major Romantic poets. Blake is often concerned with the Romantic sublime, but he rarely uses it in the same sense as his contemporaries. He was often skeptical of the romantic sublime, because the sense of the sublime, although very powerful, is always temporary. And Blake was often concerned with a divine, lasting vision. Yet, as with most Romantic poets, the language of the sublime sometimes can be found within his poetry, whether it be intentional or not. Take for example "The Tyger
", where Blake uses language such as "in what distant deeps or skies / burnt the fire of thine eyes?" as well as the imagery of the tiger itself. However, there is no moment within "The Tyger" that brings the speaker back to reality; in effect, there is no sense that this feeling is temporary. Blake is a non-traditionalist when it comes to his use of the sublime in his poetry, but there are aspects of it. However, his use of the sublime comes closer to Burke's definition of it (in that Blake utilizes the terror found within an object, and inherently finds a form of delight in it) than the Romantic sublime of his peers.
, Lord Byron, and John Keats
. In many instances, they reflected the desire for Enlightenment that their predecessor showed, but they also tended to stick closer to the definition of the sublime given by Longinus and Kant. They tended to focus on the terror in the sublime, and the ecstasy found there.
took the literary sublime and examined the psyche behind it, resulting in what he termed "sublimation." Other authors that used the sublime after the Romantic period included Charles Dickens
, William Butler Yeats, among many others. The sublime has also been described as a key to understanding the sense of wonder
concept in science fiction literature.
In early modernist discourse, the urban landscape became an important subject of the sublime. The rise of skyscrapers and large cities became a center of focus of writers, and, although they did focus on some natural aspects, the definition of the sublime took a slight turn. Christophe Den Tandt says that "the moment of sublime terror is always to some extent a social construct." Den Tant focuses on the politics of the sublime and the issue of legitimacy, discussing if the urban landscape is a form of reality because the city cannot be viewed as a single natural design. Rather, the man made aspects of it make an object of uncertainty and thus, terror and the sublime.
In addition, the feminist movement used their own definition of the sublime in literature. Barbara Claire Freeman believes that the so-called "feminine" sublime does not attempt to dominate and master the feeling of terror that the "masculine" or "dominating" sublime. Instead, they accept the feeling of rapture and attempt to delve into its "metaphysical" secrets and aspects. Freeman believes that the domestication of the sublime, which is typically associated with femininity, is not the only aspect (and often is not even found) in women's literature.
Romantic poetry
Romanticism, a philosophical, literary, artistic and cultural era which began in the mid/late-1700s as a reaction against the prevailing Enlightenment ideals of the day , also influenced poetry...
, authors often referred to mountains or deep crags, things that they considered both awe-inspiring and terrifying, in order to express the literary sublime.
Origins
The first known analysis of what we know as the literary sublime is often attributed to the Greek writer LonginusLonginus (literature)
Longinus is the conventional name of the author of the treatise, On the Sublime , a work which focuses on the effect of good writing. Longinus, sometimes referred to as Pseudo-Longinus because his real name is unknown, was a Greek teacher of rhetoric or a literary critic who may have lived in the...
in his work Peri Hyposous (trans. On the Sublime). Longinus defines the literary sublime as "excellence in language," the "expression of a great spirit" and the power to provoke "ecstasy" in one's readers. Longinus holds that the sublime may be found in every work, since the goal of a writer should always be to produce a form of ecstasy.
Most scholars point to Edmund Burke
Edmund Burke
Edmund Burke PC was an Irish statesman, author, orator, political theorist and philosopher who, after moving to England, served for many years in the House of Commons of Great Britain as a member of the Whig party....
's A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and Beautiful as the landmark treatise on the sublime. Burke defines the sublime as "whatever is fitted in any sort to excite the ideas of pain and danger... Whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror." Burke believed that the sublime was something that could provoke terror in the audience, for terror and pain were the strongest of emotions. However, he also believed there was an inherent "pleasure" in this emotion. Anything that is great, infinite or obscure could be an object of terror and the sublime, for there was an element of the unknown about them. Burke spends a great deal of time referencing the elements of terror and the sublime in John Milton
John Milton
John Milton was an English poet, polemicist, a scholarly man of letters, and a civil servant for the Commonwealth of England under Oliver Cromwell...
's Paradise Lost
Paradise Lost
Paradise Lost is an epic poem in blank verse by the 17th-century English poet John Milton. It was originally published in 1667 in ten books, with a total of over ten thousand individual lines of verse...
, in which the figures of Death and Satan are considered sublime.
Immanuel Kant
Immanuel Kant
Immanuel Kant was a German philosopher from Königsberg , researching, lecturing and writing on philosophy and anthropology at the end of the 18th Century Enlightenment....
in his The Critique of Judgment (1790) further clarifies Burke's definition of the sublime, mostly in contrast to the beautiful. He says that the beautiful in nature is quantifiable, in the color, form, surface, etc. of an object. Therefore, the beautiful is to be "regarded as a presentation of an indeterminate concept of understanding." However, to Kant, the sublime is more infinite and can be found even in an object that has no form. The sublime should be regarded as a "presentation of an indeterminate concept of reason." Basically, Kant argues that beauty is a temporary response of understanding, but the sublime goes beyond the aesthetics into a realm of reason. Whereas Burke argues that the sublime arises from an object that incites terror, Kant says that an object can be terrifying and thus, sublime, without the beholder actually being afraid of it. But there is much more to Kant's definition of the sublime. He claims that the sublime in itself is so great than anything compared to it must necessarily be considered small. And, because of that, an aspect of the sublime is the work of our imagination to comprehend something so great; thus, one major aspect of the sublime is the power of mankind's mind to recognize it. Kant transforms the sublime from a terrifying object of nature to something intricately connected to the rational mind.
The literary sublime (and the philosophical, aesthetic sublimes as well) are inherently connected to nature, but, with most literary terms, the sublime evolved alongside literature. More authors began to connect the natural sublime to an internalized emotion of terror. Authors began to see the sublime, with its inherent contradictions (pain and pleasure, terror and awe) as representative of the changing political and cultural climate of the times. They began to incorporate more aspects of the sublime into their literary works as a way of externalizing their inner conflicts. In this way, the sublime particularly appealed to the Romantics.
In English Romantic Poetry
The fascination with the sublime in Romanticism first began in landscaping, however, Romantic poets soon began experimenting on it as well. But the innovations made to the sublime in landscaping also translated into the poetry of the time. Thus, what Christian Hirschfeld wrote in his Theorie der Gartenkunst (trans. Theory of Gardening 1779-1780) can be applied to the literary world as well. On the sublime, Hirschfeld argues that Man sees his own potential in the grandeur of nature and in the boundless landscapes therein. He also believed that this applied to both man's freedom and lack thereof, and moving from restriction to freedom results in an inner elevation. In this way, the sublime becomes internalized, and "physical grandeur {becomes} transformed into spiritual grandeur." Hirschfeld further believed that the sublime of the nature then becomes a symbol of inner human realities.So the English Romantics began to view the sublime as referring to a "realm of experience beyond the measurable" that is beyond rational thought, that arises chiefly from the terrors and awe-inspiring natural phenomena . Others agreed with Kant's definition of the sublime: that it had everything to do with mankind's rational thought and perceptions. But all Romantics agreed that the sublime was something to be studied and contemplated. And in doing so, the Romantics internalized their thoughts of the sublime and attempted to understand it. Although the moment may have been fleeting, the Romantics believed one could find enlightenment in the sublime.
However, each of the Romantics did have a slightly different interpretation on the sublime.
William Wordsworth
William WordsworthWilliam Wordsworth
William Wordsworth was a major English Romantic poet who, with Samuel Taylor Coleridge, helped to launch the Romantic Age in English literature with the 1798 joint publication Lyrical Ballads....
is the Romantic best known for working with the sublime. Many scholars actually place Wordsworth's idea of the sublime as the standard of the romantic sublime. In his essay on the sublime, Wordsworth says that the "mind {tries} to grasp at something which it can make approaches but which it is incapable of attaining." In trying to "grasp" at this sublime idea, the mind loses consciousness, and the spirit is able to grasp the sublime - but it is only temporary. Wordsworth expresses the emotion that this elicits in his poem "Lines Composed a Few Miles above Tintern Abbey":
Here Wordsworth expresses that in the mood of the sublime, the burden of the world is lifted. In a lot of these cases, Wordsworth finds the sublime in Nature. He finds the awe in the beautiful forms of nature, but he also finds terror. Wordsworth experiences both aspects of the sublime. However, he does go beyond Burke or Kant's definition of the literary sublime, for his ultimate goal is to find Enlightenment within the sublime.
"Of aspect more sublime; that blessed mood,
In which the burden of the mystery
In which the heavy and weary weight
Of all this unintelligible world,
Is lightened (37-41).
Samuel Taylor Coleridge
Samuel Taylor ColeridgeSamuel Taylor Coleridge
Samuel Taylor Coleridge was an English poet, Romantic, literary critic and philosopher who, with his friend William Wordsworth, was a founder of the Romantic Movement in England and a member of the Lake Poets. He is probably best known for his poems The Rime of the Ancient Mariner and Kubla...
was a poet, critic and scholar, and he was very concerned with the sublime, especially in contrast to the beautiful. Coleridge argues his view best when he says that:
"I meet, I find the Beautiful - but I give, contribute or rather attribute the Sublime. No object of the Sense is sublime in itself; but only as far as I make it a symbol of some Idea. the circle is a beautiful figure in itself; it becomes sublime, when I contemplate eternity under that figure."Therefore, the speaker must contemplate more than just the object itself; it is sublime in its greater context. Now, Coleridge's views on the sublime are unique because Coleridge believed that Nature was only occasionally sublime, that is, only in the sky, the sea and the desert, because those are the only objects in nature that are boundless. For this reason, Coleridge's "Rime of the Ancient Mariner" is often considered sublime, though it is one of the few works in which Coleridge expresses the natural world as being sublime. In most of Coleridge's other works, he focuses on the "metaphysical sublime," which is found in between of the world (earth and sea, sky and sea, etc). But Coleridge didn't demand the sensation of terror or awe within the sight, rather, he focused on the element of infinity.
William Blake
William BlakeWilliam Blake
William Blake was an English poet, painter, and printmaker. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of both the poetry and visual arts of the Romantic Age...
was undoubtedly a Romantic poet; however, his ideas often differ from the other major Romantic poets. Blake is often concerned with the Romantic sublime, but he rarely uses it in the same sense as his contemporaries. He was often skeptical of the romantic sublime, because the sense of the sublime, although very powerful, is always temporary. And Blake was often concerned with a divine, lasting vision. Yet, as with most Romantic poets, the language of the sublime sometimes can be found within his poetry, whether it be intentional or not. Take for example "The Tyger
The Tyger
"The Tyger" is a poem by the English poet William Blake. It was published as part of his collection Songs of Experience in 1794 . It is one of Blake's best-known and most analyzed poems...
", where Blake uses language such as "in what distant deeps or skies / burnt the fire of thine eyes?" as well as the imagery of the tiger itself. However, there is no moment within "The Tyger" that brings the speaker back to reality; in effect, there is no sense that this feeling is temporary. Blake is a non-traditionalist when it comes to his use of the sublime in his poetry, but there are aspects of it. However, his use of the sublime comes closer to Burke's definition of it (in that Blake utilizes the terror found within an object, and inherently finds a form of delight in it) than the Romantic sublime of his peers.
Later Aspects
The so-called "second generation" Romantics employed the sublime as well, but as the early Romantics had different interpretations of the literary sublime, so too did Percy Bysshe ShelleyPercy Bysshe Shelley
Percy Bysshe Shelley was one of the major English Romantic poets and is critically regarded as among the finest lyric poets in the English language. Shelley was famous for his association with John Keats and Lord Byron...
, Lord Byron, and John Keats
John Keats
John Keats was an English Romantic poet. Along with Lord Byron and Percy Bysshe Shelley, he was one of the key figures in the second generation of the Romantic movement, despite the fact that his work had been in publication for only four years before his death.Although his poems were not...
. In many instances, they reflected the desire for Enlightenment that their predecessor showed, but they also tended to stick closer to the definition of the sublime given by Longinus and Kant. They tended to focus on the terror in the sublime, and the ecstasy found there.
Lasting Effects
The literary sublime found in Romantic poetry left a lasting impression on writers for generations. The Victorians may not have used the term sublime, but a similar emotional state can be found within their writings. The Irish Poet William Butler Yeats referred to a similar concept of "tragic joy." Sigmund FreudSigmund Freud
Sigmund Freud , born Sigismund Schlomo Freud , was an Austrian neurologist who founded the discipline of psychoanalysis...
took the literary sublime and examined the psyche behind it, resulting in what he termed "sublimation." Other authors that used the sublime after the Romantic period included Charles Dickens
Charles Dickens
Charles John Huffam Dickens was an English novelist, generally considered the greatest of the Victorian period. Dickens enjoyed a wider popularity and fame than had any previous author during his lifetime, and he remains popular, having been responsible for some of English literature's most iconic...
, William Butler Yeats, among many others. The sublime has also been described as a key to understanding the sense of wonder
Sense of wonder
A sense of wonder is an intellectual and emotional state frequently invoked in discussions of science fiction. It is an emotional reaction to the reader suddenly confronting, understanding, or seeing a concept anew in the context of new information....
concept in science fiction literature.
In early modernist discourse, the urban landscape became an important subject of the sublime. The rise of skyscrapers and large cities became a center of focus of writers, and, although they did focus on some natural aspects, the definition of the sublime took a slight turn. Christophe Den Tandt says that "the moment of sublime terror is always to some extent a social construct." Den Tant focuses on the politics of the sublime and the issue of legitimacy, discussing if the urban landscape is a form of reality because the city cannot be viewed as a single natural design. Rather, the man made aspects of it make an object of uncertainty and thus, terror and the sublime.
In addition, the feminist movement used their own definition of the sublime in literature. Barbara Claire Freeman believes that the so-called "feminine" sublime does not attempt to dominate and master the feeling of terror that the "masculine" or "dominating" sublime. Instead, they accept the feeling of rapture and attempt to delve into its "metaphysical" secrets and aspects. Freeman believes that the domestication of the sublime, which is typically associated with femininity, is not the only aspect (and often is not even found) in women's literature.