A philosophical enquiry into the origin of our ideas of the sublime and beautiful

An eloquent and sometimes even erotic book, the Philosophical Enquiry was long dismissed as a piece of mere juvenilia. However, Burke's analysis of the relationship between emotion, beauty, and art form is now recognized as not only an important and influential work of aesthetic theory, butalso one of the first major works in European literature on the Sublime, a subject that has fascinated thinkers from Kant and Coleridge to the philosophers and critics of today.

Author Notes

Born in Ireland in 1729, Edmund Burke was an English statesman, author, and orator who is best remembered as a formidable advocate for those who were victims of injustice. He was the son of a Dublin lawyer and had also trained to practice law. In the 1760s, Burke was elected to the House of Commons from the Whig party.

Burke spent most of his career in Parliament as a member of the Royal Opposition, who was not afraid of controversy, as shown by his support for the American Revolution and for Irish/Catholic rights. His best-known work is Reflections on the French Revolution (1790). Some other notable works are On Conciliation with the American Colonies (1775) and Impeachment of Warren Hastings (1788).

Edmund Burke died in 1797.

(Bowker Author Biography)

Introduction	p. ix
Note on the Text	p. xxiv
Select Bibliography	p. xxv
A Chronology of Edmund Burke	p. xxvii
The Preface to the First Edition	p. 1
The Preface to the Second Edition	p. 3
Introduction on Taste*	p. 11
Section I Novelty	p. 29
Section II Pain and Pleasure	p. 30
Section III The Difference Between the Removal of Pain and Positive Pleasure	p. 31
Section IV Of Delight and Pleasure, as Opposed to Each Other	p. 33
Section V Joy and Grief	p. 34
Section VI Of the Passions Which Belong to Self- Preservation	p. 35
Section VII Of the Sublime	p. 36
Section VIII Of the Passions Which Belong to Society	p. 37
Section IX The Final Cause of the Difference Between the Passions Belonging to Self-Preservation, and Those Which Regard the Society of the Sexes	p. 38
Section X Of Beauty	p. 39
Section XI Society and Solitude	p. 40
Section XII Sympathy, Imitation, and Ambition	p. 40
Section XIII Sympathy	p. 41
Section XIV The Effects of Sympathy in the Distresses of Others	p. 42
Section XV Of the Effects of Tragedy	p. 43
Section XVI Imitation	p. 45
Section XVII Ambition	p. 46
Section XVIII The Recapitulation	p. 47
Section XIX The Conclusion	p. 48
Section I Of the Passion Caused by the Sublime	p. 53
Section II Terror	p. 53
Section III Obscurity	p. 54
Section IV Of the Difference Between Clearness and Obscurity with Regard to the Passions	p. 55
Section [IV]: The Same Subject Continued p. 56
Section V Power	p. 59
Section VI Privation	p. 65
Section VII Vastness	p. 66
Section VIII Infinity	p. 67
Section IX Succession and Uniformity	p. 68
Section X Magnitude in Building	p. 69
Section XI Infinity in Pleasing Objects	p. 70
Section XIII Magnificence	p. 71
Section XII Difficulty	p. 71
Section XIV Light	p. 73
Section XV Light in Building	p. 74
Section XVI Colour Considered as Productive of the Sublime	p. 75
Section XVII Sound and Loudness	p. 75
Section XIX Intermitting	p. 76
Section XVIII Suddenness	p. 76
Section XX The Cries of Animals	p. 77
Section XXI Smell and Taste. Bitters and Stenches	p. 78
Section XXII Feeling. Pain	p. 79
Section I Of Beauty	p. 83
Section II Proportion Not the Cause of Beauty in Vegetables	p. 84
Section III Proportion Not the Cause of Beauty in Animals	p. 87
Section IV Proportion Not the Cause of Beauty in the Human Species	p. 88
Section V Proportion Further Considered	p. 93
Section VI Fitness Not the Cause of Beauty	p. 95
Section VII The Real Effects of Fitness	p. 97
Section VIII The Recapitulation	p. 99
Section IX Perfection Not the Cause of Beauty	p. 100
Section X How Far the Idea of Beauty May Be Applied to the Qualities of the Mind	p. 100
Section XI How Far the Idea of Beauty May Be Applied to Virtue	p. 101
Section XII The Real Cause of Beauty	p. 102
Section XIII Beautiful Objects Small	p. 102
Section XIV Smoothness	p. 103
Section XV Gradual Variation	p. 104
Section XVI Delicacy	p. 105
Section XVII Beauty in Colour	p. 106
Section XIX The Physiognomy	p. 107
Section XVIII Recapitulation	p. 107
Section XX The Eye	p. 108
Section XXI Ugliness	p. 108
Section XXIII Elegance and Speciousness	p. 109
Section XXII Grace	p. 109
Section XXIV The Beautiful in Feeling	p. 110
Section XXV The Beautiful in Sounds	p. 111
Section XXVI Taste and Smell	p. 113
Section XXVII The Sublime and Beautiful Compared	p. 113
Section I Of the Efficient Cause of the Sublime and Beautiful	p. 117
Section II Association	p. 118
Section III Cause of Pain and Fear	p. 119
Section IV Continued	p. 120
Section V How the Sublime is Produced	p. 121
Section VI How Pain Can Be a Cause of Delight	p. 122
Section VII Exercise Necessary for the Finer Organs	p. 123
Section VIII Why Things Not Dangerous Produce a Passion like Terror	p. 124
Section IX Why Visual Objects of Great Dimensions Are Sublime	p. 124
Section X Unity Why Requisite to Vastness	p. 125
Section XI The Artificial Infinite	p. 126
Section XII The Vibrations Must Be Similar	p. 127
Section XIII The Effects of Succession in Visual Objects Explained	p. 128
Section XIV Locke's Opinion Concerning Darkness, Considered	p. 130
Section XV Darkness Terrible in Its Own Nature	p. 131
Section XVI Why Darkness is Terrible	p. 132
Section XVII The Effects of Blackness	p. 133
Section XIX The Physical Cause of Love	p. 135
Section XVIII The Effects of Blackness Moderated	p. 135
Section XX Why Smoothness is Beautiful	p. 137
Section XXI Sweetness, Its Nature	p. 137
Section XXII Sweetness Relaxing	p. 139
Section XXIII Variation, Why Beautiful	p. 140
Section XXIV Concerning Smallness	p. 141
Section XXV Of Colour	p. 144
Section I Of Words	p. 149
Section II The Common Effect of Poetry, Not by Raising Ideas of Things	p. 149
Section III General Words Before Ideas	p. 151
Section IV The Effect of Words	p. 152
Section V Examples That Words May Affect Without Raising Images	p. 153
Section VI Poetry Not Strictly an Imitative Art	p. 157
Section VII How Words Influence the Passions	p. 158
Explanatory Notes	p. 163

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