Metaphysics

"[A]n earthquake, a hurricane, a storm, a volcanic eruption, occasion the dynamical physical sublime; whereas genius and heroic virtue produce the dynamical immaterial sublime in its two aspects, of which one regards and concerns the intellectual force of the mind, and the other relates to the moral energy of the human will."

"Homologous to Hegel's determination of the difference between the death of the pagan god and the death of Christ (the first being merely the death of the... terrestrial representation... while with the death of Christ... is of... God as a positive, transcendent, unattainable entity...) ...what Kant fails to take into account is the way the experience of the nullity, of the inadequacy of the phenomenal world of representation, which befalls us in the sentiment of the Sublime, means at the same time the nullity, the nonexistence of the transcendent Thing-in-itself as a positive entity."

"But the conceptions of time, of space, and of force, either corporeal or spiritual, cannot produce the sublime without the concourse of... the notion of the infinite and of the absolute, in which the human mind seeks naturally a refuge when the form of the object which appears to it cannot be seized on account of its grandeur, and surpasses even the forces of the imagination, which endeavours in vain to become master of it."

"[I]f these very objects whose significant forms invite us to pure contemplation, have a hostile relation to the human will... so that it is menaced by the irresistible predominance of their power, or sinks into insignificance... if, nevertheless, the beholder... turns consciously away from it, forcibly detaches himself from his will and its relations, and, giving himself up entirely to knowledge, quietly contemplates those very objects... comprehends only their Idea, which is foreign to all relation, so that he lingers gladly over its contemplation, and is thereby raised above himself, his person, his will, and all will:—in that case he is filled with the sense of the sublime, he is in the state of spiritual exaltation, and therefore the object producing such a state is called sublime."

"Thus what distinguishes the sense of the sublime from that of the beautiful is this: in... the beautiful, pure knowledge has gained the upper hand without a struggle, for the beauty... has removed from consciousness without resistance... imperceptibly, the will and the knowledge of relations which is subject to it, so that what is left is the pure subject of knowledge without... will. On the other hand, in... the sublime that state of pure knowledge is only attained by a conscious and forcible breaking away from the relations of the... object to the will, which are... unfavourable, by a free and conscious transcending of the will..."

"Poetical composition results from two intellectual phenomena, meditation and inspiration. Meditation is a faculty; inspiration is a gift. All men, to a certain degree, can meditate; very few are inspired. Spiritus flat ubi vult [The spirit flows where it wills.]. In meditation, the spirit acts; in inspiration, it obeys; because the first is of men, the second comes from a higher source. He who gave us this power is stronger than we. These two processes of thoughts are intimately linked in the soul of the poet. The poet invites inspiration by meditation, as the prophets raised themselves to ecstasies by prayer. That the muse should reveal herself to him, he must in some sort have passed all his material existence in repose, in silence, and in meditation. He must be isolated from external life, to enjoy in its fullness that inward life, which develops in him a new existence; and it is only when the physical world has utterly vanished from before his eyes, that the ideal world is fully revealed to him. It seems that poetic inspiration has in it something too sublime for the common nature of man. Genius can compass its greater efforts only when the soul is released from the vulgar cares that follow it in life; for thought cannot take its wings till it has laid aside its burden. Thence comes it, doubtless, that inspiration is born only of meditation. Among the Jews, the people whose history is so rich in mysterious symbols when the priest had built the altar, he lighted upon it an earthly flame -- and it was then only that the divine ray descended from Heaven."

"[A]fter the account which I have given... of the inner nature of æsthetical knowledge in its most general outlines, the following more exact philosophical treatment of the beautiful and the sublime will explain them both, in nature and in art, without separating them further. ...[W]e shall consider what takes place in a man when he is affected by the beautiful and the sublime; whether he derives this emotion directly from nature, from life, or partakes of it only through the medium of art, does not make any essential, but merely an external, difference."

"Affability is beautiful, thoughtful taciturnity sublime. He is a good keeper of his own and of other's secrets."

"Veracity is sublime, and he hates lying or dissimulation. He has a high feeling for the dignity of human nature. He esteems himself and holds a man a creature that merits reverence. He suffers no abject submission, and breathes liberty in a noble breast. All chains, from the golden, which are worn at court, to the heavy iron ones of galley-slaves, are to him abominable. He is a severe judge as well of himself as of others, and not seldom tired of himself and of the world."

"Happy he who possesses this double power of meditation and inspiration, which is genius! Whatever may be the age on which he is, or the country—be he born in the bosom of domestic calamities, be he thrown on a time of popular convulsions, or, what is still more to be lamented, on a period of stagnant indifference—let him trust himself to the future; for, if the present belong to other men, the future is for him. He is of the number of chosen beings for whom a day is allotted. Sooner or later, the day comes; and it is then—fed by sublime thought, and elevated by divine inspiration—that he throws himself boldly before the world, with the cry of the poet upon his lips ‘Voici mon Orient: peuples levez les yeux!’"

"Genius... consists... in the capacity for knowing, independently of the , not individual things, which have their existence only in their relations, but the Ideas of such things, and of being oneself the correlative of the Idea, and thus no longer an individual, but the pure subject of knowledge. Yet this faculty must exist in all men... for if not, they would be just as incapable of enjoying works of art as of producing them; they would have no susceptibility for the beautiful or the sublime... this power of knowing the Ideas in things, and consequently of transcending... personality for the moment... The man of genius... possessing this kind of knowledge... more continuously... [W]hile under its influence... presence of mind... enable[s] him to repeat in a voluntary and intentional work what he has learned... and this repetition is the work of art. Through this he communicates to others the Idea... unchanged... so that æsthetic pleasure is one and the same whether it is called forth by a work of art or directly by the contemplation of nature and life. ...That the Idea comes to us more easily from the work of art than directly from nature... arises from the fact that the artist... has reproduced in his work the pure Idea... abstracted... from the actual, omitting... disturbing accidents. The artist lets us see the world through his eyes. ...that he is able to lend us this gift... is acquired, and is the technical side of art."

"He, whose feeling inclines to the melancholy, is not so named because he, deprived of the joys of life, grieves in dark moping melancholy, but because his feelings, if they were encreased beyond a certain degree, or by any cause received a false bent, would easier tend to melancholy than to another state. He has chiefly a feeling for the sublime."

"In moral properties true virtue only is sublime."

"[T]rue virtue can be grafted but upon principles, and the more general they are, the nobler and more sublime does it become. These principles are not speculative rules, but the consciousness of a feeling, which dwells in every human breast..."

"All emotions of the sublime have something in them more enchanting, than the juggling charms of the beautiful. His being-well is rather contentment than mirth. He is steadfast. He therefore ranges his feelings under principles. They are the less subjected to inconstancy and to alteration, the more universal this principle is... The noble ground remains and is not so much subjected to the inconstancy, of external things. ...[W]hat befalls men, concerns [him] likewise. Then his procedure rests upon the highest ground of benevolence in human nature, and is extremely sublime, as well as to its immutability, as on account of the universality of its application."

"Boldly taking upon ourselves the dangers, as our own, of our native country, of the rights of our friends, is sublime."

"A somewhat old age unites itself more with the properties of the sublime, but youth with those of the beautiful."

"The subduing of one's passions by principles is sublime."

"The mathematical representation of the immense size of the fabric of the world, the metaphysical contemplations of eternity, of Providence, of the immortality of the soul, contain a certain dignity and sublimity."

"Tragedy... distinguishes itself from comedy chiefly in... that in the former is touched the sentiment of the sublime, in the latter that of the beautiful."

"The man of a melancholy temper of mind gives himself little trouble about what others judge of, what they hold good or true, he relies on his own insight merely. As the motives with him assume the nature of principles; it is not easy to bring him to other thoughts; his steadfastness sometimes degenerates into stubbornness. He beholds the change of modes with indifference and their glitter with contempt."

"Boldness is at once great and sublime, artifice is little, but beautiful."

"Understanding is sublime, wit is beautiful."

"Sublime properties inspire esteem, but beautiful ones love."

"The sublime must be simple, the beautiful may be dressed and ornamented."

"A long duration is sublime. Is it of past time? it is noble; if it is foreseen in an immense futurity, it has in it something dreadful."

"The sentiments of the sublime strain the powers of the soul more, and therefore tire sooner."

"The most satisfactory theory of the sublime is that of Emmanuel Kant in his Critic of the Judgment. This philosopher distinguishes two kinds of sublime... the mathematical sublime, which results from the intuitions of time and of space, and the dynamical sublime, that is derived from the idea of force. The dynamical sublime is immaterial or material, according to the nature of the physical or spiritual force which is the source of it: the spiritual force gives rise to a second subdivision, as far as it may be intellectual or moral."

"The feeling of [the sublime] is sometimes accompanied with dread, or even melancholy, in some cases with tranquil admiration merely, and in others with a beauty spread over a sublime plan. The first I shall name the Dreadful or Terrific Sublime, the second the Noble, and the third the Magnificent."

"Friendship has principally the stroke of the sublime in it, but the love of the sex that of the beautiful."

"Deep solitude is sublime, but in a terrific manner."

"Friendship is sublime, and therefore for his feeling. He may perhaps lose a changeable friend; but the latter does not lose him so soon. The very memory of extinguished friendship is still venerable to him."

"[A]s the great extreme of dimension is sublime, so the last extreme of littleness is in the same measure sublime... when we attend to the infinite divisibility of matter, when we pursue animal life into these excessively small, and yet organized beings... when we push our discoveries yet downward... in tracing which the imagination is lost as well as the sense; we become amazed and confounded at the wonders of minuteness; nor can we distinguish in its effects this extreme of littleness from the vast itself. For division must be infinite as well as addition; because the idea of a perfect unity can no more be arrived at, than that of an complete whole, to which nothing can be added."

"A perpendicular has more force in forming the sublime, than an inclined plane; and the effects of a rugged and broken surface seem stronger than when it is smooth and polished."

"Another source of the sublime is infinity... Infinity has a tendency to fill the mind with that sort of delightful horror, which is the most genuine effect and truest test of the sublime. There are scarce any things which can become the objects of our senses, that are really... infinite. But the eye not being able to perceive the bounds... they seem... infinite, and they produce the same effects... We are deceived in the like manner, if the parts of some large object are so continued to any indefinite number, that the imagination meets no check... Whenever we repeat an idea frequently, the mind... repeats it long after the first cause has ceased... multiplied without end. ...This is the reason of an appearance very frequent in madmen; that they remain... in the constant repetition of some remark... complaint, or song... every repetition reinforces it with new strength... unrestrained by the curb of reason, continues... to the end of their lives."

"The eye is not the only organ of sensation by which a sublime passion may be produced. Sounds have a great power... Excessive loudness alone is sufficient to overpower the soul, to suspend its action, and to fill it with terror. The noise of vast cataracts, raging storms, thunder, or artillery, awakes a great and awful sensation in the mind, though we can observe no nicety or artifice in those sorts of music. The shouting of multitudes has a similar effect... the best-established tempers can scarcely forbear being borne down and joining in the common cry and common resolution of the crowd."

"Greatness of dimension is a powerful cause of the sublime."

"[S]ublime objects are vast in their dimensions, beautiful ones comparatively small..."

"The passion caused by the great and sublime in nature, when those causes operate most powerfully, is astonishment; and astonishment is that state of the soul, in which all its motions are suspended, with some degree of horror. In this case the mind is so entirely filled with its object, that it cannot entertain any other, nor by consequence reason on that object which employs it. Hence arises the great power of the sublime, that, far from being produced by them, it anticipates our reasonings, and hurries us on by an irresistible force. Astonishment... is the effect of the sublime in its highest degree; the inferior effects are admiration, reverence, and respect."

"The "Fall" is the theological name for such an unconscious choice, and it designates the wound (of separation, of the constitutive loss) which characterizes our being-human as finite and sexed. Musk (and other proponents of Neuralink) wants to heal the wound literally: to fill in the gap, to have man united with god by way of making him god-like, i.e., by way of providing him with properties and capacities which we (till now) experienced as "divine." What makes this option properly traumatic is that it turns around the gap that separates our ordinary daily experience from sublime speculations about our proximity to god."

"We have continually about us animals of a strength that is considerable but not pernicious. Amongst these we never look for the sublime; it comes upon us in the gloomy forest, and in the howling wilderness, in the form of the lion the tiger, the panther, or rhinoceros. Whenever strength is only useful, and employed for our benefit or our pleasure, then it is never sublime: for nothing can act agreeably to us, that does not act in conformity to our will; but to act agreeably to our will, it must be subject to us and therefore can never be the cause of a grand and commanding conception."

"Among colours such as are soft or cheerful (except perhaps a strong red...) are unfit to produce grand images. ...[T]he cloudy sky is more grand than the blue; and night more sublime and solemn than day. ...[I]n buildings, when the highest degree of the sublime is intended, the materials and ornaments ought neither to be white, nor green, nor yellow, nor blue, nor of a pale red, nor violet, nor spotted, but of sad and fuscous colours, as black, or brown, or deep purple... [T]his melancholy kind of greatness, though it be certainly the highest, ought not to be studied in all sorts of edifices, where yet grandeur must be studied: in such cases the sublimity must be drawn from the other sources; with a strict caution however, against anything light and riant; as nothing so effectually deadens the whole taste of the sublime."

"So, for Kant, direct access to the noumenal domain would deprive us of the very "spontaneity," which forms the kernel of transcendental freedom: it would turn us into lifeless automata, or, to put it in today’s terms, into "thinking machines." And is this not ultimately presented as achievable in the future of Singularity? The prospect of is not to be dismissed as yet another “ontic” scientific research project of no authentic philosophical interest, since it offers something effectively new and unheard-of that challenges our status of being-human: the prospect of the actual (empirical) overcoming of our finitude/sexuality/embeddedness-in-the-symbolic. Entering this other dimension of Singularity becomes a simple positive fact, not a matter of sublime inner experience. What does this mean, for the status of our subjectivity and for our self-experience? Can we imagine a form of self-awareness that would be at the level of self-less floating in the space of Singularity?"

"If black and white blend, soften, and unite A thousand ways, are there no black and white? If the qualities of the sublime and beautiful are sometimes found united, does this prove that they are the same; does it prove that they are... allied; does it prove even that they are not opposite and contradictory? Black and white may soften, may blend, but they are not therefore the same. Nor, when they are softened and blended with each other, or with different colours, is the power of black as black, or of white as white, so strong..."

"I decided that it was not wisdom that enabled... poetry, but a kind of instinct or inspiration, such as you find in seers and prophets who deliver all their sublime messages without knowing in the least what they mean."

"The law of simplicity and naïvety holds good of all fine art; for it is quite possible to be at once simple and sublime. True brevity of expression consists in everywhere saying only what is worth saying, and in avoiding tedious detail about things which everyone can supply for himself. This involves correct discrimination between what is necessary and what is superfluous. A writer should never be brief at the expense of being clear..."

"For the sublime and the beautiful and the interesting, you don't have to look far away."

"Thee, bold Longinus! all the Nine inspire, And bless their Critick with a Poet's Fire. An ardent Judge, who Zealous in his Trust, With Warmth gives Sentence, yet is always Just; Whose own Example strengthens all his Laws, And Is himself that great Sublime he draws."

"The History of Electricity is a field full of pleasing objects, according to all the genuine and universal principles of taste, deduced from a knowledge of human nature. Scenes like these, in which we see a gradual rise and progress in things, always exhibit a pleasing spectacle to the human mind. Nature, in all her delightful walks, abounds with such views, and they are in a more especial manner connected with every thing that relates to human life and happiness; things, in their own nature, the most interesting to us. Hence it is, that the power of association has annexed crouds of pleasing sensations to the contemplation of every object, in which this property is apparent. This pleasure, likewise, bears a considerable resemblance to that of the sublime, which is one of the most exquisite of all those that affect the human imagination. For an object in which we see a perpetual progress and improvement is, as it were, continually rising in its magnitude; and moreover, when we see an actual increase, in a long period of time past, we can not help forming an idea of an unlimited increase in futurity; which is a prospect really boundless, and sublime."

"Even the death of Friends will inspire us as much as their lives. They will leave consolation to the mourners, as the rich leave money to defray the expenses of their funerals, and their memories will be incrusted over with sublime and pleasing thoughts, as monuments of other men are overgrown with moss; for our Friends have no place in the graveyard."