Summary

Portrait of Edmund Burke Edmund Burke On the Sublime and Beautiful — Chapter 17

It is on this principle that flattery is so prevalent; for flattery is no more than what raises in a man’s mind an idea of a preference which he has not. Now, whatever, either on good or upon bad grounds, tends to raise a man in his own opinion, produces a sort of swelling and triumph, that is extremely grateful to the human mind; and this swelling is never more perceived, nor operates with more force, than when without danger we are conversant with terrible objects; the mind always claiming to itself some part of the dignity and importance of the things which it contemplates.
Source: Wikisource

Portrait of Edmund Burke Edmund Burke On the Sublime and Beautiful — Chapter 17

ALTHOUGH imitation is one of the great instruments used by Providence in bringing our nature towards its perfection, yet if men gave themselves up to imitation entirely, and each followed the other, and so on in an eternal circle, it is easy to see that there never could be any improvement amongst them. Men must remain as brutes do, the same at the end that they are at this day, and that they were in the beginning of the world.
Source: Wikisource

Portrait of Edmund Burke Edmund Burke On the Sublime and Beautiful — Chapter 17

An immense mountain covered with a shining green turf, is nothing, in this respect, to one dark and gloomy; the cloudy sky is more grand than the blue; and night more sublime and solemn than day. Therefore in historical painting, a gay or gaudy drapery can never have a happy effect: and in 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 a pale red, nor violet, nor spotted, but of sad and fuscous colours, as black, or brown, or deep purple, and the like.
Source: Wikisource

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