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{\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033\level1 heading 1;}
{\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\level2 heading 2;}
{\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\level3 heading 3;}
{\s4\li900\fi-180\loch\af1\hich\af1\fs24\ppscheme-1\lang1033\level4 heading 4;}
{\s5\li1260\fi-180\loch\af1\hich\af1\fs20\ppscheme-1\lang1033\level5 heading 5;}
{\s6\li1620\fi-180\loch\af1\hich\af1\fs20\ppscheme-1\lang1033\level6 heading 6;}
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\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Edmund Burke  1729-1797   }{\i\hich\af1\loch\f1\fs24 A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful }{\hich\af1\loch\f1\fs24   1757  Studio of Sir Joshua Reynolds, \line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Balitore}{\hich\af1\loch\f1\fs28  Meeting House, County Kildare, Ireland \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\i\hich\af1\loch\f1\fs18 Edmund Burke}{\hich\af1\loch\f1\fs18 , book 1757\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Publications\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 1756  A Vindication of Natural Society. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 1758-1789  Editor of the }{\i\hich\af1\loch\f1 Annual Register\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 1770  Thoughts on the Cause of the Present Discontents; Two Speeches on America \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 1775  Speech on Conciliation with America\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs32\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 1790  Reflections on the Revolution in France.  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 [Section I] The passion caused by the sublime in nature [and in its highest degree] is Astonishment.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 This is when all the soul}{\loch\af1\hich\f1\fs28 \'92}{\hich\af1\loch\f1\fs28 s motions are suspended with some horror.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 The mind is completely filled with some object and cannot think about any other.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Nor can it reason about its object.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 The sublime hurries us by an irresistible force.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 The inferior effects of the sublime are admiration, reverence, and respect.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs20 Fusseli}{\hich\af1\loch\f1\fs20  or }{\hich\af1\loch\f1\fs20 F}{\loch\af1\hich\f1\fs20 \'fc}{\hich\af1\loch\f1\fs20 ssli}{\hich\af1\loch\f1\fs20 , Johann Heinrich (1741)}{\loch\af1\hich\f1\fs20 \'96}{\hich\af1\loch\f1\fs20 1825)}{\loch\af1\hich\f1\fs20 \'93}{\hich\af1\loch\f1\fs20 The Nightmare,}{\loch\af1\hich\f1\fs20 \'94}{\hich\af1\loch\f1\fs20  1781, \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\loch\af1\hich\f1\fs18 \'93}{\hich\af1\loch\f1\fs18 The }{\hich\af1\loch\f1\fs18 Wolfman}{\loch\af1\hich\f1\fs18 \'94}{\hich\af1\loch\f1\fs18  2009\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Joseph }{\hich\af1\loch\f1\fs24 Vernet}{\hich\af1\loch\f1\fs24 , 1759, }{\i\hich\af1\loch\f1\fs24 Shipwreck}{\hich\af1\loch\f1\fs20   \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs20 J. M. W. Turner, }{\b\i\hich\af1\loch\f1\fs20 Snow Storm: Steamboat off a }{\b\i\hich\af1\loch\f1\fs20 Harbour's}{\b\i\hich\af1\loch\f1\fs20  Mouth}{\i\hich\af1\loch\f1\fs20 .}{\hich\af1\loch\f1\fs20  1842. Oil on Canvas. Tate Gallery, London.}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 Stonehenge, neither for disposition nor ornament, has anything admirable; but those huge rude masses of stone, set end on end, and piled high on each other, turn the mind on the immense force necessary for such a work.}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24  }{\hich\af1\loch\f1\fs40  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 William Turner }{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 Stonehenge}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28  c.1825}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 John Constable  }{\i\hich\af1\loch\f1\fs40 Stonehenge,}{\hich\af1\loch\f1\fs40  1835\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Section II Terror\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Fear is the passion that robs the mind of its ability to act and reason the most.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Since fear is the apprehension of pain and death it resembles pain.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 What is terrible [terrifying] in sight is sublime too.\par 
}\pard\plain\ltrpar\s4\li900\fi-180\loch\af1\hich\af1\fs24\ppscheme-1\lang1033\li1080\fi-360 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1 For dangerous things cannot be seen as unimportant or contemptible.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Many animals are terrifying and hence sublime even if not large, e.g. \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 The Ideas of Pain are More Powerful than those of Pleasure\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af2\hich\f2\fs32 \'95\tab}{\*\pn\pnlvlblt\pnf2\pnfs32\pnscheme-1{\pntxtb \'95}}{\loch\af2\hich\f2 \'93}{\hich\af2\loch\f2 the ideas of pain are much more powerful than those which enter on the part of pleasure. Without all doubt, the torments which we may be made to suffer are much greater in their effect on the body and mind, than any pleasure which the most learned voluptuary could suggest, or than the liveliest imagination, and the most sound and exquisitely sensible body, could enjoy}{\loch\af2\hich\f2 \'94}{\hich\af2\loch\f2  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af2\loch\f2 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af2\loch\f2 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Delight increases with Distance\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af2\hich\f2\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf2\pnfs28\pnscheme-1{\pntxtb \'95}}{\loch\af2\hich\f2\fs28 \'93}{\hich\af2\loch\f2\fs28 When danger or pain press too nearly, they are incapable of giving any delight, and are simply terrible; but at certain distances, and with certain modifications, they may be, and they are, delightful, as we every day experience.}{\loch\af2\hich\f2\fs28 \'94}{\hich\af2\loch\f2\fs28 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af2\loch\f2\fs28 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af2\hich\f2\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf2\pnfs28\pnscheme-1{\pntxtb \'95}}{\loch\af2\hich\f2\fs28 \'93}{\hich\af2\loch\f2\fs28 I make use of the world }{\i\hich\af2\loch\f2\fs28 Delight}{\hich\af2\loch\f2\fs28  to express the sensation which accompanies the removal of pain or danger; so when I speak of positive pleasure, I shall for the most part call it simply }{\i\hich\af2\loch\f2\fs28 Pleasure.}{\i\loch\af2\hich\f2\fs28 \'94}{\i\hich\af2\loch\f2\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Terror is the ruling principle of the sublime.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 If we add terror to large things they become more sublime.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 The view of a plain [as in Kansas] may be as extensive as that of the ocean but it is not as sublime, since it is less terrifying.\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs18 Kansas Plain\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Astonishment and Terror\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Several languages use the same word to signify both astonishment [wonder] and terror, for example the Roman words }{\i\hich\af1\loch\f1 stupeo}{\hich\af1\loch\f1  [from which we get }{\i\hich\af1\loch\f1 stupefying}{\hich\af1\loch\f1 ] and }{\i\hich\af1\loch\f1 attonitus}{\hich\af1\loch\f1 , and the English words }{\i\hich\af1\loch\f1 astonishment }{\hich\af1\loch\f1 and }{\i\hich\af1\loch\f1 amazement}{\hich\af1\loch\f1 .\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Turner, }{\i\hich\af1\loch\f1\fs28 The Passage of the St }{\i\hich\af1\loch\f1\fs28 Gothard}{\i\hich\af1\loch\f1\fs28 ,}{\hich\af1\loch\f1\fs28  1804 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 Turner }{\i\hich\af1\loch\f1\fs28 Vesuvius\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Section III Obscurity\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 Obscurity [darkness and unclarity] is generally necessary to make something terrifying.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 If we fully understand the danger, much of the fear goes away.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\loch\af1\hich\f1\fs28 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1 For example night adds to our fear when danger is present. \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 Also ghosts and goblins of whom no one can form a clear idea, are scary.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 Dictatorships, which are based on fear, hide their leaders.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 "Little Goblins" from the }{\i\hich\af1\loch\f1\fs24 Los }{\i\hich\af1\loch\f1\fs24 Caprichos}{\hich\af1\loch\f1\fs24  set of aquatint prints Francisco Goya, 1799 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 Religion \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\hich\af1\loch\f1\fs24 In religion, many non Christians, for example native Americans, keep their places of worship dark. \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\hich\af1\loch\f1\fs24 The Celtic pagan priests carried out their rituals in dark woods.\par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs18 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs18\pnscheme-1{\pntxtb \'95}}{\b\hich\af1\loch\f1\fs18 Jacques }{\b\hich\af1\loch\f1\fs18 Grasset}{\b\hich\af1\loch\f1\fs18  de Saint-}{\b\hich\af1\loch\f1\fs18 Sauveur}{\b\hich\af1\loch\f1\fs18  \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs18 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs18\pnscheme-1{\pntxtb \'95}}{\b\hich\af1\loch\f1\fs18 (1757-1810)\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs18 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs18\pnscheme-1{\pntxtb \'95}}{\b\hich\af1\loch\f1\fs18  }{\b\i\hich\af1\loch\f1\fs18 Encyclop}{\b\i\loch\af1\hich\f1\fs18 \'e9}{\b\i\hich\af1\loch\f1\fs18 die}{\b\i\hich\af1\loch\f1\fs18  des voyages\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 John Milton }{\i\hich\af1\loch\f1 Paradise Lost  }{\hich\af1\loch\f1 1667\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 The English writer Milton best understood the secret of heightening terror using obscurity.  He describes Death with gloomy pomp.    \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 In Milton}{\loch\af1\hich\f1\fs28 \'92}{\hich\af1\loch\f1\fs28 s poem on this topic all is dark, uncertain, confused, terrible, and sublime to the highest degree. \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 Next image:  William Hogarth\line S}{\i\hich\af1\loch\f1\fs28 atan, Sin and Death (A Scene from Milton's `Paradise Lost')}{\hich\af1\loch\f1\fs28  circa 1735-40 Oil on Canvas\line \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs28 Comment on this painting taken from the Tate Museum web site.\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 In Hogarth}{\loch\af1\hich\f1\fs28 \'92}{\hich\af1\loch\f1\fs28 s canvas Sin is pictured as if trapped and imprisoned by the many-headed tentacles that wrap themselves around her torso and writhe from her waist; furthermore, her expression and her gestures are tender and imploring, rather than malicious or manipulative. Here, Hogarth attempts to fuse a }{\hich\af1\loch\f1\fs28 feminised}{\hich\af1\loch\f1\fs28  iconography of sentiment with a sublime and grotesque imagery of hell-fire, violence and monstrous masculinity.}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 Satan Encounters\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 Sin and Death,}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 Gustave}{\hich\af1\loch\f1\fs28  }{\hich\af1\loch\f1\fs28 Dor}{\loch\af1\hich\f1\fs28 \'e9}{\hich\af1\loch\f1\fs28  (1866) \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Some other comments on the sublime by Burke not in our text:\par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs24 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'96}}{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 I know of nothing sublime, which is not some modification of power.}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24  Chapter }{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 Power.}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24 \par 
}\pard\plain\ltrpar\s3\li585\fi-225\loch\af1\hich\af1\fs28\ppscheme-1\lang1033\li780\fi-420 {\pntext\pard\plain\loch\af1\hich\f1\fs24 \'96\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'96}}{\hich\af1\loch\f1\fs24  }{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 The horse in the light of a useful beast, fit for the plough, the road, the draft; in every social, useful light, the horse has nothing sublime: but is it thus that we are affected with him, }{\i\hich\af1\loch\f1\fs24 whose neck is clothed with thunder, the glory of whose nostrils is terrible, who }{\i\hich\af1\loch\f1\fs24 swalloweth}{\i\hich\af1\loch\f1\fs24  the ground with fierceness and rage, neither believeth that it is the sound of the trumpet?}{\hich\af1\loch\f1\fs24  In this description, the useful character of the horse entirely disappears, and the terrible and sublime blaze out together.}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24  Chapter }{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 Power.}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24   The quote is from the Bible }{\i\hich\af1\loch\f1\fs24 Job}{\hich\af1\loch\f1\fs24  39:24\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Delacroix }{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 Tiger Attacking a Wild Horse,}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24  1825}{\hich\af1\loch\f1\fs18  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Delacroix, }{\hich\af1\loch\f1\fs24 Eug}{\loch\af1\hich\f1\fs24 \'e8}{\hich\af1\loch\f1\fs24 ne}{\hich\af1\loch\f1\fs24  }{\loch\af1\hich\f1\fs24 \'93}{\hich\af1\loch\f1\fs24 Horse Frightened by a Storm,}{\loch\af1\hich\f1\fs24 \'94}{\hich\af1\loch\f1\fs24  1824\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs40 Burke: Chapter }{\loch\af1\hich\f1\fs40 \'93}{\hich\af1\loch\f1\fs40 Light in Building.}{\loch\af1\hich\f1\fs40 \'94}{\hich\af1\loch\f1\fs40 \line \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033\li480\fi-480 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\loch\af1\hich\f1\fs28 \'93}{\hich\af1\loch\f1\fs28 I think }{\loch\af1\hich\f1\fs28 \'85}{\hich\af1\loch\f1\fs28  that all edifices calculated to produce an idea of the sublime, ought rather to be dark and gloomy, and this for two reasons; the first is, that darkness itself on other occasions is known by experience to have a greater effect on the passions than light. The second is, that to make an object very striking, we should make it as different as possible from the objects with which we have been immediately conversant; \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs28 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs28\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs28 when therefore you enter a building, you cannot pass into a greater light than you had in the open air; to go into one some few degrees less luminous, can make only a trifling change; but to make the transition thoroughly striking, you ought to pass from the greatest light, to as much darkness as is consistent with the uses of architecture. At night the contrary rule will hold, but for the very same reason; and the more highly a room is then illuminated, the grander will the passion be.}{\loch\af1\hich\f1\fs28 \'94}{\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\hich\af1\loch\f1\fs28 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\loch\af1\hich\f1\fs18 \'93}{\hich\af1\loch\f1\fs18 Small statue }{\hich\af1\loch\f1\fs18 notre}{\hich\af1\loch\f1\fs18  dame}{\loch\af1\hich\f1\fs18 \'94}{\hich\af1\loch\f1\fs18  from }{\hich\af1\loch\f1\fs18 projectvisual.net}{\hich\af1\loch\f1\fs18 \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 'The Ruins of }{\hich\af1\loch\f1\fs24 Holyrood}{\hich\af1\loch\f1\fs24  Chapel', Louis Jacques }{\hich\af1\loch\f1\fs24 Mand}{\hich\af1\loch\f1\fs24  Daguerre, c.1824}{\hich\af1\loch\f1  \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\i\hich\af1\loch\f1\fs24 Monastery Graveyard in the Snow,}{\hich\af1\loch\f1\fs24  1817 by Casper David Friedrich, Former National Gallery, Berlin.\line \par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1 \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\hich\af1\loch\f1\fs24 Caspar David Friedrich, \par 
}\pard\plain\ltrpar\s2\li270\fi-270\loch\af1\hich\af1\fs32\ppscheme-1\lang1033 {\pntext\pard\plain\loch\af1\hich\f1\fs24 \'95\tab}{\*\pn\pnlvlblt\pnf1\pnfs24\pnscheme-1{\pntxtb \'95}}{\i\hich\af1\loch\f1\fs24 Wanderer above the Sea of Fog.\line }{\hich\af1\loch\f1\fs24 1818 (}{\hich\af1\loch\f1\fs24 Kunsthalle}{\hich\af1\loch\f1\fs24 , Hamburg).\par 
}\pard\plain\ltrpar\s1\qc\loch\af1\hich\af1\fs44\ppscheme-3\lang1033 {\hich\af1\loch\f1\fs24 Caspar David Friedrich}{\i\hich\af1\loch\f1\fs24   The Sea of Ice }{\hich\af1\loch\f1\fs24  (1823}{\loch\af1\hich\f1\fs24 \'96}{\hich\af1\loch\f1\fs24 24)}{\hich\af1\loch\f1\fs40  \par 
}
}