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fol. 41v 'Of the Sublime' (Pt I, Sn II, Ch III) (3.130)
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<The division of the subj> <Our> {My} subject therefore will divide itself
15 only into the investigation of Ideas of truth . beauty . & relation
And <the> to each of these I destine a separate portion of the work .
The investigation of Ideas of truth will lead to us to determine the relative
rank of artists , as <faithful> {simple}followers of nature.
That of Ideas of beauty will lead us to compare them in <technical>
20 their attainment of what is agreeable in colour . composition , &c and chiefly {finally}
fol. 42r 'Of the Sublime' (Pt I, Sn II, Ch III) (3.129-30)
therefore they raise the mind which dwells upon them <Greatness of>
<b>Beauty is not so often felt to be sublime - because in many species of
beauty - there is some truth in Burkes assertion that littleness is one of
its elements But he who has not felt that there may be beauty
5 without littleness and that such beauty is a source of the sublime -
is yet ignorant of the meaning of the Ideal . in art.
I do not mean in tracing the source of the sublime to Greatness to
hamper myself with any fine spun theory - I take the widest possible
ground of <In> investigation - that sublimity is found wherever any
10 thing elevates the mind - <w[?]>that is - wherever it contemplates anything
above itself - This is the simple philological signification of the
word - derived from Sublimis. And will serve as much more easily -
and be a far clearer and more evident ground of argument than any
more* metaphysical . or more confined definition . which the proof of the
15 assertion will be naturally developed - but its application to the different
branches of art
#70#<I have mentioned this view of the nature of the sublime at present . because
ideas of great power are one of its chief & noblest sources. and I question
if <even> > the contemplation {even *.*} of faculties of a low order - is that they be
raised
20 in some degree above our own - or of a different kind from our own - be not
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MW