Kant Sublime Quotes & Sayings

I remembered an unpleasant weekend spent struggling to comprehend the philosopher Immanuel Kant's explanation of the difference between calling something beautiful and calling it sublime. Nowadays, we throw around the word "sublime" to describe gooey desserts or overpriced handbags. In Kant's epistemology, it meant something limitless, an aesthetically pleasing entity so huge that it made the perceiver's head hurt. Machu Picchu isn't just beautiful, it's sublime. — Mark Adams

Melancholy characterizes those with a superb sense of the sublime. — Immanuel Kant

Beauty presents an indeterminate concept of Understanding, the sublime an indeterminate concept of Reason. — Immanuel Kant

Kant, as we all know, compared moral law to the starry heavens, and found them both sublime. On the naturalistic hypothesis we should rather compare it to the protective blotches on a beetle's back, and find them both ingenious. — Arthur Balfour

Whereas the beautiful is limited, the sublime is limitless, so that the mind in the presence of the sublime, attempting to imagine what it cannot, has pain in the failure but pleasure in contemplating the immensity of the attempt — Immanuel Kant

But there are also remarkable differences between the two. The Beautiful in nature is connected with the form of the object, which consists in having boundaries. The Sublime, on the other hand, is to be found in a formless object, so far as in it or by occasion of it boundlessness is represented, and yet its totality is also present to thought. Thus the Beautiful seems to be regarded as the presentation of an indefinite concept of Understanding; the Sublime as that of a like concept of Reason. Therefore the satisfaction in the one case is bound up with the representation of quality, in the other with that of quantity. — Immanuel Kant

Kant argued that, where nature could be considered beautiful in her acts of destruction, human violence appeared instead as monstrous. However, a misreading of Kant in Romantic philosophy led to the idealization of the murderer as a sublime genius that has colored constructions of that criminal figure ever since. — Richard Marshall