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The Aesthetic Dimension of Burke's Political Thought
Published online by Cambridge University Press: 16 January 2014
Extract
Apparently no systematic effort has been made to ascertain whether a relation exists between the aesthetic theory of Burke's The Sublime and Beautiful (1757) and his political ideas. This omission would be readily understandable if the book were an insignificant and immature effort, or if the author at some later time had drastically altered his views, or if he had lost his interest in the arts. But all the evidence seems to be to the contrary. The work has been appraised as “among the most important documents of its century” to which men of great stature were indebted, including Johnson, Blake, Wordsworth, Hardy, Diderot, Lessing, and Kant. Although Burke did write a first draft while he was an undergraduate in Trinity College, Dublin, he continued to work upon it six or seven more years. Except for the extensive revisions for the second edition of 1759, revisions which did not modify the basic thesis, Burke evidently made no textual changes in the numerous subsequent editions. Nothing that Burke said or wrote indicates that he had second thoughts about the substance of the argument. And to the end of his days he maintained his vital interest in the arts. He was an intimate of Oliver Goldsmith, David Garrick, and Sir Joshua Reynolds, the friend and patron of the two painters, George Barret and James Barry, and a member of the Royal Academy. Nor can the failure to consider the question of the connection between the aesthetics and the politics be due to the unfamiliarity of students of Burke's political thought with The Sublime and Beautiful.
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References
1. The text used throughout the essay is J. T. Boulton's invaluable critical edition, Burke, Edmund, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (London and New York, 1958)Google Scholar. Roman numerals cited in the footnotes are to Boulton's Preface and illuminating Introduction.
The author wishes to thank T. I. Cook of The Johns Hopkins University, whose perceptive criticism made the writing of this essay possible, but who, of course, is in no way responsible for its final form.
2. Ibid., p. ix.
3. Ibid., pp. xv-xviii.
4. Ibid., p. xxv.
5. Ibid., pp. xxv-xxvi.
6. Ibid., pp. cix-cxii, for Burke's relations with Barret and Barry.
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13. Ibid., p. 43.
14. Ibid., p. 52.
15. Ibid., p. 38.
16. Ibid., pp. 40, 43.
17. Ibid., pp. 44-51.
18. Ibid., p. 44.
19. Ibid., esp., pp. 39-40, 42-43, 51-52, 57, 91, 124-25. Pt. 2, pp. 57-87, is devoted to the sublime, and Pt. 3, pp. 91-125, to the beautiful.
20. Ibid., p. 39.
21. Ibid., pp. 122-23.
22. Ibid., p. 51.
23. Ibid., p. 91.
24. Ibid., pp. 104, 119.
25. Ibid., pp. 120, 124-25, 156-57.
26. Ibid., pp. 25-26.
27. Ibid., pp. 46, 49, 57.
28. Ibid., pp. 57, 112.
29. Ibid., pp. 110-11.
30. Ibid., pp. 52, 107.
31. Ibid., pp. 92-110.
32. Ibid., pp. 22-27.
33. Ibid., for the opposition of imagination and reason, pp. 92-93, 107-09, 112; for the opposition of imagination and judgment, pp. 13, 17-19, 22-26.
34. Ibid., p. 25.
35. Ibid., p. 107.
36. Ibid., p. 49.
37. Ibid., pp. 92-110.
38. Ibid., pp. 109, 112.
39. Ibid., p. 53.
40. Ibid., esp. pp. 110-11.
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69. Ibid., V, 310.
70. Ibid., V, 167.
71. Ibid., VII, 27.
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73. Ibid., V, 311.
74. Ibid., II, 202-03; III, 412-15; IV, 174-75; V, 127, 222-28, 467-73.
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76. Ibid., II, 238-39.
77. Ibid., III, 333.
78. Ibid., IV, 24-26; III, 336.
79. Ibid., IV, 26-30.
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94. Ibid., VII, esp. 343, 362-64.
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