The Concept of the Sublime In Relation to America
The eighteenth and nineteenth centuries witnessed a revival of the concept of the Sublime. The Sublime, as a notion, first reached English theorists by way of Nicholas Boileau-Despréaux’s translation of the Greek text attributed to Longinus titled “On the Sublime,” which discussed the Sublime within writing. The work categorized sublimity as raising men “almost to the intellectual greatness of God” (Longinus, 76). Once raised to extreme intellectual heights the authors were then able to raise others to the limits of their being. In short, “the effect of the Sublime is “transport” (ekstasis) - it is a quality of a passage which “shatters the hearer’s composure,”” (Abrams, 308) due to the heightened ability of the writer. Longinus’ concept of the Sublime reached further fruition when discussed in Edmund Burke’s Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful and Immanuel Kant’s Critique of Judgment, as well as in works by Dennis, Addison, Hume and poets Wordsworth, Thomson, and Mallet who attempted to clarify and diversify the concept. America, a land bubbling over with sublime images, added real-world value to the discussion; as such, the literature, philosophy and art during America’s exploration of itself focused on the image of the sublime as a means of breaking from the past, of discerning power and of forging a new identity.
The Sublime is an aesthetic concept that deals with the force of a perception. For Edmund Burke, who brought the Sublime from “the level of judgment as David Hume had done….[to the] level of sensibility” (Sertoli), the Sublime emerged from contemplation of “whatever is fitted in any sort to excite the i...
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Edwards applied masses of descriptive imagery in his sermon to persuade the Puritans back to their congregation. For example, he gave fear to the Puritans through this quote, “We find it easy to tread on and crush a worm that we see crawling on the earth, so it is easy for us to cut a singe a slender thread that any thing hangs by, thus easy is it for God when he pleases to cast his enemies down to hell…” (pg. 153) In this quotation, he utilized vivid imagery because he wanted the Puritans to visibly imagine what he was saying through his sermon, on how angry God is with them, which made them convert back to Puritanism. Through the use of vivid imagery such as “crush a w...
Cronon, William. Changes in the Land: Indians, Colonists, and the Ecology of New England. New York: Hill and Wang, 1983. Print.
Jonathan Edwards's sermon, "Sinners in the Hands of an Angry God" is moving and powerful. His effectiveness as an eighteenth century New England religious leader is rooted in his expansive knowledge of the Bible and human nature, as well as a genuine desire to "awaken" and save as many souls as possible. This sermon, delivered in 1741, exhibits Edwards's skillful use of these tools to persuade his congregation to join him in his Christian beliefs.
He was a man whose very words struck fear into the hearts of his listeners. Acknowledged as one of the most powerful religious speakers of the era, he spearheaded the Great Awakening. “This was a time when the intense fervor of the first Puritans had subsided somewhat” (Heyrmen 1) due to a resurgence of religious zeal (Stein 1) in colonists through faith rather than predestination. Jonathan Edwards however sought to arouse the religious intensity of the colonists (Edwards 1) through his preaching. But how and why was Edwards so successful? What influenced him? How did he use diction and symbolism to persuade his listener, and what was the reaction to his teachings? In order to understand these questions one must look at his life and works to understand how he was successful. In his most influential sermon, “Sinners in the Hands of an Angry God”, Jonathan Edwards’ persuasive language awakened the religious fervor that lay dormant in colonial Americans and made him the most famous puritan minister of the Great Awakening in North America.
“Out of the north deep waves rolled down upon the island. They broke against the rocks and roared into the caves, sending up white sprays of water. Before night a storm would certainly strike” (O’Dell, 19). This passage from Scott O’Dell’s Island of the Blue Dolphins describes the Ocean that surrounds the island and characters in the story. In this description the narrator, Karana, shows the reader that the people on the island fear and respect the power of the Ocean. The Ocean is depicted throughout the novel as something enormous and powerful. The way the Ocean is seen demonstrates an example of the Burkeian Sublime. According to Burke, the Sublime is an experience that comes from authority and power. A common example for the Burkeian Sublime is looking at the power of mountains. Mountains are Sublime because they’re large in size, and have the power to kill people. Therefore, through looking at Burke’s requirements for the Sublime the conclusion is made that Scott O’Dell’s Island of the Blue Dolphins contains the Burkeian Sublime.
Burke, Edmund. "Proportion Further Considered". A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and the Beautiful. New York: P.F. Collier & Son, 1909-1917 (New York: Bartleby.com, 2001). http://www.bartleby.com/24/2/305.html
Over the decades, art has been used as a weapon against the callousness of various social constructs - it has been used to challenge authority, to counter ideologies, to get a message across and to make a difference. In the same way, classical poetry and literature written by minds belonging to a different time, a different place and a different community have somehow found a way to transcend the boundaries set by time and space and have been carried through the ages to somehow seep into contemporary times and shape our society in ways we cannot fathom.
He speaks with some allusions and phrases that show the audience that he is well educated in the subject that he is speaking on. He says that, "Who knows the power of God 's anger" (Edwards 43)? This is an allusion from Psalm 90:11 in the bible and he just assumes that his readers are aware of what he is referring to when he says this. Since Edwards was a respected preacher of that time the sermon meant more to the people because of his qualifications and his experience ("Using" 14). Also throughout his sermon he refers to a happening of that time which was known as the great awakening. When speaking of this Edwards stated "Many are daily coming from the east, west, north, and south; many that were lately in the same condition that you are in, are now in a happy state, with their hearts filled with love to him who has loved them" (Edwards 44). He told them about the others who have already came and been converted to Christianity and hopes that showing them the others that have came they would also change their ways and be converted. Also, this being the time of the great awakening he wants the unconverted of his congregation to become a part of it and referencing to this event helps contribute to their
Jonathan Edwards was a man who could petrify any eighteenth century Puritan. He was born in East Windsor, Connecticut and was raised in a household with strict religious beliefs. In 1727 he began his preaching career as an assistant to his grandfather, Solomon Stoddard, the pastor at the church at Northampton, Massachusetts. When his grandfather died two years later, Edwards became the pastor of the Church at Northampton and began preaching all over New England. He then emerged as one of the leaders of the Great Awakening with his determination to return to the orthodoxy of the Puritan faith. That is when he adopted his “fire and brimstone” emotional style of sermon. Although people often ran out of the church in hysterics, most stayed in the church captivated by his speeches. He had always purposely chose to address his congregation with a sermon, using all of the elements of an oratory. In Sinners in the Hands of an Angry God, Jonathan Edwards displays all elements of an oratory by appealing to emotions, including expressive and rhythmic language, addressing the needs and concerns of his audience, and inspiring others to take action.
“Sinners in the Hands of an Angry God” by Jonathan Edwards uses imagery and symbolism to persuade the audience to become more devout Christians by channeling fear and emphasizing religious values. Jonathan Edwards was a Puritan minister who preached during the time of the Great Awakening in America. During this period of religious revival, Edwards wanted people to return to the devout ways of the early Puritans in America. The spirit of the revival led Edwards to believe that sinners would enter hell. Edwards’ sermon was primarily addressed to sinners for the purpose of alerting them about their sins and inspiring them to take action to become more devoted to God. Mentioned throughout
The Romantic era’s new “American identity” was realized by the 18th-century’s literary, social, and artistic push for the creation of a culture that was unique to American society and the expansionist urge to expand America’s political realm of power. This was achieved with the influence of manifest destiny and expansionism, the emergence of transcendentalism and transcendentalist literature, and the identity of the American man being characterized by the traits of the “common man”, and the exploration of nature and the frontier through art.
Nevertheless, the sublime does not lead us to despair, but to a higher pleasure than beauty affords
Kelly, John. ENGLISH 2308E: American Literature Notes. London, ON: University of Western. Fall 2014. Lecture Notes.
The two topics, the sublime and the beautiful are very common in romantic poetry and novels. According to Edmund Burke’s essay, On the Sublime and the Beautiful, He explains the opposition of beauty and of sublimity by a physiological theory. Burke made the opposition of pleasure and pain the source of the two aesthetic categories, deriving beauty from pleasure and sublimity from pain. Edmund Burke describes sublime objects as “vast in their dimensions” and beautiful objects as “small and simple objects.” Edmund Burke goes into further detail describing the sublime and the beautiful in his novel. He describes the sublime as the strongest emotion, which the mind is capable of feeling and the beautiful as something little, humble and innocent. Authors such as Marry Shelly, William Wordsworth and Percy Shelly wrote various works infusing the elements of the sublime and the beautiful into their novels or poems. They took Edmund Burke’s explanation of the sublime and the beautiful and created works based upon his descriptions of the sublime and the beautiful.
...ight be taken to include the rise of individualism, as seen by the cult of the artistic genius that was a prominent feature in the Romantic worship of Shakespeare and in the poetry of Wordsworth, to take only two examples; a new emphasis on common language and the depiction of apparently everyday experiences; and experimentation with new, non-classical artistic forms.