momentary check, for example, in the case of a rainbow, a glorious sunrise, the starry night, Socrates, or Tourgénieff’s sparrow, ‘fear,’ unless the meaning of the word is unnaturally extended, is surely not the name for this check.

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Burke’s mistake, however, implies a recognition of the ‘negative aspect’ in sublimity, and it may remind us of a truth. Instances of the sublime differ greatly in regard to the prominence and tone of this aspect. It is less marked, for example, and less obvious, in the case of a sublime rainbow or sunrise than in that of a sublime and ‘terrible’ thunderstorm. And in general we may say that the distinctive nature of sublimity appears most clearly where this aspect is most prominent,—so prominent, perhaps, that we have a more or less explicit sense of the littleness and powerlessness of ourselves, and 55 indeed of the whole world of our usual experience. It is here that the object is most decidedly more than ‘glorious,’ or even ‘majestic,’ and that sublimity appears in antithesis to grace. Only we must not give an account of the sublime which fully applies to these cases alone, or suppose that the negative aspect is absent in other cases. If a rainbow or sunrise is really sublime, it is overwhelming as well as uplifting. Nor must we assume that the most distinctively sublime must also be the most sublime. The sunrise witnessed from an immense snowfield in the high Alps may be as sublime as an Alpine thunderstorm, though its sublimity is different.

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(2) Grace and ‘beauty,’ it has been said, though not of course merely sensuous, are yet friendly to sense. It is their essence, in fact, to be a harmonious unity of sense and spirit, and so to reconcile powers which in much of our experience are conflicting and dissonant. But sublimity is harsh and hostile to sense. It makes us feel in ourselves and in the world the presence of something irresistibly superior to sense. And this is the reason why it does not soothe or delight, but uplifts us.

This statement recalls some of the ideas we have been considering, but it may easily mislead. For one thing, it is impossible for any sublimity whatever to be merely hostile to ‘sense,’ since everything aesthetic must appeal to sense or sensuous imagination, so that the sublime must at least express its hostility to sense by means of sense. And if we take the phrase in another meaning, the statement may mislead still, for it attributes to sublimity in general what is a characteristic only of certain forms of the sublime. Scores of examples could easily 

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