Since I considered the horror as a determinant of an unnatural tension and violent emotions of the nerves, from what I said follow, of course, that everything that is meant to produce such a tension must determine, without just and, a similar emotion horror (cf. Part II, section II) and therefore must be a source of the sublime, although no notion of danger should be linked to it. So in order to reveal the source of the sublime, we have to do much more than to show that the examples of sublime, offered in the part, refer to things that by their nature are meant to produce this kind of tension, either through the primary operation of the mind or that of the body. In relation to such things that impress us with the associated idea of danger, it does not indicate that they produce horror and act by who knows what modification of this emotion; And as a horror, when it is strong enough, you stir your body emotions, it is again above all doubt but if the sublime is built on horror or on another feeling of the same lip, whose object is the pain, you must First of all, to investigate how to get the delight from a seemingly opposite cause. I say the indoor, because, as we have often noticed, it is obviously different from its own cause and nature of real and actual pleasure. How can the pain of delight be. This is how Providence has ordained as a state of rest and inactivity, no matter how much they agree to our laziness, must bring countless inconvenience; It has to generate such disorders to force us to start some work, as an absolutely indispensable thing to make our lives with some thanks; For the nature of rest is to allow all the parts of our body to relax, and this state not only puts the members incapacitation to perform their functions, but also takes on that vigorous fiber tone, which is necessary to cause natural secretions and necessary.
At the same time, in this trindava state, inactive, the nerves are more exposed to terrible seizures than when they are sufficiently invigorated and reinforced. Melancholy, despair, stupidity and often suicide is the consequence of the gloomy gaze above the objects and the world in general that we get in this state of relaxation of the body. The best cure for all these evils it constitutes it physical movement or work; And the work represents an infringement of the difficulties, an exercise of the power of contraction of the muscles; And as such, from all the points of vision, but in different degrees, it resembles the pain, which consists in a tension or contraction. Not only is the work necessary to maintain the most coarse meadows in an adequate state to fulfill their functions, but more than that, it is also necessary for those finer and more delicate organs on which the imagination acts and may and other mental capacities. In the case it is likely not only the lower parts of the soul (as the passions are called), but also the understanding itself resorts to its functioning at certain bodily instruments; Although what they are and where they are located, it is somewhat difficult to establish: but it is used in any case such organs, which results in the following fact: the long exercise of the powers of the mind generates a fatigue out ; On the other hand, great physical efforts or pain weaken and sometimes even completely destroy mental faculties. Now, because the appropriate physical exercises are essential to the gross muscular parts of our construction, and without this exhort they would become trindave and become ill, the same rule applies to the finer parts to which we referred; In order to keep them in good order, they must be shaken and aroused to reach a good form. The exercise required for the finer organs. As the usual work, which is a way of the soul, represents an exercise in the coarse parts of the system, a way of horror represents the exercise of the finer parties; And if a certain way of pain is also nature to act on the eye or ear - these being the most delicate organs - this way to impress them is the most close to those that have a mental cause.
In all these cases, if suffering and horror are modified in such a way that. Not to be truly harmful; If the suffering is not pushed to violence, and the fear does not lead to the immediate destruction of the person, because these emotions release the parts of the body - either coarse or finer - by a dangerous and annoying burden, they are capable of producing inch; Not the pleasure, but only a kind of pleasant horror, a kind of quiet with a shade of horror; which, as it is about self -preservation of the individual, represents one of the strong emotions. Its object is the sublime. I would use the term of astonishment for its highest degree; Lower degrees are respectful fear, reverence and respect; The etymology of these words itself shows their origin, and to what extent they are special to the pleasure itself. Why the non -printing things produce an emotion similar to horror. A variation of horror or pain is always the cause of the sublime). With I think that for horror or for the danger associated with it, the above explanation is sufficient.
It takes a little more headache to show that such examples as I gave about the sublime in the second part of the study are able to produce a kind of suffering and so to deal with horror, therefore, they can be explained by the same principles. And first of all it is large objects in size. I'm talking about visual objects.
* Note:Burke, Edmund -About sublime and beautiful, Meridiane Publishing House, 1977