Abstract

Hegel's treatment of the Sublime is both self-consistent and distinctive. He not only defines sublimity, but discovers and ranks its types or stages from one select point of view—the viewpoint of God-world relation; and the way he does this, on the one hand, distinguishes him from many others who have contributed to an understanding of the concept, and, on the other hand, enables him to suggest, if but implicitly, a criterion for distinguishing the sublime from allied concepts. Besides, he discusses the matter in the wide context of diverse cultures, making quite a few insightful references to Eastern literature; and, consistently with his own conception of philosophy, also from the viewpoint of historical necessity, so that the sublime appears, in his Aesthetik, as a specific stage which the evolving story of art must in fact traverse