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[ BOOK A PHILOSOPHICAL ENQUIRY INTO THE ORIGIN OF OUR IDEAS OF THE SUBLIME AND THE BEAUTIFUL (OXFORD WORLD'S CLASSICS) by BURKE OVERVIEW ]

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Paul Guyer conducts the reader through Burke's 'Enquiry', focusing on its place in the history of aesthetics and highlighting its innovations, as well as its influence on many subsequent authors from Kant and Schiller to Ruskin and Nietzsche.

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Book ID Asin: 019966871X
Book Title: A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and the Beautiful (Oxford World's Classics)
Book Author: Burke
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A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and the Beautiful (Oxford World's Classics) by Burke Book Review

Name: blake
Rating: 4.0 out of 5 stars
Title: .0 out of 5 stars An important book.
Date: Reviewed in the United States 🇺🇸 on July 11, 2018
Review: An interesting theory of aesthetics. Burke argues that the sublime and the beautiful are distinct things. The sublime has its roots in terror. So, as an example, we do not find Everest beautiful, but sublime. It is sublime because it makes us feel our own insignificance and fragility. Burke applies this thesis to many things. I personally found his reflections on the sublime and religion gripping.

Name: Tee'd Zebra
Rating: 5.0 out of 5 stars
Title: .0 out of 5 stars Five Stars
Date: Reviewed in the United States 🇺🇸 on November 13, 2017
Review: the classic and easy to read

Name: Israel Drazin
Rating: 5.0 out of 5 stars
Title: .0 out of 5 stars This book prompts us to think and threby improves us
Date: Reviewed in the United States 🇺🇸 on December 16, 2022
Review: Edmund Burke (1729-1797) discusses many items in the 154-page book "A Philosophical Inquiry into the Sublime and the Beautiful." He defines the sublime as the root of terror. It is different than beautiful. God is not beautiful but is sublime. He also discusses society, solitude, sympathy, imitating, ambition, tragedy, and other matters. He tells us the views of many thinkers such as Schiller, Kant, Nietzsche, Addison, and others. He explains that the purpose of sex is to perpetuate the species, and nature or God attached pleasure to it to ensure people do it. He admits he does not know why people are attracted to animals such as dogs and cats, but modern thinkers have suggested reasons such as the independence of cats gives pleasure to cat lovers who love independence.

Name: Cornelius Jackson
Rating: 3.0 out of 5 stars
Title: .0 out of 5 stars Bad Notes in Oxford Edition
Date: Reviewed in the United States 🇺🇸 on July 16, 2020
Review: This review is of the 2015 Oxford World's Classics edition, edited by Paul Guyer. Burke's treatise itself is obviously a classic and recommended reading for anyone interested in aesthetics.

Guyer's introduction does a great job of situating Burke in the history of aesthetics, outlining the book's argument, and explaining some of the criticisms made against the book both by its immediate audience and later readers. The endnotes are where I have a major issue. Burke very frequently quotes from Latin authors without translating them, as the educated reader in his day would have known Latin. Guyer (or perhaps a grad student working under him?) translates these passages in the notes, always badly. Sometimes the translation makes no sense on its own; it usually does not come close to accurately representing the sense of the Latin. As an example, the last such Latin quotation in the book is from Virgil's Aeneid, where Pyrrhus is murdering Priam on the very altar which Priam had sanctified in his role as high priest (making the killing an extremely sacrilegious act). The Latin given by Burke is:

Sanguine foedantem quos ipse sacraverat ignes.

I would translate this as "defiling with (Priam's) blood the fires which he (Priam) himself had sanctified." But Guyer's note gives it thus:

"Fires which he had sanctified with his own blood."

By not translating foedantem (defiling) at all and misconstruing the grammar, Guyer's translation misses the entire point of the quotation--Burke is using it as an example of language's ability to convey connected circumstances (like Priam's having previously sanctified that altar) that a painting of the same scene could not.

I'm not sure how such abysmal translations made their way into the finished product, but they should certainly be replaced in any later edition.