In eighteenth-century Britain the as an aesthetic category was discussed and appreciated in order to encourage a masculine, 'great and noble' mind. It was applied to literature, picture and natural scenery, and was accepted enthusiastically. In 1818 Mary Shelley published her Gothic novel Frankenstein, which can be interpreted as a kind of parody on the popular discourse of the . Here we can find the transformation of the in two ways: first, into a grandiose void without any profound meaning and second, into its grotesque parallel, that is, the negative . The story is apparently a adventure and tragedy of a young man who tried to create a human being. But the satanic figure of the creature offers a new aspect of the , emphasizing its ugliness and terrific violence. The figure of the monster reflects the mass of something to be differentiated and excluded, something like the shadow of 'man of taste' or 'standard of taste' itself. Alluding to the negative sublimity of the dreadful monster, the story seems to show that the aesthetic principles, such as 'disinterestedness', were established on violent differentiation and exclusion. Thus we can regard the creature in Frankenstein as the reverse image produced in the eighteenth-century discourse on the 'aesthetic'.

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The purpose of this paper is one. By comparison of two aesthetic theories based on different thoughts, I will try to open up a new perspective of the aesthetic topic of the (or das Erhabene). First I will make clear the difference between Edmund Burke and F. W. J. Schelling in view of the word '' (or 'erhaben'). Secondly I will point out that Schelling is different from Burke in conception of the Creation, by comparison of the Burke's 'imagination' with the Schelling's 'Natur'. Eventually this paper is to lead that the Schelling's creationtheory on works of art in „Über das Verhältnis der bildenden Künste zu der Natur (1807) is a sort of jumping board, which makes the more advanced and more intensified.

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Burke's “A Philosophical Enquiry into the Origin of our Ideas of the

and Beautiful” should be read as the expression of his religion as has been asserted by F. P. Lock, Ian Harris and others. We can see his religion in “A Note-Book of Edmund Burke”, in which he says “Hence Moral Duties are included in Religion, and enforced by it”. Religion enforces men to perform their moral duties. The is almost equivalent to the feeling of divine or delightful horror to the power of God. Burke tried to remind us of the fear to God through his discourse on the . In this point, we can say that Burke revolted against the 18th century when the God of Justice was stepping back to the scenery of this world.

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In his later work, L'inhumaine: Causeries sur le temps (1988), Jean-François Lyotard advocated the aesthetic political theory under the influence of Edmund Burke's early writing, A Philosophical Enquiry into the Origin of our Ideas of the

Sublime

and Beautiful (1759), though little attention has been paid to this point so far. This paper is intended as the examination of Burke's physiological aesthetics of sublimity and Lyotard's postmodern theory of the from the perspective of political philosophy. Indeed, they didn't preach Kantian moral principles, but claimed the necessity of cultivation of the ethical sensibility through the aesthetical experience of the in their theories. We may go on from this to the conclusion that it is what Stephen White called “the sense of responsibility to otherness” and “the world-disclosing function of language” in his work, Political Theory and Postmodernism (1991) that Burke and Lyotard emphasized the importance of.

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　In this essay, I have tried to show how Hinatsu Kōnosuke came to form his poetic style. He called it “the Gothic-Roman style,” and I think its roots can be found in the tradition of Western cultural history, specifically, in the aesthetic of the

. “The ” is an idea that appeared at the end of seventeenth century in England. It changed remarkably the way mountains have been viewed in Europe. Since then mountains that had been regarded as horrible have become places whose desolation people find pleasing. This new sensibility was named “the ” by Edmund Burke. I think “the ” was a counter current against scientific rationalism. The medieval hierarchical universe, which is the setting of Dante's Divine Comedy, was destroyed by the scientific discoveries of Copernicus, Newton, etc., and God was replaced by nature. The result was the loss of “the sacred.” I think “the ,” was compensation for this loss.

　This taste for “the

” was introduced in Japan in the Meiji period, and brought about a new taste for mountains. Hinatsu Kōnosuke’s Gothic-Roman style can be interpreted as a literary expression of this Japanese “.” It is characterized by the frequent use of dificult and obsolete Chinese characters, which impress the reader by their strange appearance. He called this effect “the spirit of Chinese characters.” He had an innate taste for negative things, so it is only natural for him to have had an affinity for the aesthetic of the Moreover, the pleasure he got from such negative beauty was compensation for his miserable life, and his literary expressions of it were, for him, a kind of salvation. He crystalized his highly-sophisticated symbolic 190 poems with the help of alchemic symbolism. In forming his style, he was greatly influenced by E. A. Poe. He assimilated Poe’s Gothicism, but changed the emphasis from rhythm to the visual effects of Chinese characters. It is here that we can see evidence of Kōnosuke’ originality.

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