определението

Real facts and related considerations have given the problem of the beautiful a dominant significance, have brought it to the forefront of aesthetic categories and concepts. Theoretical analysis has long been faced with the fact that in characterizing such categories as the sublime, the tragic, and the comic, it becomes necessary to operate with the ideal, that is, with the comparison (brightly polarized or silent) of what is with what should be. The ideal as the norm of what is due determines to one degree or another the perception of the sublime, the tragic, and the comic. The sublime is usually understood as a variety of the beautiful in which power and grandeur are deeply emphasized, the tragic - as the downfall of the beautiful, and the comic most often as its antipode, as its negative realization. The ideal is, of course, a human ideal and in this sense subjective, but at its base always lies that real or possible existence that a person evaluates as beautiful. It can be found as a moment even in utopian ideals. And if the ideals and the beautiful that lie at its base are necessary, characterizing signs of the sublime, the tragic and the comic, then obviously they, as more general concepts, must be brought out at the beginning of the analysis, placed at the center of aesthetics. The opposite is not noticeable. Although in the analysis of the beautiful, both the sublime, the tragic and the comic can introduce certain nuances or even correctives, the problem of the beautiful does not need them in order to be theoretically achieved. This is seen not only logically, but also historically - in the history of aesthetics. Plato was not concerned with the sublime, and he was interested in the tragic and the comic with a view to their effect, but not in their essence. Hogarth and Burke had no special interest in the comic and tragic (Hogarth also in the sublime), yet they have left us some of the most interesting treatises on the beautiful; the same applies to Diderot. In the Critique of Judgment there is no analysis of the tragic, and only isolated observations about the comic; in his three-volume Aesthetics Hegel shows an obvious disregard for the sublime, etc.