On the Sublime - active 1st century Longinus (read novels website .TXT) 📗

banishing by this feeble piece of subtlety all the terror from his description; setting limits, moreover, to the peril described by saying “shields them”; for so long as it shields them it matters not whether the “timber” be “frail” or stout. But Homer does not set any fixed limit to the danger, but gives us a vivid picture of men a thousand times on the brink of destruction, every wave threatening them with instant death. Moreover, by his bold and forcible combination of prepositions of opposite meaning he tortures his language to imitate the agony of the scene, the constraint which is put on the words accurately reflecting the anxiety of the sailors’ minds, and the diction being stamped, as it were, with the peculiar terror of the situation. 7 Similarly Archilochus in his description of the shipwreck, and similarly Demosthenes when he describes how the news came of the taking of Elatea28—“It was evening,” etc. Each of these authors fastidiously rejects whatever is not essential to the subject, and in putting together the most vivid features is careful to guard against the interposition of anything frivolous, unbecoming, or tiresome. Such blemishes mar the general effect, and give a patched and gaping appearance to the edifice of sublimity, which ought to be built up in a solid and uniform structure.

Closely associated with the part of our subject we have just treated of is that excellence of writing which is called amplification, when a writer or pleader, whose theme admits of many successive starting-points and pauses, brings on one impressive point after another in a continuous and ascending scale. 2 Now whether this is employed in the treatment of a commonplace, or in the way of exaggeration, whether to place arguments or facts in a strong light, or in the disposition of actions, or of passions—for amplification takes a hundred different shapes—in all cases the orator must be cautioned that none of these methods is complete without the aid of sublimity,—unless, indeed, it be our object to excite pity, or to depreciate an opponent’s argument. In all other uses of amplification, if you subtract the element of sublimity you will take as it were the soul from the body. No sooner is the support of sublimity removed than the whole becomes lifeless, nerveless, and dull.

3 There is a difference, however, between the rules I am now giving and those just mentioned. Then I was speaking of the delineation and co-ordination of the principal circumstances. My next task, therefore, must be briefly to define this difference, and with it the general distinction between amplification and sublimity. Our whole discourse will thus gain in clearness.

I must first remark that I am not satisfied with the definition of amplification generally given by authorities on rhetoric. They explain it to be a form of language which invests the subject with a certain grandeur. Yes, but this definition may be applied indifferently to sublimity, pathos, and the use of figurative language, since all these invest the discourse with some sort of grandeur. The difference seems to me to lie in this, that sublimity gives elevation to a subject, while amplification gives extension as well. Thus the sublime is often conveyed in a single thought,29 but amplification can only subsist with a certain prolixity and diffusiveness. 2 The most general definition of amplification would explain it to consist in the gathering together of all the constituent parts and topics of a subject, emphasising the argument by repeated insistence, herein differing from proof, that whereas the object of proof is logical demonstration, ...

Plato, like the sea, pours forth his riches in a copious and expansive flood. 3 Hence the style of the orator, who is the greater master of our emotions, is often, as it were, red-hot and ablaze with passion, whereas Plato, whose strength lay in a sort of weighty and sober magnificence, though never frigid, does not rival the thunders of Demosthenes. 4 And, if a Greek may be allowed to express an opinion on the subject of Latin literature, I think the same difference may be discerned in the grandeur of Cicero as compared with that of his Grecian rival. The sublimity of Demosthenes is generally sudden and abrupt: that of Cicero is equally diffused. Demosthenes is vehement, rapid, vigorous, terrible; he burns and sweeps away all before him; and hence we may liken him to a whirlwind or a thunderbolt: Cicero is like a widespread conflagration, which rolls over and feeds on all around it, whose fire is extensive and burns long, breaking out successively in different places, and finding its fuel now here, now there. 5 Such points, however, I resign to your more competent judgment.

To resume, then, the high-strung sublimity of Demosthenes is appropriate to all cases where it is desired to exaggerate, or to rouse some vehement emotion, and generally when we want to carry away our audience with us. We must employ the diffusive style, on the other hand, when we wish to overpower them with a flood of language. It is suitable, for example, to familiar topics, and to perorations in most cases, and to digressions, and to all descriptive and declamatory passages, and in dealing with history or natural science, and in numerous other cases.

To return, however, to Plato: how grand he can be with all that gentle and noiseless flow of eloquence you will be reminded by this characteristic passage, which you have read in his Republic: “They, therefore, who have no knowledge of wisdom and virtue, whose lives are passed in feasting and similar joys, are borne downwards, as is but natural, and in this region they wander all their lives; but they never lifted up their eyes nor were borne upwards to the true world above, nor ever tasted of pleasure abiding and unalloyed; but like beasts they ever look downwards, and their heads are bent to the ground, or rather to the table; they feed full their bellies and their lusts, and longing ever more and more for such things they kick and gore one another with horns and hoofs of iron, and slay one another in their insatiable desires.”30

2 We may learn from this author, if we would but observe his example, that there is yet another path besides those mentioned which leads to sublime heights. What path do I mean? The emulous imitation of the great poets and prose-writers of the past. On this mark, dear friend, let us keep our eyes ever steadfastly