. After Philip’s victory at Chaeronea (338 B.C. And launched them flying to the cloudy vales. Weight, grandeur, and urgency in writing are very largely produced, dear young friend, by the use of “visualizations” (phantasiai). In all such cases the stronger element seems naturally to catch our ears, so that our attention is drawn from the reasoning to the enthralling effect of the imagination, and the reality is concealed in a halo of brilliance. Yet again, the converse of this, the contraction of plurals to singulars, sometimes gives a great effect of sublimity.   upon Ossa Freedom, they say, has the power to foster noble minds and to fill them with high hopes, and at the same time to rouse our spirit of mutual rivalry and eager competition for the foremost place. D I must define these matters briefly in order to make my position clear. 10. ‘let there be light,’ and there was light, ‘Let there be earth,’ and there was earth.”b “What then did those immortals see, the writers who aimed at all which is greatest and scorned the accuracy which lies in every detail? But since you have now asked me in my turn to prepare some notes on the sublime for your own sake, let us then see whether my, a. Caecilius of Caleacte in Sicily was a noted rhetorician and historian, contemporary with Dionysius of Halicarnassus, and said to have been a Jew. Demosthenes, on the other hand, has no gift of characterization or of fluency, is far from facile, and no epideictic orator. [Return] b. Theopompus fr. Zoilus of Amphipolis—nicknamed Homeromastix, Scourge of Homer—was a fourth-century sophist and moralist who criticized improbable and inappropriate features in the epic. eleg. And dipped their fingers in the bullock’s blood, And we must say the same, I suppose, about variety of construction, hyperbole, and the use of plurals for singulars. Moreover, the worst of it is that, just as songs divert the attention of the audience from the action and forcibly claim it for themselves, so, too, over-rhythmical prose gives the audience the effect not of the words but of the rhythm. Or onions, if we accept Toups conjecture. 289). Longinus is the conventional name of the author of the treatise On the Sublime, a work which focuses on the effect of good writing. Introduction. Figures seem to be natural allies of the sublime and to draw in turn marvellous reinforcement from the alliance. indelible. For it soon falls flat, smacking of triviality and grossness. [Return] b. Euripides, Iphigenia in Tauris 291: a herdsman describes to Iphigenia the mad behaviour and words of the man he has seen on the beach, who turns out to be Orestes, who is experiencing the same delusion of attack by the Erinyes avenging his mother. all the Nine inspire, And bless their Critick with a Poet's Fire. . [Return] c. See Plutarch, Nicias 1. Now to desist from their tasks and make ready a (e.g.) N Take Demosthenes: “And yet, suppose that at this very moment we were to hear an uproar in front of the law courts and someone, a. Oedipus at Colonus 1586 – 1666. look for something greater than human. Heard you ever at home long ago in the days of Indeed, I cannot discover on consideration how, if we value boundless wealth, or to speak more truly, make a god of it, we can possibly keep our minds safe from the intrusion of the evils that accompany it. For the considerable influence of the passage in the eighteenth, see esp. The Longinian sublime implies a dynamic overlapping, or reciprocity, between the orders of the symbolic and the imaginary" writes Guerlac (286). It is rather as though the Ocean had retreated into itself and lay quiet within its own confines. Utterances which appear inspired are often not sublime but merely childish. galleys, almost stamped on the diction the precise form of the danger—“swept out from under the jaws of destruction.” Comparable to this is the passage of Archilochus about the shipwrecka and the description of the arrival of the news in Demosthenes. It is curious that the third-century Longinus (Fl5 Prickard) actually says: “Plato is the first who best transferred Homeric grandeur (. Myobject throughout has been to make Longinus speak in English, topreserve, as far as lay in my power, the noble fire and lofty tone ofthe original. While the author is not definitively known, Longinus or Pseudo-Longinus is typically credited for the work. . Ajax, summoned from Hades, refuses to speak to Odysseus, because he is still angry at the award of Achilles’ armour to Odysseus rather than to himself. Quotes Longinus. It refers to the expedition of Artaxerxes Ochus against Egypt in the middle of the fourth century (of. Well, then, let us see whether we can find anything else that can make style sublime. None of the members has any value by itself apart from the others, yet one with another they all constitute a perfect system. The Liberal Arts Press. Caecilius, however, endeavouring by a thousand instances to demonstrate the nature of the sublime, as though we know nothing about it, apparently thought it unnecessary to deal with the means by which we may be enabled to develop our natures to some degree of grandeur. And fire his homestead to a heap of ash. Cicero seems to me like a widespread conflagration, rolling along and devouring all around it: his is a strong and steady fire, its flames duly distributed, now here, now there, and fed by fresh supplies of fuel. [Return] b. the omission of conjunctions. “pure,” in language, possessing one of the basic stylistic virtues. —but it is still more worthy of notice that plurals sometimes make a grander impression, courting favour by the sense of multitude given by the grammatical number. Correctness escapes censure: greatness earns admiration as well. What then is puerility? Capering leapt from the deep and greeted the You know, my dear Postumius Terentianus, that when we were studying together Caecilius’a little treatise on the Sublime it appeared to us to fall below the level of the subject and to fail to address the main points, or render its readers very much of that assistance which should be an authors chief aim, seeing that there are two requisites in every systematic treatise: the author must first define his subject, and secondly, though this is really more important, he must show us how and by what means we may reach the goal ourselves. Moreover, the poet’s oath does not immortalize the men so as to beget in the audience a true opinion of their worth, but instead he wanders from those who risked their lives to an inanimate object, namely the fight. Not indeed that I am ignorant of the second point, that whatever men do is always inevitably regarded from the worst side: faults make an ineradicable impression, but beauties soon slip from our memory. That is why the judgement of all ages, which no jealousy can convict of mental incompetence, has awarded them the crown of victory, guards it as their irremovable possession, and is likely to preserve it, So long as the rivers run and the tall trees flourish here in our halls. [Return] c. Historian of Alexander, writing in the reign of Ptolemy II (285 – 246 B.C.) What manner of man was Odysseus.a, 28. I’ll weave one torrent coronal of flame .) So supreme is the grandeur of this, one might well say that if the horses of heaven take two consecutive strides there will then be no place found for them in the world. “Philip,” he says, “had a wonderful faculty of stomaching things.”b Thus a common expression sometimes proves far more vivid than elegant language. There, too, Patroclus lies, the peer of the gods in Lysias is far inferior to him both in the greatness and number of his excellences; yet the abundance of his faults is still greater than his deficiency in excellences. have called them “heaps of every kind of grain and of all known aids to cookery and good living”; or, if he must at all hazards be explicit, “all the dainties known to caterers and cooks.” One ought not in elevated passages to descend to what is sordid and contemptible, except under the severe pressure of necessity, but the proper course is to suit the words to the dignity of the subject and thus imitate Nature, the artist that created man. Terribly roars in the sails; and in their heart trem- In both pairs the first named is impeccable and a master of elegance in the smooth style, while Pindar and Sophocles sometimes seem to fire the whole landscape as they sweep across it, though often their fire is unaccountably quenched and they fall miserably flat. 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