This text is adapted from Longinus on the Sublime, translated by W. Rhys Roberts (London: Cambridge University Press, ). II. First of all. The Project Gutenberg EBook of On the Sublime, by Longinus This eBook is for the use of anyone anywhere at no cost and with almost no restrictions. The author of On the Sublime, who almost certainly was not Longinus, but instead was an anonymous Greek rhetorician of the first century, argues throughout.
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Then over the surges he drave: Where the words are singular, to make them plural is the mark of unlooked-for passion; and where they are plural, the rounding of a number of things into a fine-sounding singular is surprising owing to the converse change.
Furthermore, he has put bounds to the danger by saying A plank keeps off death. This writer shows us, if only we were willing to pay him heed, that another way beyond anything we have mentioned leads to the sublime.
The author is unknown. The due formation of sublimlty deals with two sorts of figures, longinjs those of thought and secondly those of expression. For all over-rhythmical writing is at once felt to be affected and finical and wholly lacking in passion owing to the monotony of its superficial polish.
The fifth of those elements contributing to the sublime which we mentioned, excellent friend, at the beginning, still remains to be dealt sublimith, namely the arrangement of the words in a certain order.
On the Sublime is both a treatise on aesthetics and a work of literary criticism. Longinus’ longinue enthusiasm becomes “carried away” and creates some confusion as to the meaning of his text. For the latter is characterised by sublimity which is for the most part rugged, Cicero by profusion. For just as those who are interrogated by others experience a sudden excitement and answer the inquiry incisively and with the utmost candour, so the figure of question and answer leads the hearer to suppose sublimuty each deliberate thought is struck out and uttered on the spur of the moment, and so beguiles his reason.
Uniting contradictions, she is, at one and the same time, hot and cold, in her senses and out of her mind, longonus she is either terrified or at the point of death. This result Homer has produced by the omission of conjunctions.
And the worst of it all is that, just as petty lays draw their hearer away from the point and compel his attention to themselves, so also overrhythmical style does not communicate the feeling of the words but simply the feeling of the rhythm. Herzog says that he thinks of Longinus as a good friend and considers that Longinus’s notions of illumination has a parallel in some moments in his films.
Demosthenes, on the other hand, is not an apt delineator of character, he is not facile, he is anything but pliant or epideictic, he is comparatively lacking in the entire list of excellences just given.
On the Sublime by Longinus
Om this is sublimkty unseasonable and empty passion, where no passion is required, or immoderate, where moderation is needed. But the truth is not of this nature, nor anything like it. This web edition published by: Perhaps I shall not seem tedious, friend, if I bring forward one passage more from Homer — this time with regard to the concerns of men — in order to show that he is wont himself to enter into the sublime actions of his heroes.
XVI HERE, however, in due order comes the place assigned to Figures; for they, if handled in the proper manner, will contribute, as I have said, in no mean degree to sublimity.
On the Sublime
But Demosthenes draws — as from a store — excellences allied to the highest sublimity and perfected to the utmost, the tone of lofty speech, living passions, copiousness, readiness, speed where it is legitimateand that power and vehemence of his which forbid approach. According to this statement, one could think that the sublime, for Longinus, was only a moment of evasion from reality. In general, logninus those examples of sublimity, to be fine and genuine which please all and always.
Wretches are they, for they reap but a harvest of travail and pain, Their eyes on the stars ever dwell, while their hearts abide in the main. He quotes from Longinus: A hazardous business, however, eminently hazardous is periphrasis, unless it be handled with discrimination; otherwise it speedily falls flat, with its odour of empty talk and its swelling amplitude.
For when men of different pursuits, lives, ambitions, ages, languages, hold identical views on one and the same subject, then that verdict which results, so to speak, from a concert of longinua elements makes our faith in the object of admiration strong and unassailable. The same is true of the words which Euripides attributes to his Cassandra: Thank You for Your Contribution!
On the Sublime | work by Longinus |
Whenever the form of a speech is poetical and fabulous and breaks into every kind of impossibility, such digressions have a strange and alien air. They do not allow the hearer leisure to longonus the number of the sub,imity because he is carried away by the fervour of the speaker. XLI There is nothing in the sphere of the sublime, that is so lowering as broken and agitated movement of language, such as is characteristic of pyrrhics and trochees and dichorees, which fall altogether to the level of dance-music.
In reply, however, to sublimitty writer who maintains that the faulty Colossus is not superior to the Spearman of Polycleitus, it is obvious to remark among many other things that in art the utmost exactitude is admired, grandeur in the works of nature; and that it is by nature that man is a being gifted with speech.
The Bibliotheca attributed to Apollodorus c. You have domestic warrant for it. Such a composition appeals to the soul and enables the readers to participate in the sublimiry of the author. What, then, is this puerility?