ON THE SUBLIME
CHAPTER X
LONGINUS
c. 213-273
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ON THE SUBLIME - PART THREE
Chapter X
LET us next consider whether we can point
to anything further that contributes to sublimity
of style. Now, there inhere in all things
by nature certain constituents which are
part and parcel of their substance. It must
needs be, therefore, that we shall find one
source of the sublime in the systematic selection
of the most important elements, and the power
of forming, by their mutual combination,
what may be called one body. The former process
attracts the hearer by the choice of the
ideas, the latter by the aggregation of those
chosen. For instance, Sappho everywhere chooses
the emotions that attend delirious passion
from its accompaniments in actual life. Wherein
does she demonstrate her supreme excellence?
In the skill with which she selects and binds
together the most striking and vehement circumstances
of passion:--
2. Peer of Gods he seemeth to me, the blissful
Man who sits and gazes at thee before him,
Close beside thee sits, and in silence hears
thee Silverly speaking,
Laughing love's low laughter. Oh this, this
only Stirs the troubled heart in my breast
to tremble! For should I but see thee a little
moment, Straight is my voice hushed;
Yea, my tongue is broken, and through and
through me 'Neath the flesh impalpable fire
runs tingling; Nothing see mine eyes, and
a noise of roaring Waves in my ear sounds;
Sweat runs down in rivers, a tremor seizes
All my limbs, and paler than grass in autumn,
Caught by pains of menacing death, I falter,
Lost in the love-trance.
3. Are you not amazed how at one instant
she summons, as though they were all alien
from herself and dispersed, soul, body, ears,
tongue, eyes, colour? Uniting contradictions,
she is, at one and the same time, hot and
cold, in her senses and out of her mind,
for she is either terrified or at the point
of death. The effect desired is that not
one passion only should be seen in her, but
a concourse of the passions. All such things
occur in the case of lovers, but it is, as
I said, the selection of the most striking
of them and their combination into a single
whole that has produced the singular excellence
of the passage. In the same way Homer, when
describing tempests, picks out the most appalling
circumstances. 4. The author of the Arimaspeia
thinks to inspire awe in the following way:--
A marvel exceeding great is this withal to
my soul--
Men dwell on the water afar from the land,
where deep seas roll.
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.
Often, I ween, to the Gods are their hands
upraised on high,
And with hearts in misery heavenward-lifted
in prayer do they cry.
(Aristeas)
It is clear, I imagine, to everybody that
there is more elegance than terror in these
words. 5. But what says Homer ? Let one instance
be quoted from among many:--
And he burst on them like as a wave swift-rushing
beneath black clouds,
Heaved huge by the winds, bursts down on
a ship, and the wild foam shrouds
From the stem to the stern her hull, and
the storm-blast's terrible breath
Roars in the sail, and the heart of the shipmen
shuddereth
In fear, for that scantly upborne are they
now from the clutches of death.
(Iliad 15. 624-628, at Perseus).
6. Aratus has attempted to convert this same
expression to his own use:--
And a slender plank averteth their death.
Only, he has made it trivial and neat instead
of terrible. Furthermore, he has put bounds
to the danger by saying A plank keeps off
death. After all, it does keep it off. Homer,
however, does not for one moment set a limit
to the terror of the scene, but draws a vivid
picture of men continually in peril of their
lives, and often within an ace of perishing
with each successive wave. Moreover, he has
in the words hypek thanatoio, forced into
union, by a kind of unnatural compulsion,
prepositions not usually compounded. He has
thus tortured his line into the similitude
of the impending calamity, and by the constriction
of the verse has excellently figured the
disaster and almost stamped upon the expression
the very form and pressure of the danger,
hupek thanatoio pherontai. 7. This is true also of Archilochus in his
account of the shipwreck and of Demosthenes
in the passage which begins 'It was evening,'
where he describes the bringing of the news
(On the Crown 169, at Perseus)". The
salient points they winnowed, one might say,
according to merit and massed them together,
inserting in the midst nothing frivolous,
mean, or trivial. For these faults mar the
effect of the whole, just as though they
introduced chinks or fissures into stately
and co-ordered edifices, whose walls are
compacted by their reciprocal adjustment.
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