Translated by W. Rhys Roberts

Longinus, c. 213–273, Greek rhetorician and philosopher (Cassius Longinus), c. 213–273, Greek rhetorician and philosopher of the Neoplatonic school. He taught rhetoric at Athens. He later became counselor to Queen Zenobia of Palmyra; when the anti-Roman policy he had advocated failed, he was delivered to the Romans, who executed him as a traitor. Of his numerous rhetorical, philosophical, and critical works, only fragments remain. On the Sublime, a Greek treatise of literary criticism, was long attributed to Longinus, but it is now agreed that the author, often known as Pseudo-Longinus, lived in the 1st cent. A. D. 1 See D. St. Marin, Bibliography of the Essay on the Sublime (1967). 2

But, what are we next to say of questions and interrogations? Is it not precisely by the visualizing qualities of these figures that Demosthenes strives to make his speeches far more effective and impressive? 'Pray tell me,--tell me, you sir,--do you wish to go about and inquire of one another, Is there any news? Why, what greater news could there be than this, that a Macedonian is subduing Greece? Is Philip dead? No; but he is ill. Dead or ill, what difference to you? Should anything happen to him, you will speedily create another Philip' (Philippic 1, 10, at Perseus). Again he says, 'Let us sail against Macedonia. Where shall we find a landing-place? someone asks. The war itself will discover the weak places in Philip's position'(Philippic 1, 44, at Perseus) All this, if stated plainly and directly, would have been altogether weaker. As it is, the excitement, and the rapid play of question and answer, and the plan of meeting his own objections as though they were urged by another, have by the help of the figure made the language used not only more elevated but also more convincing. 2. For an exhibition of passion has a greater effect when it seems not to be studied by the speaker himself but to be inspired by the occasion; and questions asked and answered by oneself simulate a natural outburst of passion. 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 that each deliberate thought is struck out and uttered on the spur of the moment, and so beguiles his reason. We may further quote that passage of Herodotus which is regarded as one of the most elevated: 'if thus.......'

XIX The words issue forth without connecting links and are poured out as it were, almost outstripping the speaker himself. 'Locking their shields,' says Xenophon, 'they thrust fought slew fell' (Hellenica IV. 3, 19, at Perseus). 2. And so with the words of Eurylochus:--

We passed, as thou badst, Odysseus, midst twilight of oak-trees round.

There amidst of the forest-glens a beautiful palace we found.

(Odyssey 10. 251-252, at Perseus)

For the lines detached from one another, but none the less hurried along, produce the impression of an agitation which interposes obstacles and at the same time adds impetuosity. This result Homer has produced by the omission of conjunctions.

XX A powerful effect usually attends the union of figures for a common object, when two or three mingle together as it were in partnership, and contribute a fund of strength, persuasiveness, beauty. Thus, in the speech against Meidias, examples will be found of asyndeton, interwoven with instances of anaphora and diatyposis. 'For the smiter can do many things (some of which the sufferer cannot even describe to another) by attitude, by look, by voice' (Against Midias, 72). 2. Then, in order that the narrative may not, as it advances, continue in the same groove (for continuance betokens tranquillity, while passion--the transport and commotion of the soul-- sets order at defiance), straightway he hurries off to other Asyndeta and Repetitions. 'By attitude, by look, by voice, when he acts with insolence, when he acts like an enemy, when he smites with his fists, when he smites you like a slave.' By these words the orator produces the same effect as the assailant--he strikes the mind of the judges by the swift succession of blow on blow. 3. Starting from this point again, as suddenly as a gust of wind, he makes another attack. 'When smitten with blows of fists,' he says, 'when smitten upon the cheek. These things stir the blood, these drive men beyond themselves, when unused to insult. No one can, in describing them, convey a notion of the indignity they imply.' So he maintains throughout, though with continual variation, the essential character of the Repetitions and Asyndeta. In this way, with him, order is disorderly, and on the other hand disorder contains a certain element of order.

XXI Come now, add, if you please, in these cases connecting particles after the fashion of the followers of Isocrates. 'Furthermore, this fact too must not be overlooked that the smiter may do many things, first by attitude, then by look, then again by the mere voice.' You will feel, if you transcribe the passage in this orderly fashion, that the rugged impetuosity of passion, once you make it smooth and equable by adding the copulatives, falls pointless and immediately loses all its fire. 2. Just as the binding of the limbs of runners deprives them of their power of rapid motion, so also passion, when shackled by connecting links and other appendages, chafes at the restriction, for it loses the freedom of its advance and its rapid emission as though from an engine of war.

XXII Hyperbata, or inversions, must be placed under the same category. They are departures in the order of expressions or ideas from the natural sequence; and they bear, it may be said, the very stamp and impress of vehement emotion. Just as those who are really moved by anger, or fear, or indignation, or jealousy, or any other emotion (for the passions are many and countless, and none can give their number), at times turn aside, and when they have taken one thing as their subject often leap to another, foisting in the midst some irrelevant matter, and then again wheel round to their original theme, and driven by their vehemence, as by a veering wind, now this way now that with rapid changes, transform their expressions, their thoughts, the order suggested by a natural sequence, into numberless variations of every kind; so also among the best writers it is by means of hyberbaton that imitation approaches the effects of nature. For art is perfect when it seems to be nature, and nature hits the mark when she contains art hidden within her. We may illustrate by the words of Dionysius of Phocaea in Herodotus. 'Our fortunes lie on a razor's edge, men of Ionia; for freedom or for bondage, and that the bondage of runaway slaves. Now, therefore, if you choose to submit to hardships, you will have toil for the moment, but you will be able to overcome your foes (Histories, 6.11, at Perseus). 2. Here the natural order would have been: 'Men of Ionia, now is the time for you to meet hardships; for our fortunes lie on a razor's edge.' But the speaker postpones the words 'Men of Ionia.' He starts at once with the danger of the situation, as though in such imminent peril he had no time at all to address his hearers. Moreover, he inverts the order of ideas. For instead of saying that they ought to endure hardships, which is the real object of his exhortation, he first assigns the reason because of which they ought to endure hardships, in the words 'our fortunes lie on a razor's edge.' The result is that what he says seems not to be premeditated but to be prompted by the necessities of the moment. 3. In a still higher degree Thucydides is most bold and skilful in disjoining from one another by means of transpositions things that are by nature intimately united and indivisible. Demosthenes is not so masterful as Thucydides, but of all writers he most abounds in this kind of figure, and through his use of hyperbata makes a great impression of vehemence, yes and of unpremeditated speech, and moreover draws his hearers with him into all the perils of his long inversions. 4. For he will often leave in suspense the thought which he has begun to express, and meanwhile he will heap, into a position seemingly alien and unnatural, one thing upon another parenthetically and from any external source whatsoever, throwing his hearer into alarm lest the whole structure of his words should fall to pieces, and compelling him in anxious sympathy to share the peril of the speaker; and then unexpectedly, after a long interval, he adds the long-awaited conclusion at the right place, namely the end, and produces a far greater effect by this very use, so bold and hazardous, of hyperbaton. Examples may be spared because of their abundance.