ON THE SUBLIME
CHAPTERS 28 - 32
LONGINUS
c. 213-273
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ON THE SUBLIME - PART SEVEN
Chapters XVIII - XXXII
XXVIII
AS to whether or no Periphrasis contributes
to the sublime, no one, I think, will hesitate.
For just as in music the so-called accompaniments
bring out the charm of the melody, so also
periphrasis often harmonises with the normal
expression and adds greatly to its beauty,
especially if it has a quality which is not
inflated and dissonant but pleasantly tempered.
2. Plato will furnish an instance in proof
at the opening of his Funeral Oration. 'In
truth they have gained from us their rightful
tribute, in the enjoyment of which they proceed
along their destined path, escorted by their
country publicly, and privately each by his
kinsmen (Menexenus 236d, at Perseus).' Death
he calls 'their destined path,' and the tribute
of accustomed rites he calls 'being escorted
publicly by their fatherland.' Is it in a
slight degree only that he has magnified
the conception by the use of these words?
Has he not rather, starting with unadorned
diction, made it musical, and shed over it
like a harmony the melodious rhythm which
comes from periphrasis? 3. And Xenophon says,
'You regard toil as the guide to a joyous
life. You have garnered in your souls the
goodliest of all possessions and the fittest
for warriors. For you rejoice more in praise
than in all else (Cyropaideia 1.5.12, at
Perseus).' In using, instead of 'you are
willing to toil,' the words 'you deem toil
the guide to a joyous life,' and in expanding
the rest of the sentence in like manner,
he has annexed to his eulogy a lofty idea.
4. And so with that inimitable phrase of
Herodotus: 'The goddess afflicted those Scythians
who had pillaged the temple with an unsexing
malady (Histories 1. 105. 4, at Perseus).'
XXIX
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. This is the reason
why Plato (who is always strong in figurative
language, and at times unseasonably so) is
taunted because in his Laws he says that
'neither gold nor silver treasure should
be allowed to establish itself and abide
in the city (Laws 801b, at Perseus).' The
critic says that, if he had been forbidding
the possession of cattle, he would obviously
have spoken of ovine and bovine treasure.
2. But our parenthetical disquisition with
regard to the use of figures as bearing upon
the sublime has run to sufficient length,
dear Terentianus; for all these things lend
additional passion and animation to style,
and passion is as intimately allied with
sublimity as sketches of character with entertainment.
XXX
SINCE, however, it is the case that, in discourse,
thought and diction are for the most part
developed one through the other, come let
us proceed to consider any branches of the
subject of diction which have so far been
neglected. Now it is, no doubt, superfluous
to dilate to those who know it well upon
the fact that the choice of proper and striking
words wonderfully attracts and enthralls
the hearer, and that such a choice is the
leading ambition of all orators and writers,
since it is the direct agency which ensures
the presence in writings, as upon the fairest
statues, of the perfection of grandeur, beauty,
mellowness, dignity, force, power, and any
other high qualities there may be, and breathes
into dead things a kind of living voice.
All this it is, I say, needless to mention,
for beautiful words are in very truth the
peculiar light of thought. 2. It may, however,
be pointed out that stately language is not
to be used everywhere, since to invest petty
affairs with great and high- sounding names
would seem just like putting a full-sized
tragic mask upon an infant boy. But in poetry
and......
XXXI
......full of vigour and racy; and so is
Anacreon's line,
'That Thracian mare no longer do I heed.'
In this way, too, that original expression
of Theopompus merits praise. Owing to the
correspondence between word and thing it
seems to me to be highly expressive; and
yet Caecilius for some unexplained reason
finds fault with it. 'Philip,' says Theopompus,
'had a genius for stomaching things.' Now
a homely expression of this kind is sometimes
much more telling than elegant language,
for it is understood at once since it is
drawn from common life, and the fact that
it is familiar makes it only the more convincing.
So the words 'stomaching things' are used
most strikingly of a man who, for the sake
of attaining his own ends, patiently and
with cheerfulness endures things shameful
and vile. 2. So with the words of Herodotus.
'Cleomenes,' he says, 'went mad, and with
a small sword cut the flesh of his own body
into strips, until he slew himself by making
mincemeat of his entire person (Herodotus,
Histories 6. 75, at Perseus).' And, 'Pythes
fought on shipboard, until he was utterly
hacked to pieces (Herodotus, Histories 7.
181, at Perseus).' These phrases graze the
very edge of vulgarity, but they are saved
from vulgarity by their expressiveness.
XXXII
Further, with regard to the number of metaphors
to be employed, Caecilius seems to assent
to the view of those who lay it down that
not more than two, or at the most three,
should be ranged together in the same passage.
Demosthenes is, in fact, the standard in
this as in other matters. The proper time
for using metaphors is when the passions
roll like a torrent and sweep a multitude
of them down their resistless flood. 2. 'Men,'
says he, 'who are vile flatterers, who have
maimed their own fatherlands each one of
them, who have toasted away their liberty
first to Philip and now to Alexander, who
measure happiness by their belly and their
lowest desires, and who have overthrown that
liberty and that freedom from despotic mastery
which to the Greeks of an earlier time were
the rules and standards of good' (Demosthenes,
On the Crown, 296, at Perseus). Here the
orator's wrath against the traitors throws
a veil over the number of the tropes. 3.
In the same spirit, Aristotle and Theophrastus
point out that the following phrases serve
to soften bold metaphors--'as if,' and 'as
it were,' and 'if one may so say,' and 'if
one may venture such an expression'; for
the qualifying words mitigate, they say,
the audacity of expression. 4. I accept that
view, but still for number and boldness of
metaphors I maintain, as I said in dealing
with figures, that strong and timely passion
and noble sublimity are the appropriate palliatives.
For it is the nature of the passions, in
their vehement rush, to sweep and thrust
everything before them, or rather to demand
hazardous turns as altogether indispensable.
They do not allow the hearer leisure to criticise
the number of the metaphors because he is
carried away by the fervour of the speaker.
5. Moreover, in the treatment of commonplaces
and in descriptions there is nothing so impressive
as a number of tropes following close one
upon the other. It is by this means that
in Xenophon the anatomy of the human tabernacle
is magnificently depicted, and still more
divinely in Plato. Plato says that its head
is a citadel; in the midst, between the head
and the breast, is built the neck like some
isthmus. The vertebrae, he says, are fixed
beneath like pivots. Pleasure is a bait which
tempts men to ill, the tongue the test of
taste; the heart is the knot of the veins
and the wellspring of the blood that courses
round impetuously, and it is stationed in
the guard-house of the body. The passages
by which the blood races this way and that
he names alleys. He says that the gods, contriving
succour for the beating of the heart (which
takes place when dangers are expected, and
when wrath excites it, since it then reaches
a fiery heat), have implanted the lungs,
which are soft and bloodless and have pores
within, to serve as a buffer, in order that
the heart may, when its inward wrath boils
over, beat against a yielding substance and
so escape injury. The seat of the desires
he compared to the women's apartments in
a house, that of anger to the men's. The
spleen he called the napkin of the inward
parts, whence it is filled with secretions
and grows to a great and festering bulk.
After this, the gods canopied the whole with
flesh, putting forward the flesh as a defence
against injuries from without, as though
it were a hair-cushion. The blood he called
the fodder of the flesh. 'In order to promote
nutrition,' he continues, ' they irrigated
the body, cutting conduits as in gardens,
in order that, with the body forming a set
of tiny channels, the streams of the veins
might flow as from a never-failing source.'
When the end comes, he says that the cables
of the soul are loosed like those of a ship,
and she is allowed to go free (Plato, Timaeus
65c-85e, at Perseus). 6. Examples of a similar
nature are to be found in a never-ending
series. But those indicated are enough to
show that figurative language possesses great
natural power, and that metaphors contribute
to the sublime; and at the same time that
it is impassioned and descriptive passages
which rejoice in them to the greatest extent.
7. It is obvious, however, even though I
do not dwell upon it, that the use of tropes,
like all other beauties of expression, is
apt to lead to excess. On this score Plato
himself is much criticised, since he is often
carried away by a sort of frenzy of words
into strong and harsh metaphors and into
inflated allegory. 'For it is not readily
observed,' he says, 'that a city ought to
be mixed like a bowl, in which the mad wine
seethes when it has been poured in, though
when chastened by another god who is sober,
falling thus into noble company, it makes
a good and temperate drink' (Plato, Laws
773c, at Perseus). For to call water 'a sober
god,' and mixing 'chastening,' is--the critics
say--the language of a poet, and one who
is in truth far from sober. 8. Fastening
upon such defects, however, Caecilius ventured,
in his writings in praise of Lysias, to make
the assertion that Lysias was altogether
superior to Plato. In so doing he gave way
to two blind impulses of passion. Loving
Lysias better even than himself, he nevertheless
hates Plato more perfectly than he loves
Lysias. In fact, he is carried away by the
spirit of contention, and even his premisses
are not, as he thought, admitted. For he
prefers the orator as faultless and immaculate
to Plato as one who has often made mistakes.
But the truth is not of this nature, nor
anything like it.
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