ON THE SUBLIME
CHAPTERS 37- 41
LONGINUS
c. 213-273
|
ON THE SUBLIME - PART NINE
Chapters XXXVII - XLI
XXXVII
CLOSELY related to Metaphors (for we must
return to our point) are comparisons and
similes, differing only in this respect.....
XXXVIII
.... such Hyperboles as: 'unless you carry
your brains trodden down in your heels' (On
the Halonnesus 45, at Perseus). It is necessary,
therefore, to know where to fix the limit
in each case; for an occasional overshooting
of the mark ruins the hyperbole, and such
expressions, when strained too much, lose
their tension, and sometimes swing round
and produce the contrary effect. 2. Isocrates,
for example, fell into unaccountable puerility
owing to the ambition which made him desire
to describe everything with a touch of amplification.
The theme of his Panegyric is that Athens
surpasses Lacedaemon in benefits conferred
upon Greece, and yet at the very outset of
his speech he uses these words: 'Further,
language has such capacity that it is possible
thereby to debase things lofty and invest
things small with grandeur, and to express
old things in a new way, and to discourse
in ancient fashion about what has newly happened
(Panegyricus 8, at Perseus).' 'Do you then,
Isocrates,' it may be asked, 'mean in that
way to interchange the facts of Lacedaemonian
and Athenian history?' For in his eulogy
of language he has, we may say, published
to his hearers a preamble warning them to
distrust himself. 3. Perhaps, then, as we
said in dealing with figures generally, those
hyperboles are best in which the very fact
that they are hyperboles escapes attention.
This happens when, through stress of strong
emotion, they are uttered in connexion with
some great crisis, as is done by Thucydides
in the case of those who perished in Sicily.
'The Syracusans,'he says, 'came down to the
water's edge and began the slaughter of those
chiefly who were in the river, and the water
at once became polluted, but none the less
it was swallowed although muddy and mixed
with blood, and to most it was still worth
fighting for (Thucydides, Histories 7.84).'
That a draught of blood and mud should still
be worth fighting for, is rendered credible
by the intensity of the emotion at a great
crisis. 4. So with the passage in which Herodotus
tells of those who fell at Thermopylae. 'On
this spot,' he says, 'the barbarians buried
them as they defended themselves with daggers--those
of them who had daggers still left--and with
hands and mouths (Herodotus, Histories 7.
225).' Here you may be inclined to protest
against the expressions 'fight with their
very mouths' against men in armour, and 'being
buried' with darts. At the same time the
narrative carries conviction; for the event
does not seem to be introduced for the sake
of the hyperbole, but the hyperbole to spring
naturally from the event. 5. For (as I never
cease to say) the deeds and passions which
verge on transport are a sufficient lenitive
and remedy for every audacity of speech.
This is the reason why the quips of comedy,
although they may be carried to the extreme
of absurdity, are plausible because they
are so amusing. For instance,
Smaller his field was than a Spartan letter.
For mirth, too, is an emotion, an emotion
which has its root in pleasure. 6. Hyperboles
are employed in describing things small as
well as great, since exaggeration is the
common element in both cases. And, in a sense,
ridicule is an amplification of the paltriness
of things.
XXXIX
The fifth of those elements contributing
to the sublime which we mentioned, excellent
friend, at the beginning, still remains to
be dealt with, namely the arrangement of
the words in a certain order. In regard to
this, having already in two treatises sufficiently
stated such results as our inquiry could
compass, we will add, for the purpose of
our present undertaking, only what is absolutely
essential, namely the fact that harmonious
arrangement is not only a natural source
of persuasion and pleasure among men but
also a wonderful instrument of lofty utterance
and of passion. 2. For does not the flute
instil certain emotions into its hearers
and as it were make them beside themselves
and full of frenzy, and supplying a rhythmical
movement constrain the listener to move rhythmically
in accordance therewith and to conform himself
to the melody, although he may be utterly
ignorant of music? Yes, and the tones of
the harp, although in themselves they signify
nothing at all, often cast a wonderful spell,
as you know, over an audience by means of
the variations of sounds, by their pulsation
against one another, and by their mingling
in concert. 3. And yet these are mere semblances
and spurious copies of persuasion, not (as
I have said) genuine activities of human
nature. Are we not, then, to hold that composition
(being a harmony of that language which is
implanted by nature in man and which appeals
not to the hearing only but to the soul itself),
since it calls forth manifold shapes of words,
thoughts, deeds, beauty, melody, all of them
born at our birth and growing with our growth,
and since by means of the blending and variation
of its own tones it seeks to introduce into
the minds of those who are present the emotion
which affects the speaker and since it always
brings the audience to share in it and by
the building of phrase upon phrase raises
a sublime and harmonious structure: are we
not, I say, to hold that harmony by these
selfsame means allures us and invariably
disposes us to stateliness and dignity and
elevation and every emotion which it contains
within itself, gaining absolute mastery over
our minds? But it is folly to dispute concerning
matters which are generally admitted, since
experience is proof sufficient. 4. An example
of a conception which is usually thought
sublime and is really admirable is that which
Demosthenes associates with the decree: 'This
decree caused the danger which then beset
the city to pass by just-as a cloud (On the
Crown 188).' But it owes its happy sound
no less to the harmony than to the thought
itself. For the thought is expressed throughout
in dactylic rhythms, and these are most noble
and productive of sublimity; and therefore
it is that they constitute the heroic, the
finest metre that we know. [And the order
of the expression hôsper nephos is exactly
right.] For if you derange the words of the
sentence and transpose them in whatever way
you will, as for example 'This decree just-as
a cloud caused the danger of the time to
pass by'; nay, if you cut off a single syllable
only and say caused to pass by as a cloud,'
you will perceive to what an extent harmony
is in unison with sublimity. For the very
words 'just-as a cloud' begin with a long
rhythm, which consists of four metrical beats;
but if one syllable is cut off and we read
'as a cloud,' we immediately maim the sublimity
by the abbreviation. Conversely, if you elongate
the word and write 'caused to pass by just-as-if
a cloud,' it means the same thing, but no
longer falls with the same effect upon the
ear, inasmuch as the abrupt grandeur of the
passage loses its energy and tension through
the lengthening of the concluding syllables.
XL
Among the chief causes of the sublime in
speech, as in the structure of the human
body, is the collocation of members, a single
one of which if severed from another possesses
in itself nothing remarkable, but all united
together make a full and perfect organism.
So the constituents of grandeur, when separated
from one another, carry with them sublimity
in distraction this way and that, but when
formed into a body by association and when
further encircled in a chain of harmony they
become sonorous by their very rotundity;
and in periods sublimity is, as it were,
a contribution made by a multitude. 2. We
have, however, sufficiently shown that many
writers and poets who possess no natural
sublimity and are perhaps even wanting in
elevation have nevertheless, although employing
for the most part common and popular words
with no striking associations of their own,
by merely joining and fitting these together,
secured dignity and distinction and the appearance
of freedom from meanness. Instances will
be furnished by Philistus among many others,
by Aristophanes in certain passages, by Euripides
in most. 3. In the last-mentioned author,
Heracles, after the scene in which he slays
his children, uses the words:--
Full-fraught am I with woes--no space for
more.
(Euripides, Hercules Furens 1245). The expression
is a most ordinary one, but it has gained
elevation through the aptness of the structure
of the line. If you shape the sentence in
a different way, you will see this plainly,
the fact being that Euripides is a poet in
virtue of his power of composition rather
than of his invention. 4. In the passage
which describes Dirce torn away by the bull:--
Whitherso'er he turned Swift wheeling round,
he haled and hurled withal Dame, rock, oak,
intershifted ceaselessly, the conception
itself is a fine one, but it has been rendered
more forcible by the fact that the harmony
is not hurried or carried as it were on rollers,
but the words act as buttresses for one another
and find support in the pauses, and issue
finally in a well-grounded sublimity.
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.
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. 2. 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.
Sometimes, indeed, the listeners knowing
beforehand the due terminations stamp their
feet in time with the speaker, and as in
a dance give the right step in anticipation.
3. In like manner those words are destitute
of sublimity which lie too close together,
and are cut up into short and tiny syllables,
and are held together as if with wooden bolts
by sheer inequality and ruggedness.
|