On the Sublime

The text which has been followed in the present Translation is that of Jahn (Bonn, 1867), revised by Vahlen, and republished in 1884. In several instances it has been found necessary to diverge from Vahlen's readings, such divergencies being duly pointed out in the Notes.

One word as to the aim and scope of the present Translation. My object throughout has been to make Longinus speak in English, to preserve, as far as lay in my power, the noble fire and lofty tone of the original. How to effect this, without being betrayed into a loose paraphrase, was an exceedingly difficult problem. The style of Longinus is in a high degree original, occasionally running into strange eccentricities of language; and no one who has not made the attempt can realise the difficulty of giving anything like an adequate version of the more elaborate passages. These considerations I submit to those to whom I may seem at first sight to have handled my text too freely.

My best thanks are due to Dr. Butcher, Professor of Greek in the University of Edinburgh, who from first to last has shown a lively interest in the present undertaking which I can never sufficiently acknowledge. He has read the Translation throughout, and acting on his suggestions I have been able in numerous instances to bring my version into a closer conformity with the original.

I have also to acknowledge the kindness of the distinguished writer who has contributed the Introduction, and who, in spite of the heavy demands on his time, has lent his powerful support to help on the work of one who was personally unknown to him.

In conclusion, I may be allowed to express a hope that the present attempt may contribute something to reawaken an interest in an unjustly neglected classic.

ANALYSIS

The Treatise on the Sublime may be divided into six Parts, as follows:--

I.--cc. i, ii. The Work of Caecilius. Definition of the Sublime. Whether Sublimity falls within the rules of Art.

II.--cc. iii-v. [The beginning lost.] Vices of Style opposed to the Sublime: Affectation, Bombast, False Sentiment, Frigid Conceits. The cause of such defects.

III.--cc. vi, vii. The true Sublime, what it is, and how distinguishable.

IV.--cc. viii-xl. Five Sources of the Sublime (how Sublimity is related to Passion, c. viii, §§ 2-4).

(i.) Grandeur of Thought, cc. ix-xv.

a. As the natural outcome of nobility of soul. Examples (c. ix).

b. Choice of the most striking circumstances. Sappho's Ode (c. x).

c. Amplification. Plato compared with Demosthenes, Demosthenes with Cicero (cc. xi-xiii).

d. Imitation (cc. xiii, xiv).

e. Imagery (c. xv).

(ii.) Power of moving the Passions (omitted here, because dealt with in a separate work).

(iii.) Figures of Speech (cc. xvi-xxix).

a. The Figure of Adjuration (c. xvi). The Art to conceal Art (c. xvii).

b. Rhetorical Question (c. xviii).

c. Asyndeton (c. xix-xxi).

d. Hyperbaton (c. xxii).

e. Changes of Number, Person, Tense, etc. (cc. xxiii-xxvii).

f. Periphrasis (cc. xxviii, xxix).

(iv.) Graceful Expression (cc. xxx-xxxii and xxxvii, xxxviii).

a. Choice of Words (c. xxx).

b. Ornaments of Style (cc. xxxi, xxxii and xxxvii, xxxviii).

(+a+) On the use of Familiar Words (c. xxxi).

(+b+) Metaphors; accumulated; extract from the Timaeus; abuse of Metaphors; certain tasteless conceits blamed in Plato (c. xxxii). [Hence arises a digression (cc. xxxiii-xxxvi) on the spirit in which we should judge of the faults of great authors. Demosthenes compared with Hyperides, Lysias with Plato. Sublimity, however far from faultless, to be always preferred to a tame correctness.]

(+g+) Comparisons and Similes [lost] (c. xxxvii).