Index:On the Sublime 1890.djvu

Title	On the Sublime
Author	Longinus
Translator	Herbert Lord Havell
Year	1890
Publisher	Macmillan and Company
Location	London
Source	djvu
Progress	Proofread—All pages of the work proper are proofread, but not all are validated
Transclusion	Fully transcluded

Pages (key to Page Status)

- - - - i ii iii iv v vi vii viii ix x xi xii xiii xiv xv xvi xvii xviii xix xx xxi xxii xxiii xxiv xxv xxvi xxvii xxviii xxix xxx xxxi - 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 - series series - - - -

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).

(α) On the use of Familiar Words (c. xxxi).

(β) 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.]

(γ) Comparisons and Similes [lost] (c. xxxvii).

(δ) Hyperbole (c. xxxviii).

(v.) Dignity and Elevation of Structure (cc. xxxix, xl).

a. Modulation of Syllables (c. xxxix).

b. Composition (c. xl).

V.—cc. xli-xliii. Vices of Style destructive to Sublimity.

ii(i.) Abuse of Rhythm
i(ii.) Broken and Jerky Clauses	(cc. xli, xlii).
(iii.) Undue Prolixity
i(iv.) Improper Use of Familiar Words. Anti-climax. Example from Theopompus (c. xliii).

VI.—Why this age is so barren of great authors—whether the cause is to be sought in a despotic form of government, or, as Longinus rather thinks, in the prevailing corruption of manners, and in the sordid and paltry views of life which almost universally prevail (c. xliv).