On the Sublime/Chapter 11
XI
Closely associated with the part of our subject we have just treated of is that excellence of writing which is called amplification, when a writer or pleader, whose theme admits of many successive starting-points and pauses, brings on one impressive point after another in a continuous and ascending scale.2 Now whether this is employed in the treatment of a commonplace, or in the way of exaggeration, whether to place arguments or facts in a strong light, or in the disposition of actions, or of passions—for amplification takes a hundred different shapes—in all cases the orator must be cautioned that none of these methods is complete without the aid of sublimity,—unless, indeed, it be our object to excite pity, or to depreciate an opponent's argument. In all other uses of amplification, if you subtract the element of sublimity you will take as it were the soul from the body. No sooner is the support of sublimity removed than the whole becomes lifeless, nerveless, and dull.
3There is a difference, however, between the rules I am now giving and those just mentioned. Then I was speaking of the delineation and co-ordination of the principal circumstances. My next task, therefore, must be briefly to define this difference, and with it the general distinction between amplification and sublimity. Our whole discourse will thus gain in clearness.