Notes on Longinus

Notes on Longinus

INTRODUCTION

*I. definition of sublimity: 1) seen in great writers 2) effect is transport not persuasion 3) a mysterious power that can strike anytime infusing whole w/ grandeur (p. 95)

*II. an art to it? yes. good fortune (talent) is important, but good ‘counsel’ is as well. an important object of study? yes, b/c nature manifests in great art. (p. 96)

III. an argument against over-writing, bombast, the inflated, and the dry p. 96)

IV. an argument against frigity (p. 96-7)

V. the cause: the pursuit of novelty in the expression of ideas (p. 97)

VI. gain knowledge & appreciation of the sublime (p. 97)

*VII. in life, nothing is held in great esteem that is also not greatly despised. look to those passages that naturally uplift us—they are great b/c it is not great to despise them. (p. 98)

*VIII. FIVE ELEMENTS OF THE SUBLIME:

1) great conceptions and 2) inspired passion (both innate).

--The others that are products of ‘art’ (technique):

3) formations of figures of thought and figures of expression;

4) noble diction (word choice, metaphors, & elaboration of language); and

5) dignified and elevated composition. (p. 98)

--an argument follows in this passage that passion is necessary

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*IX. 1) GREAT CONCEPTIONS & GREAT PASSION (1st & 2ndelements of the sublime):

--sublimity is the echo of a great soul (p. 98) ... who is free from lowly thoughts. Homer is better when he portrays the gods not embattling one another but displaying their greatness (p. 99)

--a critique of the Odyssey: its marvelous tales are indicators of Homer’s power waning. the Odyssey is inferior to Iliad and an epilogue to it—the Odyssey much less intense. (p. 100)

X. --the excellent selection of particular details all together is a mark of mastery (p. 100)

--elegance can be devoid of sublimity

--Homer sometimes structures his language to mirror the terror it’s describing (p.101)

XI. amplification is distinct from (inferior to) the sublime; it must be accompanied by sublimity to be effective (p. 102)

XII. amplification is distinct from grandeur (sublime can manifest in a single thought): L. compares Cicero & Demosthenes. (p. 102)

*XIII. writers should emulate the masters not by merely following their techniques, but by letting them inspire! You can allude to the masters w/out plagiarizing. L. shows how much Plato owes to Homer. (p. 103)

XIV. great conceptions can come from studying the masters and by considering how future ages will receive yr work. (p. 103)

XV. --Imagery contributes to dignity, elevation, & power. (pp. 103-4): examples from Euripides concerning the myth of Phaeton. a word at btm of p. 104 about verisimilitude.

--other examples of ‘bold conception’ (p. 105)

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*XVI. FIGURES OF THOUGHT (3rdelement of the sublime)

--a long praise of Demosthenes’s use of apostrophe in a particular passage: “assuredly ye did no wrong; I swear it by those who at Marathon stood in the forefront of the danger.” apparently, this is an apostrophe by collapsing two events (a glorious battle & a current situation, to exalt the latter and in the process, as L. seems to say, deifies the former). (p. 105)

XVII. a figure of thought works best when its rhetorical purpose is invisible, and works esp. well on intransigent listeners, tyrants, etc. (p. 106)

*XVIII. question-answer technique can be very effective, for it makes the passion appear to arise from the occasion (which is a very desirable effect and a criterion that he returns to when assessing other techniques). (p. 106)

XIX. the technique of words connected w/out links can be effective (p. 106)

XX. the combination of techniques can be very effective (p. 107)

XXI. L. gives some counter-examples, explaining what is lost by articulating pts. conventionally. (p. 107)

XXII. Hyperbata (inversion):

*--“it is by means of hyperbaton that imitation approaches the effects of nature. For art is perfect when it seems to be nature, and nature hits the mark when she contains art hidden within her.”

-- an example of an exhortation from Herodotus that illustrates, again, that a passage is best when it appears not to be pre-meditated but to arise from a passion inspired by the occasion. (p. 107)

XIII. pluralizing can be effective. (p. 108)

XIV. likewise, particularizing (making one from many) can be effective. (p. 108)

XV. present tense can be effective. (p. 108)

XVI. 2nd person ‘you’ can be effective (p. 109)

XVII. --narrating 1st person singular can be effective.

--and then suddenly, from passion, transitioning from an address to a personal exclamation

XVIII. periphrasis—the use of extended phrase for a one-word object or event—can be effective.

XXIX. periphrasis can fall flat.

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XXX. DICTION (#4 element of the sublime)

--elevated word choice is important, appropriate to occasions that call for it. (p. 110) ...

XXXI. ...not appropriate for occasions that don’t call for it. (p. 110)

*XXXII. # of metaphors: some say no more than 3 per passage, but b/c they should come as from a torrent of passion the number is irrelevant: a long ex. from a passage of Plato’s w/ multiple use of metaphors. (p. 111)

*XXXIII. --great masters are more prone to small errors b/c of their great ambition. (p. 112)

--& errors are generally more conspicuous than mere competency

--the elevation of spirit in passages by great masters are still superior, even w/ their errors

XXXIV. comparison of Demosthenes & Hyperides. D. is superior by being grander and more sublime. (p. 113)

*XXXV. we naturally love what is elevated & divine—we love the astounding. (p. 113)

*XXXVI. grandeur in literature is greater, more desirable, than small flawlessness. (p. 113)

XXXVII. similes & comparisons (lost text, apparently)

XXXVIII. hyperboles can be effective—a few examples. (p. 114)

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*XXXIX. DIGNIFIED & ELEVATED COMPOSITION (5th element of the sublime)

--arrangement (ordering) of words very important: if rearranged, a certain passage of Demosthenes’s (“This decree caused the danger which then beset the city to pass by just-as a cloud.”) would lose its sublimity. (p. 115)

*XL. –the different elements of the sublime function synergistically & holistically. (p. 115)

XLI. –rhythm alone, independent of significant content, fails. (p. 116)

XLII. –excessive concision is not good...nor is the opposite, prolixity. (p. 116)

XLIII. –triviality of expression is not good.

--L. offers a critique of including trivial details in what otherwise could be a lofty passage, by way of a long example from Theopompus describing “in marvelous fashion the descent of the Persian kind upon Egypt.” (p. 116)

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CONCLUSION

*XLIV. –a ‘certain philosopher’ has argued that the current paucity of great orators is due to the fall of democracy, for it is the freedom of democracy that nurtures the imagination—thru inspiration and the freedom to practice. But L. argues that it is NOT due to the lack of democracy & freedom, but to the deification of wealth, which kills the regard for fame (an incentive for greatness). It is best therefore that, as corrupt as ‘we’ are, we be ruled rather than be free.

* notable pts.

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