ON
THE SUBLIME: DIONYSIUS LONGINUS
(CRITICISM
4)
The exact date and authorship of the Greek Treatise ‘On the Sublime’ is unknown. Two Longinuses are claimed to be the author of this treatise. It was actually in 1554 that the Italian critic Robortello ascribed it to a rhetorician named Dionysius Longinus of the first century AD and this authorship was generally accepted up to the beginning of the 19th century. Then some critics pointed out that the work belonged to another Longinus who lived in the 3rd century AD. As we are told that the treatise was written to correct the faults of an essay on the same subject by one Caecilius, who is definitely known to have belonged to the 1st century AD, we must accept the later half of the first century AD as the most likely date of its composition. So, no doubt Dionysius Longinus is the author of this treatise.
‘On the Sublime’ is the most precious legacy of the
Greco-Roman period and a critical record of great worth and significance. Though one third of the original document is
missing, it contains a lot to be considered as one of the best pieces of
criticism that have come down to us from the antiquity. The treatise is addressed to one Terentianus,
a friend or a pupil of Longinus.
Longinus tells him of his purpose of correcting the faults of
Caecilius’s essay on the ‘Sublime’ and makes some other preliminary
observations.
Sublimity is a certain loftiness and excellence in
language. It is only through sublimity
that the greatest poets and prose writers of Greek and Latin have delivered
their eminence and gained immortality.
Sublimity does not merely persuade.
It carries us away almost irresistibly.
Sublimity is a gift of nature. It
won’t come from the painstaking observance of the rules of rhetoric. For the further explanation of the nature of
the Sublime, Longinus compares the true Sublime with the false Sublime. The false Sublime is characterized by bombast
of language which is as great an evil as swellings in the body. This ugly and parasitical growth in
literature appears from the pursuit of novelty in the expression of ideas which
may be regarded as the fashionable craze of the day.
The true Sublime ‘Pleases all and pleases always’ as it
arises from lofty ideas clothed in lofty language. It gives us joy and exalts our spirits, as it
expresses the thoughts of universal validity, the thoughts common to men of all
ages and countries. To acquire the true
sublimity both nature and art are equally necessary. He says “Fine writing needs the curb, as well
as the spur”. He complains Caecilius for
his omitting some of the five sources of Sublimity. Either he believed that Sublimity and emotion
were one and the same thing and always existed and developed together or he thought that emotion had no contribution to make to Sublimity. So, he was wrong. In Longinus’s opinion there is nothing so
productive of grandeur as noble emotion in the right place.
According to Longinus the five principal sources of Sublime
are, Grandeur of thought, passion, the uses of figures, diction and dignified
composition. Noble and lofty thoughts
find their natural expression in lofty language. Lofty thoughts itself is an echo of greatness
of soul. Such greatness and nobility of
soul can be cultivated by nourishing the mind on thoughts that are
elevating. So, one who wants to attain
this must feed his soul on the works of the great masters like Homer and
Capture some of their greatness.
The second source of the Sublime is vehement and inspired
passion. There should be genuine
emotion. Strong and powerful emotion
would contribute more to loftiness of tone in writing. The third source of attaining excellence of
style is the use of figures. Figures
should not be used mechanically, rather, they must be rooted in genuine
emotion. Longinus does not deal with all
figures, but only with those that give distinction to style. The figures treated are the rhetorical
question, Asyndeton or the omission of conjunction, hyperbaton or inversion,
periphrases, a roundabout way of saying things by which the use of common place
words is avoided and Apostrophe or address to abstract or inanimate
objects. These all will bring the
expression a richer note and more tuneful rhythms.
The fourth source of the Sublime is diction which includes choice and arrangement of words, as well as the use of metaphor and simile. Both ordinary and striking words must be suitably chosen, for both are necessary for the formation of an impressive style. Similarly metaphors are necessary to give elevation to style. Along with metaphors he considers the use of hyperboles, which he says, must also rise from emotion. The fifth source of Sublime is dignified and noble composition and arrangements. By this he means a verbal order that is usually called rhythm. Words must be harmoniously set. Such harmonious combination of words appeals to the soul and enables the reader to share the emotions of the author. The true Sublime uplifts the soul and fills the mind with joy. As it overcomes the test of time, it remains memorable. Here, Longinus quotes the lines of Iliad and proves the force and vigour of Homer that captures the desperate mood of Ajax in the mist and baffling night.
Zeus, father, yet save tho'u Achaia's sons
From beneath the gloom.
And make clear day, and vouchsafe unto us with our eyes to see!
So, it be but in light, destroy us!
Here, he doesn't plead for life as it will demean his stature. Instead, he craves for death that is worthy of his bravery. Thus he proves how Homer uses appropriate thought, emotion and dictum to suit the intensity of emotion that befits the situation. This is what he says as sublimity. True sublimity has social implications because of its possessing inherent moral values. So, it is enjoyed by all, irrespective of time, place and age. So low and undignified vocabulary ill sounding words and vulgar idioms should be avoided. Brevity is effective, but consciousness of expression will mar the Sublime. These are the views of Longinus on the Sublime.
Longinus is one of the greatest critics of antiquity. Like Aristotle, he based his theories on
existing Greek literature. He likewise
aimed at a rational explanation of literary phenomena. So, his methods of theorizing are analytic,
inductive, philosophical and historical.
He is said to be a pioneer in the field of analytical criticism as he
has applied the analytical method in his analysis of one of the important love
lyrics of Sappho (570 BC – Greek Poetess).
He is also said to be the first romantic critic as he emphasizes on
imagination and emotion. A lot of
similar things in the pages of Longinus’s ‘On the Sublime’ will never grow old
and its freshness and light will continue to charm all ages. That is why it remains towering among all
other works of its class.
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