On the Sublime

by active 1st century Longinus

We may, on the whole, agree that the nobility of the author’s thought, his habit of quoting nothing more recent than the Augustan age, and his description of his own time, which seems so pertinent to that epoch, mark him as its child rather than as a great critic lost among the somnia Pythagorea of the Neoplatonists. On the other hand, if the author be a man of high heart and courage, as he seems, so was that martyr of independence, Longinus. Not without scruple, then, can we deprive Zenobia’s tutor of the glory attached so long to his name.

Whatever its date, and whoever its author may be, the Treatise is fragmentary. The lost parts may very probably contain the secret of its period and authorship. The writer, at the request of his friend, Terentianus, and dissatisfied with the essay of Caecilius, sets about examining the nature of the Sublime in poetry and oratory. To the latter he assigns, as is natural, much more literary importance than we do, in an age when there is so little oratory of literary merit, and so much popular rant. The subject of sublimity must naturally have attracted a writer whose own moral nature was pure and lofty, who was inclined to discover in moral qualities the true foundation of the highest literary merit. Even in his opening words he strikes the keynote of his own disposition, where he approves the saying that “the points in which we resemble the divine nature are benevolence and love of truth.” Earlier or later born, he must have lived in the midst of literary activity, curious, eager, occupied with petty questions and petty quarrels, concerned, as men in the best times are not very greatly concerned, with questions of technique and detail. Cut off from politics, people found in composition a field for their activity. We can readily fancy what literature becomes when not only its born children, but the minor busybodies whose natural place is politics, excluded from these, pour into the study of letters. Love of notoriety, vague activity, fantastic indolence, we may be sure, were working their will in the sacred close of the Muses. There were literary sets, jealousies, recitations of new poems; there was a world of amateurs, if there were no papers and paragraphs. To this world the author speaks like a voice from the older and graver age of Greece. If he lived late, we can imagine that he did not quote contemporaries, not because he did not know them, but because he estimated them correctly. He may have suffered, as we suffer, from critics who, of all the world’s literature, know only “the last thing out,” and who take that as a standard for the past, to them unfamiliar, and for the hidden future. As we are told that excellence is not of the great past, but of the present, not in the classical masters, but in modern Muscovites, Portuguese, or American young women, so the author of the Treatise may have been troubled by Asiatic eloquence, now long forgotten, by names of which not a shadow survives. He, on the other hand, has a right to be heard because he has practised a long familiarity with what is old and good. His mind has ever been in contact with masterpieces, as the mind of a critic should be, as the mind of a reviewer seldom is, for the reviewer has to hurry up and down inspecting new literary adventurers. Not among their experiments will he find a touchstone of excellence, a test of greatness, and that test will seldom be applied to contemporary performances. What is the test, after all, of the Sublime, by which our author means the truly great, the best and most passionate thoughts, nature’s high and rare inspirations, expressed in the best chosen words? He replies that “a just judgment of style is the final fruit of long experience.” “Much has he travelled in the realms of gold.”

The word “style” has become a weariness to think upon; so much is said, so much is printed about the art of expression, about methods, tricks, and turns; so many people, without any long experience, set up to be judges of style, on the strength of having admired two or three modern and often rather fantastic writers. About our author, however, we know that his experience has been long, and of the best, that he does not speak from a hasty acquaintance with a few contemporary précieux and précieuses. The bad writing of his time he traces, as much of our own may be traced, to “the pursuit of novelty in thought,” or rather in expression. “It is this that has turned the brain of nearly all our learned world to-day.” “Gardons nous d’écrire trop bien,” he might have said, “c’est la pire manière qu’il y’ait d’écrire.”[I.5]

The Sublime, with which he concerns himself, is “a certain loftiness and excellence of language,” which “takes the reader out of himself.... The Sublime, acting with an imperious and irresistible force, sways every reader whether he will or no.” In its own sphere the Sublime does what “natural magic” does in the poetical rendering of nature, and perhaps in the same scarcely-to-be-analysed fashion. Whether this art can be taught or not is a question which the author treats with modesty. Then, as now, people were denying (and not unjustly) that this art can be taught by rule. The author does not go so far as to say that Criticism, “unlike Justice, does little evil, and little good; that is, if to entertain for a moment delicate and curious minds is to do little good.” He does not rate his business so low as that. He admits that the inspiration comes from genius, from nature. But “an author can only learn from art when he is to abandon himself to the direction of his genius.” Nature must “burst out with a kind of fine madness and divine inspiration.” The madness must be fine. How can art aid it to this end? By knowledge of, by sympathy and emulation with, “the great poets and prose writers of the past.” By these we may be inspired, as the Pythoness by Apollo. From the genius of the past “an effluence breathes upon us.” The writer is not to imitate, but to keep before him the perfection of what has been done by the greatest poets. He is to look on them as beacons; he is to keep them as exemplars or ideals. He is to place them as judges of his work. “How would Homer, how would Demosthenes, have been affected by what I have written?” This is practical counsel, and even the most florid modern author, after polishing a paragraph, may tear it up when he has asked himself, “What would Addison have said about this eloquence of mine, or Sainte Beuve, or Mr. Matthew Arnold?” In this way what we call inspiration, that is the performance of the heated mind, perhaps working at its best, perhaps overstraining itself, and overstating its idea, might really be regulated. But they are few who consider so closely, fewer perhaps they who have the heart to cut out their own fine or refined things. Again, our author suggests another criterion. We are, as in Lamb’s phrase, “to write for antiquity,” with the souls of poets dead and gone for our judges. But we are also to write for the future, asking with what feelings posterity will read us—if it reads us at all. This is a good discipline. We know by practice what will hit some contemporary tastes; we know the measure of smartness, say, or the delicate flippancy, or the sentence with “a dying fall.” But one should also know that these are fancies of the hour—these and the touch of archaism, and the spinster-like and artificial precision, which seem to be points in some styles of the moment. Such reflections as our author bids us make, with a little self-respect added, may render our work less popular and effective, and certainly are not likely to carry it down to remote posterity. But all such reflections, and action in accordance with what they teach, are elements of literary self-respect. It is hard to be conscientious, especially hard for him who writes much, and of necessity, and for bread. But conscience is never to be obeyed with ease, though the ease grows with the obedience. The book attributed to Longinus will not have missed its mark if it reminds us that, in literature at least, for conscience there is yet a place, possibly even a reward, though that is unessential. By virtue of reasonings like these, and by insisting that nobility of style is, as it were, the bloom on nobility of soul, the Treatise on the Sublime becomes a tonic work, wholesome to be read by young authors and old. “It is natural in us to feel our souls lifted up by the true Sublime, and, conceiving a sort of generous exultation, to be filled with joy and pride, as though we had ourselves originated the ideas which we read.” Here speaks his natural disinterested greatness the author himself is here sublime, and teaches by example as well as precept, for few things are purer than a pure and ardent admiration. The critic is even confident enough to expect to find his own nobility in others, believing that what is truly Sublime “will always please, and please all readers.” And in this universal acceptance by the populace and the literate, by critics and creators, by young and old, he finds the true external canon of sublimity. The verdict lies not with contemporaries, but with the large public, not with the little set of dilettanti, but must be spoken by all. Such verdicts assign the crown to Shakespeare and Molière, to Homer and Cervantes; we should not clamorously anticipate this favourable judgment for Bryant or Emerson, nor for the greatest of our own contemporaries. Boileau so much misconceived these lofty ideas that he regarded “Longinus’s” judgment as solely that “of good sense,” and held that, in his time, “nothing was good or bad till he had spoken.” But there is far more than good sense, there is high poetic imagination and moral greatness, in the criticism of our author, who certainly would have rejected Boileau’s compliment when he selects Longinus as a literary dictator.

Indeed we almost grudge our author’s choice of a subject. He who wrote that “it was not in nature’s plan for us, her children, to be base and ignoble; no, she brought us into life as into some great field of contest,” should have had another field of contest than literary criticism. It is almost a pity that we have to doubt the tradition, according to which our author was Longinus, and, being but a rhetorician, greatly dared and bravely died. Taking literature for his theme, he wanders away into grammar, into considerations of tropes and figures, plurals and singulars, trumpery mechanical pedantries, as we think now, to whom grammar is no longer, as of old, “a new invented game.” Moreover, he has to give examples of the faults opposed to sublimity, he has to dive into and search the bathos, to dally over examples of the bombastic, the over-wrought, the puerile. These faults are not the sins of “minds generous and aspiring,” and we have them with us always. The additions to Boileau’s preface (Paris, 1772) contain abundance of examples of faults from Voiture, Mascaron, Bossuet, selected by M. de St. Marc, who no doubt found abundance of entertainment in the chastising of these obvious affectations. It hardly seems the proper work for an author like him who wrote the Treatise on the Sublime. But it is tempting, even now, to give contemporary instances of skill in the Art of Sinking—modern cases of bombast, triviality, false rhetoric. “Speaking generally, it would seem that bombast is one of the hardest things to avoid in writing,” says an author who himself avoids it so well. Bombast is the voice of sham passion, the shadow of an insincere attitude. “Even the wretched phantom who still bore the imperial title stooped to pay this ignominious blackmail,” cries bombast in Macaulay’s Lord Clive. The picture of a phantom who is not only a phantom but wretched, stooping to pay blackmail which is not only blackmail but ignominious, may divert the reader and remind him that the faults of the past are the faults of the present. Again, “The desolate islands along the sea-coast, overgrown by noxious vegetation, and swarming with deer and tigers”—do, what does any one suppose, perform what forlorn part in the economy of the world? Why, they “supply the cultivated districts with abundance of salt.” It is as comic as—

“And thou Dalhousie, thou great God of War,
Lieutenant-Colonel to the Earl of Mar.”

Bombast “transcends the Sublime,” and falls on the other side. Our author gives more examples of puerility. “Slips of this sort are made by those who, aiming at brilliancy, polish, and especially attractiveness, are landed in paltriness and silly affectation.” Some modern instances we had chosen; the field of choice is large and richly fertile in those blossoms. But the reader may be left to twine a garland of them for himself; to select from contemporaries were invidious, and might provoke retaliation. When our author censures Timaeus for saying that Alexander took less time to annex Asia than Isocrates spent in writing an oration, to bid the Greeks attack Persia, we know what he would have thought of Macaulay’s antithesis. He blames Xenophon for a poor pun, and Plato, less justly, for mere figurative badinage. It would be an easy task to ransack contemporaries, even great contemporaries, for similar failings, for pomposity, for the florid, for sentences like processions of intoxicated torch-bearers, for pedantic display of cheap erudition, for misplaced flippancy, for nice derangement of epitaphs wherein no adjective is used which is appropriate. With a library of cultivated American novelists and uncultivated English romancers at hand, with our own voluminous essays, and the essays and histories and “art criticisms” of our neighbours to draw from, no student need lack examples of what is wrong. He who writes, reflecting on his own innumerable sins, can but beat his breast, cry Mea Culpa, and resist the temptation to beat the breasts of his coevals. There are not many authors, there have never been many, who did not need to turn over the treatise of the Sublime by day and night.[I.6]

As a literary critic of Homer our author is most interesting even in his errors. He compares the poet of the Odyssey to the sunset: the Iliad is noonday work, the Odyssey is touched with the glow of evening—the softness and the shadows. “Old age naturally leans,” like childhood, “towards the fabulous.” The tide has flowed back, and left dim bulks of things on the long shadowy sands. Yet he makes an exception, oddly enough, in favour of the story of the Cyclops, which really is the most fabulous and crude of the fairy tales in the first and greatest of romances. The Slaying of the Wooers, that admirable fight, worthy of a saga, he thinks too improbable, and one of the “trifles into which second childhood is apt to be betrayed.” He fancies that the aged Homer had “lost his power of depicting the passions”; in fact, he is hardly a competent or sympathetic critic of the Odyssey. Perhaps he had lived among Romans till he lost his sense of humour; perhaps he never had any to lose. On the other hand, he preserved for us that inestimable and not to be translated fragment of Sappho—φαίνεταί μοι κῆνος ἴσος θεοῖσιν.

It is curious to find him contrasting Apollonius Rhodius as faultless, with Homer as great but faulty. The “faultlessness” of Apollonius is not his merit, for he is often tedious, and he has little skill in selection; moreover, he is deliberately antiquarian, if not pedantic. His true merit is in his original and, as we think, modern telling of a love tale—pure, passionate, and tender, the first in known literature. Medea is often sublime, and always touching. But it is not on these merits that our author lingers; he loves only the highest literature, and, though he finds spots on the sun and faults in Homer, he condones them as oversights passed in the poet’s “contempt of little things.”

Such for us to-day are the lessons of Longinus. He traces dignity and fire of style to dignity and fire of soul. He detects and denounces the very faults of which, in each other, all writers are conscious, and which he brings home to ourselves. He proclaims the essential merits of conviction, and of selection. He sets before us the noblest examples of the past, most welcome in a straining age which tries already to live in the future. He admonishes and he inspires. He knows the “marvellous power and enthralling charm of appropriate and striking words” without dropping into mere word-tasting. “Beautiful words are the very light of thought,” he says, but does not maunder about the “colour” of words, in the style of the decadence. And then he “leaves this generation to its fate,” and calmly turns himself to the work that lies nearest his hand.