Classical theory: Longinus

True sublimity in works of art arises from lofty ideas expressed in lofty language, and it pleases all and pleases always. The effect of this quality is not mere persuasion or pleasure, it ‘transports’ the reader. There are five principles or sources of the Sublime:

i) Greatness of thought: Lofty thought is an echo of the greatness of soul. Such greatness and nobility of soul can be cultivated by nourishing the mind on thoughts that are elevating. This can be done by reading the works of great masters as homer, and capture their greatness. However this is not mere copying, but a kind of an imaginative stimulus derived from great creative genius. Next, he says that the grandeur of conception must be made effective by a suitable treatment of the subject. The details must form an organic whole. (talks of the difference between amplification and sublimity: sublimity depends on elevation, amplification involves extension; sublimity may exist in a single thought whereas amplification cannot exist without a certain quantity and superfluity. Amplification is the accumulation of all the details of a given subject.)

ii) Strong and inspired passion and vigorous treatment of it: Longinus asserts that nothing contributes more to the loftiness of tone than genuine emotion.

iii) The use of figures –figures of thought and figures of expression: Figures must be rooted in genuine emotion, and used naturally they impart elevation to style. Longinus talks of the following figures: a) rhetorical question b)asyndeton or omission of conjunctions c) Hyperbaton or inversion d)periphrasis or a round way of saying things e) anaphora or repetition of words, e) Apostrophe or address to something or someone. These figures should be so used that they reproduce the effects of natural expression and thereby conceal the art in it.

iv) Noble diction: choice and arrangement of words and the use of metaphors and simile. Both ordinary and striking words must be suitably used, for both are necessary for an impressive style. He suggests no rules for the use of metaphors but says that passion gives rise to metaphors and also provides necessary control over their numbers. He next, talks of hyperbole and says that these should not be overdone, as an exaggerated hyperbole results not in elevation but in bathos.

v) Verbal order or Composition: by which he means rhythm. Words must be combined and harmoniously set as this not only persuades and pleases but is also an instrument of lofty emotion. He says that the dactylic hexameter is the most beautiful of all metres, and makes for the grandeur of utterance. On the other hand, weak and broken metres lower the dignity of a passage.