Lo there! Euripides, Orestes , , trans. Euripides, Iphigeneia in Taurus , , trans. In these scenes the poet himself saw Furies, and the image in his mind he almost compelled his audience also to behold. Now, Euripides is most assiduous in giving the utmost tragic effect to these two emotions—fits of love and madness. Herein he succeeds more, perhaps, than in any other respect, although he is daring enough to invade all the other regions of the imagination.
Hither thy car turn—hither! Would you not say that the soul of the writer enters the chariot at the same moment as Phaethon and shares in his dangers and in the rapid flight of his steeds?
For it could never have conceived such a picture had it not been borne in no less swift career on that journey through the heavens. The same is true of the words which Euripides attributes to his Cassandra:—. Aeschylus, too, ventures on images of a most heroic stamp. An example will be found in his Seven against Thebes , where he says.
Seven Against Thebes , 42, trans. In mutual fealty they devoted themselves by that joint oath to a relentless doom. Sometimes, however, he introduces ideas that are rough-hewn and uncouth and harsh; and Euripides, when stirred by the spirit of emulation, comes perilously near the same fault, even in spite of his own natural bent. Thus in Aeschylus the palace of Lycurgus at the coming of Dionysus is strangely represented as possessed:—. The whole mount shared their bacchic ecstasy. Bacchae , , trans. Magnificent are the images which Sophocles has conceived of the death of Oedipus, who makes ready his burial amid the portents of the sky Oedipus at Colonus , , trans.
Magnificent, too, is the passage where the Greeks are on the point of sailing away and Achilles appears above his tomb to those who are putting out to sea—a scene which I doubt whether anyone has depicted more vividly than Simonides. But it is impossible to cite all the examples that present themselves. It is no doubt true that those which are found in the poets contain, as I said, a tendency to exaggeration in the way of the fabulous and that they transcend in every way the credible, but in oratorical imagery the best feature is always its reality and truth.
Whenever the form of a speech is poetical and fabulous and breaks into every kind of impossibility, such digressions have a strange and alien air. For example, the clever orators forsooth of our day, like the tragedians, see Furies, and—fine fellows that they are—cannot even understand that Orestes when he cries. Unhand me! What, then, can oratorical imagery effect? Well, it is able in many ways to infuse vehemence and passion into spoken words, while more particularly when it is combined with the argumentative passages it not only persuades the hearer but actually makes him its slave.
Here is an example. He has, therefore, passed the bounds of mere persuasion by the boldness of his conception.
By a sort of natural law in all such matters we always attend to whatever possesses superior force; whence it is that we are drawn away from demonstration pure and simple to any startling image within whose dazzling brilliancy the argument lies concealed. And it is not unreasonable that we should be affected in this way, for when two things are brought together, the more powerful always attracts to itself the virtue of the weaker. It will be enough to have said thus much with regard to examples of the sublime in thought, when produced by greatness of soul, imitation, or imagery.
Here, however, in due order comes the place assigned to Figures; for they, if handled in the proper manner, will contribute, as I have said, in no mean degree to sublimity. But since to treat thoroughly of them all at the present moment would be a great, or rather an endless task, we will now, with the object of proving our proposition, run over a few only of those which produce elevation of diction.
Demosthenes is bringing forward a reasoned vindication of his public policy.
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What was the natural way of treating the subject? It was this. You have domestic warrant for it. For the warriors of Marathon did no wrong, nor they of Salamis, nor they of Plataea. He brings home the thought that we ought to swear by those who have thus nobly died as we swear by Gods, and he fills the mind of the judges with the high spirit of those who there bore the brunt of the danger, and he has transformed the natural course of the argument into transcendent sublimity and passion and that secure belief which rests upon strange and prodigious oaths. He instills into the minds of his hearers the conviction—which acts as a medicine and an antidote—that they should, uplifted by these eulogies, feel no less proud of the fight against Philip than of the triumph at Marathon and Salamis.
By all these means he carries his hearers clean away with him through the employment of a single figure. It is said, indeed, that the germ of the oath is found in Eupolis:—. But it is not sublime to swear by a person in any chance way; the sublimity depends upon the place and the manner and the circumstances and the motive.
from “On the Sublime” by Longinus | Poetry Foundation
Now in the passage of Eupolis there is nothing but the mere oath, addressed to the Athenians when still prosperous and in no need of comfort. Furthermore, the poet in his oath has not made divinities of the men in order so to create in his hearers a worthy conception of their valor, but he has wandered away from those who stood in the forefront of the danger to an inanimate thing—the fight.
In Demosthenes the oath is framed for vanquished men, with the intention that Chaeroneia should no longer appear a failure to the Athenians. He gives them at one and the same time, as I remarked, a demonstration that they have done no wrong, an example, the sure evidence of oaths, a eulogy, an exhortation. So he at once rushes forward and carries his hearer off his feet. But, what are we next to say of questions and interrogations? Is it not precisely by the visualizing qualities of these figures that Demosthenes strives to make his speeches far more effective and impressive?
Why, what greater news could there be than this, that a Macedonian is subduing Greece? Is Philip dead? No; but he is ill. Dead or ill, what difference to you? Where shall we find a landing-place? All this, if stated plainly and directly, would have been altogether weaker. As it is, the excitement, and the rapid play of question and answer, and the plan of meeting his own objections as though they were urged by another, have by the help of the figure made the language used not only more elevated but also more convincing.
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For an exhibition of passion has a greater effect when it seems not to be studied by the speaker himself but to be inspired by the occasion; and questions asked and answered by oneself simulate a natural outburst of passion. For just as those who are interrogated by others experience a sudden excitement and answer the inquiry incisively and with the utmost candor, so the figure of question and answer leads the hearer to suppose that each deliberate thought is struck out and uttered on the spur of the moment, and so beguiles his reason.
The words issue forth without connecting links and are poured out as it were, almost outstripping the speaker himself. And so with the words of Eurylochus:—. There amidst of the forest-glens a beautiful palace we found. For the lines detached from one another, but none the less hurried along, produce the impression of an agitation which interposes obstacles and at the same time adds impetuosity.
This result Homer has produced by the omission of conjunctions. A powerful effect usually attends the union of figures for a common object, when two or three mingle together as it were in partnership, and contribute a fund of strength, persuasiveness, beauty. Thus, in the speech against Meidias, examples will be found of asyndeton, interwoven with instances of anaphora and diatyposis. Then, in order that the narrative may not, as it advances, continue in the same groove for continuance betokens tranquillity, while passion—the transport and commotion of the soul—sets order at defiance , straightway he hurries off to other Asyndeta and Repetitions.
Starting from this point again, as suddenly as a gust of wind, he makes another attack. These things stir the blood, these drive men beyond themselves, when unused to insult. No one can, in describing them, convey a notion of the indignity they imply. In this way, with him, order is disorderly, and on the other hand disorder contains a certain element of order.
Come now, add, if you please, in these cases connecting particles after the fashion of the followers of Isocrates. Just as the binding of the limbs of runners deprives them of their power of rapid motion, so also passion, when shackled by connecting links and other appendages, chafes at the restriction, for it loses the freedom of its advance and its rapid emission as though from an engine of war.
Hyperbata, or inversions, must be placed under the same category. They are departures in the order of expressions or ideas from the natural sequence; and they bear, it may be said, the very stamp and impress of vehement emotion. Just as those who are really moved by anger, or fear, or indignation, or jealousy, or any other emotion for the passions are many and countless, and none can give their number , at times turn aside, and when they have taken one thing as their subject often leap to another, foisting in the midst some irrelevant matter, and then again wheel round to their original theme, and driven by their vehemence, as by a veering wind, now this way now that with rapid changes, transform their expressions, their thoughts, the order suggested by a natural sequence, into numberless variations of every kind; so also among the best writers it is by means of hyperbaton that imitation approaches the effects of nature.
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For art is perfect when it seems to be nature, and nature hits the mark when she contains art hidden within her. We may illustrate by the words of Dionysius of Phocaea in Herodotus. Moreover, he inverts the order of ideas. In a still higher degree Thucydides is most bold and skilful in disjoining from one another by means of transpositions things that are by nature intimately united and indivisible.
Demosthenes is not so masterful as Thucydides, but of all writers he most abounds in this kind of figure, and through his use of hyperbata makes a great impression of vehemence, yes and of unpremeditated speech; and moreover draws his hearers with him into all the perils of his long inversions. For he will often leave in suspense the thought which he has begun to express, and meanwhile he will heap, into a position seemingly alien and unnatural, one thing upon another parenthetically and from any external source whatsoever, throwing his hearer into alarm lest the whole structure of his words should fall to pieces, and compelling him in anxious sympathy to share the peril of the speaker; and then unexpectedly, after a long interval, he adds the long-awaited conclusion at the right place, namely the end, and produces a far greater effect by this very use, so bold and hazardous, of hyperbaton.
Examples may be spared because of their abundance.
from “On the Sublime”
The figures, which are termed polyptota—accumulations, and variations, and climaxes—are excellent weapons of public oratory, as you are aware, and contribute to elegance and to every form of sublimity and passion. Again, how greatly do changes of cases, tenses, persons, numbers, genders, diversify and enliven exposition.
Where the use of numbers is concerned, I would point out that style is not adorned only or chiefly by those words which are, as far as their forms go, in the singular but in meaning are, when examined, found to be plural: as in the lines. The fact is more worthy of observation that in certain cases the use of the plural for the singular falls with still more imposing effect and impresses us by the very sense of multitude which the number conveys.
Such are the words of Oedipus in Sophocles:. O nuptials, nuptials, Ye gendered me, and, having gendered, brought To light the selfsame seed, and so revealed Sires, brothers, sons, in one—all kindred blood! Oedipus Tyrannus , , trans. The whole enumeration can be summed up in a single proper name—on the one side Oedipus, on the other Jocasta.
None the less, the expansion of the number into the plural helps to pluralize the misfortunes as well.
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There is a similar instance of multiplication in the line:—. Menexenus d. For naturally a theme seems more imposing to the ear when proper names are thus added, one upon the other, in troops. But this must only be done in cases in which the subject admits of amplification or redundancy or exaggeration or passion—one or more of these—since we all know that a richly caparisoned style is extremely pretentious.