DOCSLIB.ORG

Longinus's Sublime Rhetoric, Or How Rhetoric Came Into Its Own Author(S): Ned O'gorman Reviewed Work(S): Source: Rhetoric Society Quarterly, Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Longinus's Sublime Rhetoric, Or How Rhetoric Came Into Its Own Author(S): Ned O'gorman Reviewed Work(S): Source: Rhetoric Society Quarterly, Vol Rhetoric Society of America Longinus's Sublime Rhetoric, or How Rhetoric Came into Its Own Author(s): Ned O'Gorman Reviewed work(s): Source: Rhetoric Society Quarterly, Vol. 34, No. 2 (Spring, 2004), pp. 71-89 Published by: Taylor & Francis, Ltd. Stable URL: http://www.jstor.org/stable/40232412 . Accessed: 07/02/2013 17:33 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Taylor & Francis, Ltd. and Rhetoric Society of America are collaborating with JSTOR to digitize, preserve and extend access to Rhetoric Society Quarterly. http://www.jstor.org This content downloaded on Thu, 7 Feb 2013 17:33:42 PM All use subject to JSTOR Terms and Conditions NED O'GORMAN Longinus'sSublime Rhetoric, or How RhetoricGame into Its Own ABSTRACT:This essay arguesthat Peri Hypsous (On Height or On the Sublime, traditionallyattributed to "Longinus")marks an important momentin the historyof rhetoric,as rhetoricis presentedtherein as an autonomous,sublime object. Throughnotions of hypsos (height) and physis (nature),and an amalgamationof Ciceronian/lsocrateanarid Gorgianicnotions of rhetoric, "Longinus" frees rhetoric from the project oflegitimation. He makesit a marvelthat needs no justification- rhetoric "comes into its own.*'Even as I accountfor the emergenceof this conceptionof rhetoricin Peri Hypsous, I questionits helpfulnessfor rhetoricalstudies. "sublime"is a categoricalrefuge of a numberof recent projects, most notablythose of Jean-Francois Lyotard, in workssuch as ThePostmodern Conditionand Thelnhumany and Frederick Jameson inPostmodernism.1 These thinkersfind in the sublimea meansof displacingEnlightenment judgment evenas theyfind the sublime in Enlightenmenttexts. For example,Lyotard, whosenotion of the sublimeis drawnin his readingsof Kant,is concerned withartistic works that, "are not in principlegoverned by preestablished rules,and theycannot be judgedaccording to a determiningjudgment, by applyingfamiliar categories to thetext or to thework" (Postmodern Condition 81). This "postmodernsublime" refuses essential or teleologicaljustification. Kant'sown interest in thesublime was relatedto thework of the French critic NicholasBoileau-Despr&iux, who was a criticalcatalyst behind the upsurge of interestin the sublimein the eighteenthcentury. Boileau translatedand interpretedin 1674 an ancientmanuscript on stylein poeticsand rhetoricby a so-called"Longinus" entitled Peri Hypsous - literallytranslated On Height, but morecommonly On the Sublime,Peri Hypsousis the most important ancienttext with respect to the sublime.Inspired by thisancient treatise, Boileauwrote, "The sublime is notstrictly speaking something which is proven or demonstrated,but a marvel,which seizes one,strikes one, and makesone feel"(qtd. in Lyotard,The Inhuman97). Peri Hypsousoffered Boileau and his successorsanother route in the Enlightenmentproject of autonomyby offeringthe conceptof the self-justifiedartistic object, the sublimeobject. RhetoricSociety Quarterly 7 1 Spring2004 | Volume34 | Number2 This content downloaded on Thu, 7 Feb 2013 17:33:42 PM All use subject to JSTOR Terms and Conditions FromLonginus to Boileau to Kantto Lyotardwe can tracea concernwith freeingart and artisticobjects from established criteria of judgment derived fromexternal sources or discourses.The artof rhetoric finds a place hereas well.I offerin thisessay a readingof Peri Hypsous, the locus classicus ofthe sublime,which reveals rhetoric as achievingtherein the status of the sublime object,even as I end byquestioning this achievement. Thetext of Peri Hypsous - forthe sake of continuity with critical discourses and forconvenience, I will refer to the author as Longinus2- has been,off and on, a partof the histories of rhetoric dealing with rhetoric under the Roman Empire.3Peri Hypsous,when it achieves mention,is typicallytreated by historiansof rhetoric as a "manualof style" discussed in commonwith those attributedto Dionysus,Demetrius, and others;its stress on grandioserhetoric and itslament for the "decline" of rhetoric are noted(these are commontopics ofthe style manuals of the Roman period); its provenance and influencesare debated.4Yet Peri Hypsous has notreceived substantial treatment by scholars ofrhetoric - no analysesin booksthat move significantly beyond a summary of its arguments,no articlesdevoted wholly to it. Its minimaltreatment, relativelyspeaking, indicates that the treatise has notbeen considered a major one in thehistory, or histories,of rhetoric. Againstthis grain, I argue that Peri Hypsous marks an important developmentin theevolution of rhetoric in Westernculture, not primarily for itsrelationship to thesublime, but for its positioning of rhetoric itself. The text representsa criticaldevelopment in whatMichael Gahn calls "therhetoric of rhetoric,"the wayin whichrhetorical strategies are employedto constitute, justify,and preservethe disciplineor traditionof rhetoricitself.5 From the sophiststhrough Aristotle and into Quintilian, the art of rhetoric, as Gahnshows, was subordinatedto certainessences (e.g. techne/art) or ends (e.g. persuasion) in orderto establishand maintainits statusand anchorits judgments. Even Gorgias,who in Helen grantslogos divine-likepower, seems to subordinate logosto theend (and essence?)of human desire and domination(represented by Parisin Helen),I arguethrough a close readingof the Peri Hypsous that it marksa pointwithin the trajectoryof the rhetoricof rhetoricwhere the art ofrhetoric is presentedas possessingits own end and essence,freeing it from subordinationand, likeKant's and Lyotard'snotions of the sublime, external judgment.This rhetoric of rhetoric in Peri Hypsous makes it a significanttext in rhetoric'shistory (or histories),especially presently, when the issue of rhetoric'slegitimation is propellingnew organizational and rhetoricalprojects withinthe academy in NorthAmerica. My reading of Peri Hypsous shows how rhetoricis thereinmade thesublime object, "not," to repeatBoileau's words, "somethingwhich is provenor demonstrated,but a marvel."I devotethe first sectionof my essay to thetreatise's general conception of rhetoric,and then lookmore specifically at threeof its key concepts: rhetorical height (hypsos), nature(physis), and desire. 72 RhetoricSociety Quarterly This content downloaded on Thu, 7 Feb 2013 17:33:42 PM All use subject to JSTOR Terms and Conditions Longinus's Ecstatic Rhetoric Peri Hypsousis recognizedas a critical,literary, and oratoricaltext. Its primarytopic is stylistic"height," and as such it moveseasily between poeticaland rhetoricaldiscussions, and most of the textoperates without any significantdistinction between the two. There are moments,however, whereLonginus seems to want to keeprhetoric (rhitoriki6) within the domain of the practicaland concrete.For example,"But thoughin factthe images foundin thepoets have a wayof going beyond what is mythicand ofentirely transcendingwhat is credible,in rhetoricthe images are alwaysbest that are practicaland correspondto the truth"(15.8). This prescriptionplaces the practiceof rhetoricwithin the realmof fact-finding and the criterionof the credible.It seems as thoughLonginus, in thissense, places rhetoricunder thestandard of the pragmatic. At the heart of Longinus's text, however, is the criticismof artistic performance, and hererhetoric is conjoinedto poeticsto forma singlepiece. For example, the passage above is followedby a description ofthe rhetorical use ofthe image that is, byLonginus's account, truly worthy ofadmiration and appreciation.Rhetoric shines for Longinus when audiences are "draggedaway from demonstrative arguments and are astoundedby the image,by thedazzle of which the practical argument is hidden"(15.11). Both thepoet and therhetor excel in artisticperformance when they transcend the ordinarymodes of their respective discourses to createextraordinary effects. Poetryand rhetoricare identicalin theirextraordinary manifestations, and as extraordinarystyle is Longinus'smain concern, the domain of poetry and rhetoricoverlap significantly in the text.7 Rhetoricas the Aristotelianart-of-the-available-means-of-persuasion (see Aristotle'sRhetoric), as the broad Isocrateanphilosophico-literary art forearthy political life (see Isocrates'sAgainst the Sophists and Antidosis), or as the Ciceronianartis forthe res publica (see Of Oratory),are not the Longinianconceptions of rhetoric. Longinus's treatise might as wellhave been entitledBeyond Persuasion, for its statedsubject is not the availablemeans ofpersuasion or thewell-being of the public per se, butthe road (methodos) to ecstasy(ekstasis) via "height"or hypsos(1.4).8 Longinusindicates that thesubject of stylistic hypsos had a followingin theHellenized paideia ofthe RomanEmpire, the educational world of his time.In fact,Peri Hypsous was probablynot the title of Longinus's handbook (technologias) first, but thatof his declaredopponent, Gecilius, and probablythe treatisesof others before.9 Certainlythere was a discourseabout hypsos and itsgenus, style, from which Longinus'stext emerged and Peri Hypsouspronounces a distinctconcern aboutthe status of hypsos in itstime and
Load more

Recommended publications
  • Artist's Statement
    Decline And Fall Mark Bernstein Eastgate Systems, Inc. 134 Main Street Watertown MA 02472 USA +1 617 924 9044 [email protected] Potboilers and page-turners may not, indeed, have been the 1. ABSTRACT most pressing concern of literary hypertext, but a generation has now passed. The summer is over, and we Decline and Fall is a new Storyspace hypertext fiction, a school story based loosely on The Trojan Women. It sets out to be an cannot say with great confidence that we know how to exciting hypertext, a potboiler: a hypertext in which things write an exciting hypertext that is not a game. Games are happen, while remaining within the tradition of literary hypertext. fine things, but their excitement substantially stems from the reader’s agency (however problematized) and the CCS Concepts promise (however symbolic) that one might win. Decline and Fall is not a game, at least not beyond the extent to ➝ • Software and its engineering Software creation and which any storyteller and any self-aware reader can be said management ➝ Designing Software • Applied Computing ➝ Computers in other domains. to be playing a game [11]. The plot (that is, the way the underlying story is told) is likely to be different in each Keywords reading, but we begin roughly where The Trojan Women begins, after the fall of Troy1. The reader has no agency in Storyspace, hypertext, hypermedia, literature, fiction, education, design, implementation, support, history of the story world. No man and no god could prevent that fall, computing, maps, links. nor can all your piety and wit cheer up Cassandra or rescue Polyxena, soon to be the bride of dead Achilles.
    [Show full text]
  • The Ancient Mariner and Parody
    Loyola University Chicago Loyola eCommons English: Faculty Publications and Other Works Faculty Publications 8-1999 ‘Supernatural, or at Least Romantic': the Ancient Mariner and Parody Steven Jones [email protected] Follow this and additional works at: https://ecommons.luc.edu/english_facpubs Part of the English Language and Literature Commons Recommended Citation Steven E. Jones, “‘Supernatural, or at Least Romantic': the Ancient Mariner and Parody," Romanticism on the Net, 15 (August 1999). This Article is brought to you for free and open access by the Faculty Publications at Loyola eCommons. It has been accepted for inclusion in English: Faculty Publications and Other Works by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. © Michael Eberle-Sinatra 1996-2006. 'Supernatural, or at Least Romantic': the Ancient Mariner and Parody | Érudit | Romanticism on the Net n15 1999 | 'Supernatural, or at Least Romantic': the Ancient Mariner and Parody [*] Steven E. Jones Loyola University Chicago 1 An ancient literary practice often aligned with satire, parody "comes of age as a major comic expression during the Romantic period," as Marilyn Gaull has observed, the same era that celebrated and became known for the literary virtues of sincerity, authenticity, and originality. [1] Significant recent anthologies of Romantic-period parodies make the sheer bulk and topical range of such imitative works available for readers and critics for the first time, providing ample evidence for the prominence of the form. [2] The weight of evidence in these collections should also put to rest the widespread assumption that parody is inevitably "comic" or gentler than satire, that it is essentially in good fun.
    [Show full text]
  • Travelling Concepts IV – the Sublime
    1 2 December 2013: Travelling Concepts IV – The Sublime From Rosie Lavan Readings: - Longinus, ‘On the Sublime’, in Penelope Murray ed. Classical Literary Criticism, trans. Murray and T. S. Dorsch (2000; London: Penguin, 2004). - Edmund Burke, Part II of A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, from David Womersley ed., A Philosophical Enquiry into the Sublime and Beautiful and Other Pre-Revolutionary Writings (London: Penguin, 1998). For this discussion, which drew our term on travelling concepts to a close, we undertook a comparative reading of two texts on the sublime—the fragmentary second-century writing later titled ‘On the Sublime’ and attributed to Longinus, and an extract from Edmund Burke’s seminal eighteenth-century Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful. There is no direct relationship between Longinus, Burke and the specific critical concept of the sublime which gains force in the early eighteenth century, but is there any meaningful relationship to be established between the texts nonetheless? Discussion - Important to note the difference between Longinus’s rather prescriptive text, indicating how a writer might produce these effects, and Burke’s more descriptive analysis of instances of the sublime in writing. - Interesting point about genre which arises from Burke: it’s easier to produce these effects in writing than e.g. in painting. - Can we relate it back to our previous discussion of 9/11? The sublime is something which is by nature beyond description. - NB Longinus’s place—his response is made in a tradition of aesthetics that comes down though Plato and Aristotle - Important questions about translation and definition: o How does translation affect/act upon the concept, especially because Longinus doesn’t define “sublime”? o There is a problem with the inaccessibility of terms—e.g.
    [Show full text]
  • 1 No- G COMEDY and the EARLY NOVELS of IRIS MURDOCH Larry
    no- G 1 COMEDY AND THE EARLY NOVELS OF IRIS MURDOCH Larry/Rockefeller A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 1968 Approved by Doctoral Committee _Adviser Department of English I a Larry Jean Rockefeller 1969 ALL RIGHTS RESERVED PREFACE Why has Iris Murdoch failed in her attempt to resur­ rect the novel of characters? That is the question which has perplexed so many readers who find in her novels sig­ nificant statements about the human condition rendered by a talent equalled only by a handful of other writers of our time, and it is the question which the pages follow­ ing try to answer. In general, the implicit argument under­ lying those pages is tripartite: (1) only comedy of a kind which resembles closely Murdoch's conception of love will allow a novelist to detach himself enough from his charac­ ters to give them a tolerant scope within which to humanly exist; (2) Murdoch has succeeded in maintaining that balanced synthesis between acceptance and judgement only in her earli­ est work and only with complete success in The Bell; and (3) the increasingly bitter tone of her satire — not to mention just the mere fact of her use of satire as a mode for character creation — has, in her most recent work, blighted the vitality of her characters by too strictly limiting them to usually negative meanings. Close analysis has been made, hence, of the ways in which comic devices affect us as readers in our perception of Murdoch's per­ sons.
    [Show full text]
  • Justice, Dissent, and the Sublime Canuel, Mark
    Justice, Dissent, and the Sublime Canuel, Mark Published by Johns Hopkins University Press Canuel, Mark. Justice, Dissent, and the Sublime. Johns Hopkins University Press, 2012. Project MUSE. doi:10.1353/book.15129. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/15129 [ Access provided at 29 Sep 2021 18:58 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. Justice, Dissent, and the Sublime This page intentionally left blank Justice, Dissent, M and the Sublime N Mark Canuel The Johns Hopkins University Press Baltimore © 2012 The Johns Hopkins University Press All rights reserved. Published 2012 Printed in the United States of America on acid-free paper 9 8 7 6 5 4 3 2 1 The Johns Hopkins University Press 2715 North Charles Street Baltimore, Maryland 21218-4363 www.press.jhu.edu Library of Congress Cataloging-in-Publication Data Canuel, Mark. Justice, dissent, and the sublime / Mark Canuel. p. cm. Includes bibliographical references and index. ISBN 978-1-4214-0587-2 (hdbk. : alk. paper) — ISBN 978-1-4214-0609-1 (electronic) — ISBN 1-4214-0587-3 (hdbk. : alk. paper) — ISBN 1-4214- 0609-8 (electronic) 1. Aesthetics in literature. 2. English literature—18th century— History and criticism. 3. English literature—19th century—History and criticism. 4. Justice in literature. 5. Sublime, The, in literature. 6. Romanticism—Great Britain. I. Title. PR448.A37C35 2012 820.9Ј007—dc23 2011047314 A catalog record for this book is available from the British Library. Special discounts are available for bulk purchases of this book.
    [Show full text]
  • The Routledge Dictionary of Literary Terms
    The Routledge Dictionary of Literary Terms The Routledge Dictionary of Literary Terms is a twenty-first century update of Roger Fowler’s seminal Dictionary of Modern Critical Terms. Bringing together original entries written by such celebrated theorists as Terry Eagleton and Malcolm Bradbury with new definitions of current terms and controversies, this is the essential reference book for students of literature at all levels. This book includes: ● New definitions of contemporary critical issues such as ‘Cybercriticism’ and ‘Globalization’. ● An exhaustive range of entries, covering numerous aspects to such topics as genre, form, cultural theory and literary technique. ● Complete coverage of traditional and radical approaches to the study and production of literature. ● Thorough accounts of critical terminology and analyses of key academic debates. ● Full cross-referencing throughout and suggestions for further reading. Peter Childs is Professor of Modern English Literature at the University of Gloucestershire. His recent publications include Modernism (Routledge, 2000) and Contemporary Novelists: British Fiction Since 1970 (Palgrave, 2004). Roger Fowler (1939–99), the distinguished and long-serving Professor of English and Linguistics at the University of East Anglia, was the editor of the original Dictionary of Modern Critical Terms (Routledge, 1973, 1987). Also available from Routledge Poetry: The Basics Who’s Who in Contemporary Jeffrey Wainwright Women’s Writing 0–415–28764–2 Edited by Jane Eldridge Miller Shakespeare: The Basics 0–415–15981–4
    [Show full text]
  • The Problem of Digestive Interpretation in Pope, Swift, And
    Wits, Shits, and Crits: The Problem of Digestive Interpretation in Pope, Swift, and Fielding A dissertation submitted for a Ph.D. in English literature Cornell University Christina Susanna Black August 2018 C.S. Black Wits, Shits, Crits 1 © 2018 Christina Susanna Black C.S. Black Wits, Shits, Crits 2 WITS, SHITS, AND CRITS: THE PROBLEM OF DIGESTIVE INTERPRETATION IN POPE, SWIFT, AND FIELDING Christina Susanna Black, Ph.D. Cornell University 2018 My readings of the abundant ingestion and excretion themes in literary works by Fielding, Swift, Montagu, and Pope propose that we can understand these topics as sustained metaphors for the bipartite issues of readers' consumption and writers' incorporation of a literary heritage into these texts. These issues were particularly salient in early eighteenth-century Britain, as printed texts become more broadly available and affordable, and readers could no longer be relied upon to have a top education and sophisticated tools of analysis. Authors like Fielding and Swift also were experimenting in new forms like the novel that had no standards for analysis. These authors were interested in and concerned about how their work and that of their contemporaries would stand up to future scrutiny. How did the changing economic incentives for writing, from courting wealthy patrons to selling in mass volume to unknown readers, affect literature’s claim to everlasting value? Pope was the first English author to earn a sustainable living from his writings, but that new economic viability also spawned Grub Street hack writing, not to mention unsavory publishing practices. In this historical context, sustained metaphors of eating and digesting were a playfully denigrating way for these writers to investigate what it meant to write for consumers, even as the metaphors also revivified older literary traditions and genres by incorporating them into modern contexts.
    [Show full text]
  • Transformations of Sappho: Late 18Th Century to 1900
    Transformations of Sappho Late 18th Century to 1900 Athulya Aravind English Department Advisor: Guy Rotella Honors Junior/Senior Process, 2011 2 CONTENTS I – Introduction 3 II – Male Romantic Poets 11 III – Nineteenth Century Women Poets 34 IV - Victorian Male Poets 61 V – Michael Field 87 VI – Conclusion 99 Works Cited 101 3 I – Introduction The poet Sappho, a major exemplar of lyric verse and famous as the first female poet in Western literary history, is believed to have lived on the Greek island of Lesbos sometime in the 6th century BCE. So great was Sappho‘s fame in the ancient world that some six hundred years after her death, her lyrics were gathered into nine books organized in metrical schemes, subjects, performance styles, and genres. But, these books and most other records of Sappho disappeared in around the 9th century CE, and both Sappho and her works were largely repressed or neglected—for reasons both moral and accidental—during the Middle Ages. Happily, however, a small portion of Sappho‘s verse was rediscovered during the Renaissance, as an aspect of that period‘s more general revival of classical art and learning. Since then, the available corpus of Sappho‘s work has grown somewhat, especially with the resurfacing of several significant poetic fragments in the 19th and 20th centuries. Despite these recoveries, however, our archive of the poet‘s work remains extremely small: a single full poem (the ―Ode to Aprhodite,‖ known as Fragment 1). One fairly long poem (―He seems to me equal to a god,‖ known as Fragment 31), and several small, sometimes tiny scraps, many of them only a line or two long.
    [Show full text]
  • Misreading Skepticism in the Long Eighteenth Century: Studies in the Rhetoric of Assent
    Misreading Skepticism in the Long Eighteenth Century: Studies in the Rhetoric of Assent By Adam Sneed A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2018 Doctoral Committee: Professor Marjorie Levinson, Chair Professor Gregg Crane Associate Professor Sean Silver Professor Silke Maria-Weineck Adam Sneed [email protected] ORCID iD: 0000-0002-9205-1715 ACKNOWLEDGEMENTS My first thanks must be to the University of Michigan for the opportunity and privilege to pursue the life of the mind. I am deeply grateful for the tremendous and constant support provided by faculty and staff of the UM English Department. I am indebted to the Rackham School of Graduate Studies for two timely dissertation fellowships and to the U-M LSA International Institute for the opportunity to pursue archival research in Scotland. I thank the members of my dissertation committee: Sean Silver for providing a constant model of passionate, creative scholarship; Gregg Crane for first dislodging me from a neo-Kantian, Skeptical perspective; Silke Maria-Weineck for cheering on the polemic; and my wonderful chair, Marjorie Levinson, for supporting and encouraging me at every stage of the dissertation process and for bearing with me as the project evolved over time. I would like to thank my dear friends Samuel Heidepriem, Emily Waples, Logan Scherer, Kristin Fraser Geisler, Ryan Hampstead, Joe Chapman, Anthony Losapio, Sarah Mass, Alice Tsay, Lizzy Mathie, and Amrita Dhar for their love and support through the years in Ann Arbor. Special thanks to my dear friends Kathryne Bevilacqua, John Paul Hampstead, and Julia Hansen, who read and commented on drafts in the final stages.
    [Show full text]
  • "Longinus, Sappho's Ode, and the Question of Sublimity"
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Érudit Article "Longinus, Sappho’s Ode, and the Question of Sublimity" Peter Cochran Revue de l'Université de Moncton, 2005, p. 219-232. Pour citer cet article, utiliser l'information suivante : URI: http://id.erudit.org/iderudit/014359ar DOI: 10.7202/014359ar Note : les règles d'écriture des références bibliographiques peuvent varier selon les différents domaines du savoir. Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter à l'URI https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Érudit est un consortium interuniversitaire sans but lucratif composé de l'Université de Montréal, l'Université Laval et l'Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. Érudit offre des services d'édition numérique de documents scientifiques depuis 1998. Pour communiquer avec les responsables d'Érudit : [email protected] Document téléchargé le 9 février 2017 03:58 Revue de l’Université de Moncton, Numéro hors série, 2005, p. 219-232. LONGINUS, SAPPHO’S ODE, AND THE QUESTION OF SUBLIMITY Dr. Peter Cochran The University of Liverpool England Résumé De prime abord, cet article peut sembler porter sur les attitudes à l’endroit de l’autorité des anciens, mais il porte en fait sur l’ironie du ton et sur la difficulté qu’on peut avoir à la déceler, même quand le locuteur ou l’écrivain est un de nos proches.
    [Show full text]
  • The Influence of Longinus in the Seventeenth Century
    THE UNIVERSITY OF ILLINOIS LIBRARY 4 -4 4 Digitized by the Internet Archive in 2013 http://archive.org/details/influenceoflongiOOkilb^ THE INFLUENCE OF LONGINUS IN THE SEVENTEENTH CENTURY BY FRANCES MARJORIE KILBURN A. B. Rockford College 1911 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN ENGLISH IN THE GRADUATE SCHOOL OF THE UNIVERSITY OF ILLINOIS 1912 K55 UNIVERSITY OF ILLINOIS THE GRADUATE SCHOOL 19i2- HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPERVISION BY ENTITLED //^ (/C^jAyuu^ BE ACCEPTED AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE OF In Charge of Major Work leaH^of Department Recommendation concurred in: Committee on Final Examination INTRODUCTION, AND GENERAL SURVEY OF LONGINUS'S TREATISE ON THE SUBLIME. It would be to the credit of modern scholarship if no intro- duction to the Treat! se of Longinus were necessarj'-, but unfortunately today the Essay on the Sublime is much less widely known than its worth deserves. The average college student knows little or noth- ing of the Treatise , and is more than likely to receive any refer- ence to Longinus with the skeptical indifference that would imply, if politeness permitted, "Ah yes, perhaps somewhere back in the ar- chives of time such an old fellow did really exist, but I'm sure he is not worth ray interest". As a matter of fact, the archives of time have nothing to do with Longinus and his Treatise on the Sub - lime . He exists as fully today, through the universality of his work, as he did in his own century.
    [Show full text]
  • Examples of Bathos in Literature
    Examples Of Bathos In Literature Clitic Shane heathenise, his conflagrations enwombs yawps motionlessly. Is Hasheem extroversive when Ervin achieving prevalently? Oxblood Remus loping or inosculates some skins interdentally, however polytheistic Clemens excused indignantly or cross-referred. The DMV desk clerk. Kruppe and Iskaral Pust. Pope uses the heroic couplet to emphasis this idea. The car or literature of examples bathos in write and thrown into an email address. To say or write something that suggests and implies but never says it directly or clearly. Ship when it is round and forrow because of full length of wind. They learn from the challenges that they face throughout the pages of the book. The interplay of rhythm, theme, and metaphor, for example, create unity. Graphemes include alphabet letters, typographic ligatures, Chinese characters, numerical digits, punctuation marks, and other individual symbols of writing systems. Definition of Bathos by Oxford Dictionary on Lexico. Most main characters are dynamic. Many of the winning lines of this contest, now over three decades in existence, are examples of bathos. Can you dye your hair with dragon fruit? Ensure that your arguments make sense and that your claims and evidence are not implausible. This could be a poem, play, story, or film that devloves from poetic langauge to mundane. It was time to go home. It sets the tone right off the bat: in the previous film, Rey has gone through Hell and back to find Luke, and the movie ends with a triumphant orbital shot of her holding out his lightsaber to him. This is pretentious, exaggeratedly learned language.
    [Show full text]