Sources of Sublimity in Longinus’ On the Sublime
Longinus’s 'On the Sublime' is an influential work in the field of literary criticism that examines how writers achieve greatness and profound impact in their works. In this treatise, One of the most critical aspects of the identification of five principal sources of sublimity. These sources form the foundation of elevated writing and ensure that literary works have the power to transport and inspire their audience. This essay elevates each of these sources in detail with references to Longinus’ text and examples from literature.
Longinus expresses:
1. Greatness of Thought
According to Longinus, the first and most fundamental source of sublimity is "greatness of thought." On the other hand, the noble and lofty ideas are the bedrock of sublime writing. A writer must possess a mind capable of rising above trivialities to contemplate universal truths and profound subjects. Greatness of thought reflects the writer's intellectual capacity and moral vision. He expresses about the bravity which is an elevated thought of a legendary character that gives greatness.
Longinus emphasizes that "sublimity is the echo of a noble mind," suggests that a writer’s inner greatness is mirrored in their work. For example, Homer’s Iliad and Odyssey demonstrate this quality by addressing timeless themes like heroism, mortality, and the human condition. Similarly, Achilles’s internal struggles, thought, pressures and his ultimate confrontation with his destiny elevate the narrative. In the same way, in Shakespeare’s 'Hamlet', the protagonist’s introspection and philosophical reflections on the life and death which reveal the grandeur of thought that underpins the play’s emotional power. In 'Hamlet', Shakespeare shows about the revenges of Hamlet to take on Claudius for the killing of his father. This context explores the sublimity of thought.
A writer’s ability to think deeply and present profound ideas enables them to create a lasting impact on readers. Without the great imagination of a writer, the greatness can not be unfolded.
2. Strong Emotion (Pathos)
The second source of sublimity is 'strong emotion' or the "pathos." Longinus argues that the expression of genuine and intense feelings can elevate a work to greatness. Authentic emotion not only captivates readers but also moves them profoundly. However, Longinus warns that emotions must be balanced and appropriate to the context; excessive or misplaced emotion can lead to bombast and melodrama.
One of the finest melodramas can be found in the character of Lucy Ashton in Sir Walter Scott’s The Bride of Lammermoor. While the novel itself is a masterpiece, Lucy's emotional turmoil is often portrayed with excessive and exaggerated sentimentality.
In an epic poem, Virgil’s Aeneid, particularly in the tragic story of Dido. Her despair and ultimate demise evoke a deep emotional response from readers, highlighting the sublime power of genuine pathos. Similarly, in Wordsworth’s poetry, especially in Lines Composed a Few Miles Above Tintern Abbey, the poet’s deep emotional connection to nature is both personal and universal, creating a sublime experience for readers.
By tapping into universal emotions like love, grief, and longing, writers create works that resonate on a deeply human level. Pathos transforms mere words into experiences that linger in the minds and hearts of readers.
3. Skillful Use of Figures of Speech
The third source of sublimity lies in the skillful use of rhetorical figures, including metaphor, simile, hyperbole, Asyndenton, Hyperbaton, Appostrophe and other stylistic devices. Longinus explains that these figures add beauty, force, and clarity to writing, enhancing its emotional and intellectual impact. He stresses that rhetorical devices must arise naturally from the subject matter rather than appearing artificial or contrived.
For instance, Milton’s Paradise Lost employs a wealth of rhetorical figures to achieve sublimity. His use of similes, such as the famous comparison of Satan’s shield to the moon, not only enriches the imagery but also emphasizes the grandeur and scale of the epic. Similarly, in Emily Dickinson’s poetry, her use of metaphor and personification imbues her work with a sense of mystery and profundity. In 'Julius Caeser', Shakespeare shows the line, "I came, I saw, I conquer." This an another best figure of speech.
Longinus particularly praises the power of hyperbole, which, when used judiciously, can magnify the impact of an idea. However, he warns against overuse, which can lead to exaggeration and undermine the intended effect. Skillful deployment of rhetorical figures ensures that a work achieves both elegance and power.
4. Diction and Word Choice
The fourth source of sublimity is diction and word choice, which involves selecting language that is appropriate, vivid, and impactful. Longinus highlights the importance of elevated and dignified language in conveying grandeur. Words have the power to shape meaning, evoke emotions, and create lasting impressions.
In On the Sublime, Longinus praises the ancient poets and orators for their mastery of language. For example, he admires Homer’s precise and evocative diction in the Iliad, which brings scenes of battle and heroism to life. Similarly, in the speeches of Demosthenes, the forceful and carefully chosen words create an emotional and intellectual impact on the audience.
In modern literature, the works of T.S. Eliot exemplify the sublime use of diction. In The Waste Land, Eliot’s fragmented and layered language mirrors the disillusionment and fragmentation of the post-World War I era. Each word is meticulously chosen to convey a complex web of meaning, creating a work that is both challenging and profoundly moving.
Diction serves as the vehicle through which ideas and emotions are expressed. By employing language that is precise, evocative, and appropriate, writers elevate their works to the realm of the sublime.
5. Noble Arrangement (Structure)
The final source of sublimity is noble arrangement, which refers to the proper structure and organization of ideas. Longinus asserts that a disorganized or poorly arranged work, no matter how great its ideas or language, cannot achieve sublimity. The arrangement of a work must allow ideas to unfold naturally and powerfully, guiding the reader toward an emotional and intellectual climax.
For instance, the structure of Sophocles’ Oedipus Rex exemplifies noble arrangement. The careful pacing of revelations, combined with the dramatic buildup toward the tragic conclusion, creates an overwhelming sense of inevitability and catharsis. Similarly, in Mary Shelley’s Frankenstein, the nested narrative structure adds layers of complexity and allows the reader to explore the themes of ambition, isolation, and responsibility from multiple perspectives.
Longinus stresses that noble arrangement is not merely about mechanical organization but about the harmony and unity of the whole. A well-structured work ensures that each part contributes to the overall effect, creating a seamless and impactful experience for the audience.
Conclusion
In On the Sublime, Longinus provides a timeless framework for understanding what makes literature powerful and enduring. The five sources of sublimity—greatness of thought, strong emotion, skillful use of rhetorical figures, diction and word choice, and noble arrangement—serve as essential tools for writers seeking to achieve greatness. Each source contributes uniquely to the sublime, and their combined effect elevates writing beyond the ordinary.
Through these principles, Longinus not only offers practical guidance to writers but also inspires readers to appreciate the profound beauty and power of literature. Whether in the epics of Homer, the tragedies of Shakespeare, or the modern works of Eliot and Shelley, the sublime continues to captivate and transform, fulfilling its timeless mission to "elevate the soul."