W. Rhys Roberts translation
CLOSELY related to Metaphors (for we must return to our point) are comparisons and similes, differing only in this respect.....
....such Hyperboles as: 'unless you carry your brains trodden down in your heels' (On the Halonnesus 45, at Perseus). It is necessary, therefore, to know where to fix the limit in each case; for an occasional overshooting of the mark ruins the hyperbole, and such expressions, when strained too much, lose their tension, and sometimes swing round and produce the contrary effect. 2. Isocrates, for example, fell into unaccountable puerility owing to the ambition which made him desire to describe everything with a touch of amplification. The theme of his Panegyric is that Athens surpasses Lacedaemon in benefits conferred upon Greece, and yet at the very outset of his speech he uses these words: 'Further, language has such capacity that it is possible thereby to debase things lofty and invest things small with grandeur, and to express old things in a new way, and to discourse in ancient fashion about what has newly happened (Panegyricus 8, at Perseus).' 'Do you then, Isocrates,' it may be asked, 'mean in that way to interchange the facts of Lacedaemonian and Athenian history?' For in his eulogy of language he has, we may say, published to his hearers a preamble warning them to distrust himself. 3. Perhaps, then, as we said in dealing with figures generally, those hyperboles are best in which the very fact that they are hyperboles escapes attention. This happens when, through stress of strong emotion, they are uttered in connexion with some great crisis, as is done by Thucydides in the case of those who perished in Sicily. 'The Syracusans,'he says, 'came down to the water's edge and began the slaughter of those chiefly who were in the river, and the water at once became polluted, but none the less it was swallowed although muddy and mixed with blood, and to most it was still worth fighting for (Thucydides, Histories 7.84).' That a draught of blood and mud should still be worth fighting for, is rendered credible by the intensity of the emotion at a great crisis. 4. So with the passage in which Herodotus tells of those who fell at Thermopylae. 'On this spot,' he says, 'the barbarians buried them as they defended themselves with daggers--those of them who had daggers still left--and with hands and mouths (Herodotus, Histories 7. 225).' Here you may be inclined to protest against the expressions 'fight with their very mouths' against men in armour, and 'being buried' with darts. At the same time the narrative carries conviction; for the event does not seem to be introduced for the sake of the hyperbole, but the hyperbole to spring naturally from the event. 5. For (as I never cease to say) the deeds and passions which verge on transport are a sufficient lenitive and remedy for every audacity of speech. This is the reason why the quips of comedy, although they may be carried to the extreme of absurdity, are plausible because they are so amusing. For instance,
Smaller his field was than a Spartan letter.
For mirth, too, is an emotion, an emotion which has its root in pleasure. 6. Hyperboles are employed in describing things small as well as great, since exaggeration is the common element in both cases. And, in a sense, ridicule is an amplification of the paltriness of things.
The fifth of those elements contributing to the sublime which we mentioned, excellent friend, at the beginning, still remains to be dealt with, namely the arrangement of the words in a certain order. In regard to this, having already in two treatises sufficiently stated such results as our inquiry could compass, we will add, for the purpose of our present undertaking, only what is absolutely essential, namely the fact that harmonious arrangement is not only a natural source of persuasion and pleasure among men but also a wonderful instrument of lofty utterance and of passion. 2. For does not the flute instil certain emotions into its hearers and as it were make them beside themselves and full of frenzy, and supplying a rhythmical movement constrain the listener to move rhythmically in accordance therewith and to conform himself to the melody, although he may be utterly ignorant of music? Yes, and the tones of the harp, although in themselves they signify nothing at all, often cast a wonderful spell, as you know, over an audience by means of the variations of sounds, by their pulsation against one another, and by their mingling in concert. 3. And yet these are mere semblances and spurious copies of persuasion, not (as I have said) genuine activities of human nature. Are we not, then, to hold that composition (being a harmony of that language which is implanted by nature in man and which appeals not to the hearing only but to the soul itself), since it calls forth manifold shapes of words, thoughts, deeds, beauty, melody, all of them born at our birth and growing with our growth, and since by means of the blending and variation of its own tones it seeks to introduce into the minds of those who are present the emotion which affects the speaker and since it always brings the audience to share in it and by the building of phrase upon phrase raises a sublime and harmonious structure: are we not, I say, to hold that harmony by these selfsame means allures us and invariably disposes us to stateliness and dignity and elevation and every emotion which it contains within itself, gaining absolute mastery over our minds? But it is folly to dispute concerning matters which are generally admitted, since experience is proof sufficient. 4. An example of a conception which is usually thought sublime and is really admirable is that which Demosthenes associates with the decree: 'This decree caused the danger which then beset the city to pass by just-as a cloud (On the Crown 188).' But it owes its happy sound no less to the harmony than to the thought itself. For the thought is expressed throughout in dactylic rhythms, and these are most noble and productive of sublimity; and therefore it is that they constitute the heroic, the finest metre that we know. [And the order of the expression hôsper nephos is exactly right.] For if you derange the words of the sentence and transpose them in whatever way you will, as for example 'This decree just-as a cloud caused the danger of the time to pass by'; nay, if you cut off a single syllable only and say caused to pass by as a cloud,' you will perceive to what an extent harmony is in unison with sublimity. For the very words 'just-as a cloud' begin with a long rhythm, which consists of four metrical beats; but if one syllable is cut off and we read 'as a cloud,' we immediately maim the sublimity by the abbreviation. Conversely, if you elongate the word and write 'caused to pass by just-as-if a cloud,' it means the same thing, but no longer falls with the same effect upon the ear, inasmuch as the abrupt grandeur of the passage loses its energy and tension through the lengthening of the concluding syllables.
Among the chief causes of the sublime in speech, as in the structure of the human body, is the collocation of members, a single one of which if severed from another possesses in itself nothing remarkable, but all united together make a full and perfect organism. So the constituents of grandeur, when separated from one another, carry with them sublimity in distraction this way and that, but when formed into a body by association and when further encircled in a chain of harmony they become sonorous by their very rotundity; and in periods sublimity is, as it were, a contribution made by a multitude. 2. We have, however, sufficiently shown that many writers and poets who possess no natural sublimity and are perhaps even wanting in elevation have nevertheless, although employing for the most part common and popular words with no striking associations of their own, by merely joining and fitting these together, secured dignity and distinction and the appearance of freedom from meanness. Instances will be furnished by Philistus among many others, by Aristophanes in certain passages, by Euripides in most. 3. In the last-mentioned author, Heracles, after the scene in which he slays his children, uses the words:--
Full-fraught am I with woes--no space for more.
The expression is a most ordinary one, but it has gained elevation through the aptness of the structure of the line. If you shape the sentence in a different way, you will see this plainly, the fact being that Euripides is a poet in virtue of his power of composition rather than of his invention. 4. In the passage which describes Dirce torn away by the bull:--
Whitherso'er he turned
the conception itself is a fine one, but it has been rendered more forcible by the fact that the harmony is not hurried or carried as it were on rollers, but the words act as buttresses for one another and find support in the pauses, and issue finally in a well-grounded sublimity.
There is nothing in the sphere of the sublime, that is so lowering as broken and agitated movement of language, such as is characteristic of pyrrhics and trochees and dichorees, which fall altogether to the level of dance-music. For all over-rhythmical writing is at once felt to be affected and finical and wholly lacking in passion owing to the monotony of its superficial polish. 2. And the worst of it all is that, just as petty lays draw their hearer away from the point and compel his attention to themselves, so also overrhythmical style does not communicate the feeling of the words but simply the feeling of the rhythm. Sometimes, indeed, the listeners knowing beforehand the due terminations stamp their feet in time with the speaker, and as in a dance give the right step in anticipation. 3. In like manner those words are destitute of sublimity which lie too close together, and are cut up into short and tiny syllables, and are held together as if with wooden bolts by sheer inequality and ruggedness.
On the Sublime, tr. Roberts