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cc. xiii, xiv). _e._ Imagery (c. xv). (ii.) Power of moving the Passions (omitted here, because dealt with in a separate work). (iii.) Figures of Speech (cc. xvi-xxix). _a._ The Figure of Adjuration (c. xvi). The Art to conceal Art (c. xvii). _b._ Rhetorical Question (c. xviii). _c._ Asyndeton (c. xix-xxi). _d._ Hyperbaton (c. xxii). _e._ Changes of Number, Person, Tense, etc. (cc. xxiii-xxvii). _f._ Periphrasis (cc. xxviii, xxix). (iv.) Graceful Expression (cc. xxx-xxxii and xxxvii, xxxviii). _a._ Choice of Words (c. xxx). _b._ Ornaments of Style (cc. xxxi, xxxii and xxxvii, xxxviii). (+a+) On the use of Familiar Words (c. xxxi). (+b+) Metaphors; accumulated; extract from the _Timaeus_; abuse of Metaphors; certain tasteless conceits blamed in Plato (c. xxxii). [Hence arises a digression (cc. xxxiii-xxxvi) on the spirit in which we should judge of the faults of great authors. Demosthenes compared with Hyperides, Lysias with Plato. Sublimity, however far from faultless, to be always preferred to a tame correctness.] (+g+) Comparisons and Similes [lost] (c. xxxvii). (+d+) Hyperbole (c. xxxviii). (v.) Dignity and Elevation of Structure (cc. xxxix, xl). _a._ Modulation of Syllables (c. xxxix). _b._ Composition (c. xl). V.--cc. xli-xliii. Vices of Style destructive to Sublimity. (i.) Abuse of Rhythm } (ii.) Broken and Jerky Clauses } (cc. xli, xlii). (iii.) Undue Prolixity } (iv.) Improper Use of Familiar Words. Anti-climax. Example from Theopompus (c. xliii). VI.--Why this age is so barren of great authors--whether the cause is to be sought in a despotic form of government, or, as Longinus rather thinks, in the prevailing corruption of manners, and in the sordid and paltry views of life which almost universally prevail (c. xliv). INTRODUCTION TREATISE ON THE SUBLIME Boileau, in his introduction to his version of the ancient Treatise on the Sublime, says that he is making no valueless present to his age. Not valueless, to a generation which talks much about style and method in literature, should be this new rendering of the noble fragment, long attributed to Longinus, the Greek tutor and political adviser of Zenobia. There is, indeed, a modern English version by Spurden,[1] but that
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