On the Sublime. Lang Andrew
only fragments survive. Did he write the Treatise on the Sublime? Modern students prefer to believe that the famous essay is, if not by Plutarch, as some hold, at least by some author of his age, the age of the early Caesars.
The arguments for depriving Longinus, Zenobia’s tutor, of the credit of the Treatise lie on the surface, and may be briefly stated. He addresses his work as a letter to a friend, probably a Roman pupil, Terentianus, with whom he has been reading a work on the Sublime by Caecilius. Now Caecilius, a voluminous critic, certainly lived not later than Plutarch, who speaks of him with a sneer. It is unlikely then that an author, two centuries later, would make the old book of Caecilius the starting-point of his own. He would probably have selected some recent or even contemporary rhetorician. Once more, the writer of the Treatise of the Sublime quotes no authors later than the Augustan period. Had he lived as late as the historical Longinus he would surely have sought examples of bad style, if not of good, from the works of the Silver Age. Perhaps he would hardly have resisted the malicious pleasure of censuring the failures among whom he lived. On the other hand, if he cites no late author, no classical author cites him, in spite of the excellence of his book. But we can hardly draw the inference that he was of late date from this purely negative evidence.
Again, he describes, in a very interesting and earnest manner, the characteristics of his own period (Translation, pp. 82-86). Why, he is asked, has genius become so rare? There are many clever men, but scarce any highly exalted and wide-reaching genius. Has eloquence died with liberty? “We have learned the lesson of a benignant despotism, and have never tasted freedom.” The author answers that it is easy and characteristic of men to blame the present times. Genius may have been corrupted, not by a world-wide peace, but by love of gain and pleasure, passions so strong that “I fear, for such men as we are it is better to serve than to be free. If our appetites were let loose altogether against our neighbours, they would be like wild beasts uncaged, and bring a deluge of calamity on the whole civilised world.” Melancholy words, and appropriate to our own age, when cleverness is almost universal, and genius rare indeed, and the choice between liberty and servitude hard to make, were the choice within our power.
But these words assuredly apply closely to the peaceful period of Augustus, when Virgil and Horace “praising their tyrant sang,” not to the confused age of the historical Longinus. Much has been said of the allusion to “the Lawgiver of the Jews” as “no ordinary person,” but that remark might have been made by a heathen acquainted with the Septuagint, at either of the disputed dates. On the other hand, our author (Section XIII) quotes the critical ideas of “Ammonius and his school,” as to the debt of Plato to Homer. Now the historical Longinus was a friend of the Neoplatonist teacher (not writer), Ammonius Saccas. If we could be sure that the Ammonius of the Treatise was this Ammonius, the question would be settled in favour of the late date. Our author would be that Longinus who inspired Zenobia to resist Aurelian, and who perished under his revenge. But Ammonius is not a very uncommon name, and we have no reason to suppose that the Neoplatonist Ammonius busied himself with the literary criticism of Homer and Plato. There was, among others, an Egyptian Ammonius, the tutor of Plutarch.
These are the mass of the arguments on both sides. M. Egger sums them up thus: “After carefully examining the tradition of the MSS., and the one very late testimony in favour of Longinus, I hesitated for long as to the date of this precious work. In 1854 M. Vaucher2 inclined me to believe that Plutarch was the author.3 All seems to concur towards the opinion that, if not Plutarch, at least one of his contemporaries wrote the most original Greek essay in its kind since the Rhetoric and Poetic of Aristotle.”4
We may, on the whole, agree that the nobility of the author’s thought, his habit of quoting nothing more recent than the Augustan age, and his description of his own time, which seems so pertinent to that epoch, mark him as its child rather than as a great critic lost among the somnia Pythagorea of the Neoplatonists. On the other hand, if the author be a man of high heart and courage, as he seems, so was that martyr of independence, Longinus. Not without scruple, then, can we deprive Zenobia’s tutor of the glory attached so long to his name.
Whatever its date, and whoever its author may be, the Treatise is fragmentary. The lost parts may very probably contain the secret of its period and authorship. The writer, at the request of his friend, Terentianus, and dissatisfied with the essay of Caecilius, sets about examining the nature of the Sublime in poetry and oratory. To the latter he assigns, as is natural, much more literary importance than we do, in an age when there is so little oratory of literary merit, and so much popular rant. The subject of sublimity must naturally have attracted a writer whose own moral nature was pure and lofty, who was inclined to discover in moral qualities the true foundation of the highest literary merit. Even in his opening words he strikes the keynote of his own disposition, where he approves the saying that “the points in which we resemble the divine nature are benevolence and love of truth.” Earlier or later born, he must have lived in the midst of literary activity, curious, eager, occupied with petty questions and petty quarrels, concerned, as men in the best times are not very greatly concerned, with questions of technique and detail. Cut off from politics, people found in composition a field for their activity. We can readily fancy what literature becomes when not only its born children, but the minor busybodies whose natural place is politics, excluded from these, pour into the study of letters. Love of notoriety, vague activity, fantastic indolence, we may be sure, were working their will in the sacred close of the Muses. There were literary sets, jealousies, recitations of new poems; there was a world of amateurs, if there were no papers and paragraphs. To this world the author speaks like a voice from the older and graver age of Greece. If he lived late, we can imagine that he did not quote contemporaries, not because he did not know them, but because he estimated them correctly. He may have suffered, as we suffer, from critics who, of all the world’s literature, know only “the last thing out,” and who take that as a standard for the past, to them unfamiliar, and for the hidden future. As we are told that excellence is not of the great past, but of the present, not in the classical masters, but in modern Muscovites, Portuguese, or American young women, so the author of the Treatise may have been troubled by Asiatic eloquence, now long forgotten, by names of which not a shadow survives. He, on the other hand, has a right to be heard because he has practised a long familiarity with what is old and good. His mind has ever been in contact with masterpieces, as the mind of a critic should be, as the mind of a reviewer seldom is, for the reviewer has to hurry up and down inspecting new literary adventurers. Not among their experiments will he find a touchstone of excellence, a test of greatness, and that test will seldom be applied to contemporary performances. What is the test, after all, of the Sublime, by which our author means the truly great, the best and most passionate thoughts, nature’s high and rare inspirations, expressed in the best chosen words? He replies that “a just judgment of style is the final fruit of long experience.” “Much has he travelled in the realms of gold.”
The word “style” has become a weariness to think upon; so much is said, so much is printed about the art of expression, about methods, tricks, and turns; so many people, without any long experience, set up to be judges of style, on the strength of having admired two or three modern and often rather fantastic writers. About our author, however, we know that his experience has been long, and of the best, that he does not speak from a hasty acquaintance with a few contemporary précieux and précieuses. The bad writing of his time he traces, as much of our own may be traced, to “the pursuit of novelty in thought,” or rather in expression. “It is this that has turned the brain of nearly all our learned world to-day.” “Gardons nous d’écrire trop bien,” he might have said, “c’est la pire manière qu’il y’ait d’écrire.”5
The Sublime, with which he concerns himself, is “a certain loftiness and excellence of language,” which “takes the reader out of himself… The Sublime, acting with an imperious and irresistible force, sways every reader whether he will or no.” In its own sphere the Sublime does what “natural magic” does in the poetical rendering of nature, and perhaps in the same scarcely-to-be-analysed fashion. Whether this art can be taught or not is a question which the author treats with modesty. Then, as now, people were denying
See also M. Naudet,
Egger,
M. Anatole France.