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