Index:On the Sublime 1890.djvu
(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. Ehetorical Question (c. xviii).
c. Asyndeton (e. 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).
(α) On the use of Familiar Words (c. xxxi).
(β) 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.]
(γ) Comparisons and Similes [lost] (c. xxxvii).
(δ) 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.
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).