XI
Longinus on the Sublime
25
ing," etc. Each of these authors fastidiously rejects whatever is not essential to the subject, and in putting together the most vivid features is careful to guard against the interposition of anything frivolous, unbecoming, or tiresome. Such blemishes mar the general effect, and give a patched and gaping appearance to the edifice of sublimity, which ought to be built up in a solid and uniform structure.
Closely associated with the part of our subject we have just treated of is that excellence of writing which is called amplification, when a writer or pleader, whose theme admits of many successive starting-points and pauses, brings on one impressive point after another in a continuous and ascending scale.
2 Now whether this is employed in the treatment of a commonplace, or in the way of exaggeration, whether to place arguments or facts in a strong light, or in the disposition of actions, or of passions—for amplification takes a hundred different shapes—in all cases the orator must be cautioned that none of these methods is complete without the aid of sublimity,—unless, indeed, it be our object to excite pity, or to depreciate an opponent's argument. In all other uses of amplification, if you subtract the element of sublimity you will take as it were the
