Chapter II

The Sublime
 16

Origin

The concept of the term the sublime is attributed to Longinus.

It is in his extraordinary essay Peri Hypsos that the Horation

interest in the author became part of a critical trend and a

romantic concern for the poet's inspiration came to its

climax 1. Naturally, Longinus has been called the first

Romantic critic 2 .

The main arguments of the text of Peri Hypsos, translated as

On the Sublime 3 is directed against Cecilius. Undertaking to

improve on the work of Augustan Cecilius, Longinus insists

that Cecilius has neither defined the nature of the sublime

nor indicated the sources, or components, of what both

authors call hypsos, a quality of elevation, of intensity or

eloquence in writing, 'the sublime' as it was much later to be

called. So complying with the request of his friend Postumius

Terentianus, Longinus undertakes to write a treatise on the

subject and discusses in detail first, the definition of the

subject and second, in order of treatment, the methods by

which we may reach the desired goal (On the Sublime, Int.,

99).

1
W.K. Wimsatt, Jr., and C. Brooks, opp. cit., (Calcutta, Bombay and New Delhi :Oxford and I.
B.H. Publishing Company, 1957), p. 97.
2
R.A. Scott James, opp. cit., (London: Seeker and Warbury, 1958), p. 80
3
T.S. Dorsch, (tr.), Classical Literary Criticism ( Harmondsworth Middle sex: Penguin Books,
1965) p. 99
 17

Definition

As Longinus defines it, the sublime signifies 'a certain

distinction and excellence of expression, that distinction and

excellence by which authors have been enabled to win

immortal fame' (On the Sublime, 1, 100). And he goes on

For the effect of elevated language is, not to

persuade the hearers but to entrance them; and at

all times, and in every way, what transports us

with wonder is more telling than what merely

persuades or gratifies us. The extent to which we

can be persuaded is usually under our control, but

these sublime passages exert an irresistible force

and mastery, and get the upper hand with every

hearer--- a well-timed stroke of sublimity scatters

everything before it like a thunder bolt, and in a

flash reveals the full power of the orator (On the

Sublime, 1, 100).

Here we have the first definite statement of a doctrine which

Joubert could not make more precise when he said: 'Nothing

is poetry unless it transports', which Sir Thomas Browne was

to translate into the language of sentiment when he

exclaimed, 'I love to lose myself in a mystery, to pursue my

reason to an Altitude!' and which De Quincey was to state in

his distinction between the literature of knowledge and the

 18

literature of power- 'The function of the first is-to teach; the

function of the second is to-move !' The sublime effect of

literature, for Longinus, is attained, not by argument, but by

revelation, or illumination. Its effect upon the mind is

immediate, like a flash of lightning upon the eye 4 .

The sublime, Longinus tells us, should not be confused with

mere inventive skill and the proper order and disposition of

material. They are contextual, they run through the whole

texture of the composition and reveal themselves by slow

degrees whereas sublimity, as has already been stated, is a

well-timed stroke which scatters everything and reveals its

full power.

This brings us to the famous question of Nature versus Art, to

the old problem of the relative importance of art and training

on the one hand, and natural talent on the other. Longinus

states the view of those who hold that the attainment of the

sublime is not teachable by art, that it cannot be explained

away as a set of artistic precepts, 'the bare bones of rules

and systems' (On the Sublime, 2,101). Like Horace, Longinus

comes to the inevitable conclusion that both are needed.

'Nature is the first cause and the fundamental principle in all

activities, but the function of a system is to prescribe the

degree and the right moment for each'. Unlike Horace,

however, he puts the main emphasis on natural talent.

4
R.A. Scott James, opp. cit., p. 87.
 19

Longinus next discusses the vices, improprieties into which

the sublime may fall. There are three of these: (1) tumidity or
bombast, (2) puerility; and (3) parenthyrsus or false
sentiment. 'Tumidity' is one of the most difficult of faults to
guard against, for those who aim at the sublime in the hope
of escaping the charge of feebleness and aridity become a

prey to it.

The second of the fault, 'puerility', on the other hand, is a

complete antithesis of tumidity. Writers slip into this kind of

fault when they strive for unusual and well- wrought effects,

and above all for attractiveness, and instead flounder into

tawdriness and affectation (On the Sublime, 3, 103). It is

exemplified by the odd conceits of Timaeus, and even by

some of the phrases of Xenophon and Plato. Xenophon

speaks of the pupils of the eyes as 'modest maidens'.

The third fault, 'parenthyrsus' or false sentiment, results from

hollow emotionalism where emotion is not called for, or from

immoderate passion where restraint is what is needed. In

such cases writers are often carried away by their

enthusiasm into outbursts of emotion which are not relevant

to the matter and leave their hearers unaffected.

All these faults are faults of ideas and result from one cause,

from the craving for intellectual novelities which is the

dominant craze among the writers. Thus a fine style, sublime

conception and happy turns of phrases all contribute towards

effective composition, yet these very factors lead not only to

the success but also to the failure.
 20

Longinus now comes to a closer grip with his subject and

distinguishes the sublime from the faults that are so closely

bound up with its achievement. In other words, he

discriminates between the true sublime and the false sublime.

But this is not so easy an undertaking, for 'the ability to judge

literature is the crowning glory of long experience (On the

Sublime.6, 1 06). Therefore, we must be careful of the

'external trappings of a showy splendour'. For the benefit of

those who aspire to the sublime, Longinus provides some

touchstones which may be helpful in distinguishing the true

sublime form the false. The true sublime uplifts our souls; we

are filled with a proud exaltation and a sense of vaunting joy;

it can stand up to~repeated examination; it is impossible to

resist its appeal; it remains firmly and exists in such works as

please all men at all times (On the Sublime, 7, 107).

The false sublime is just its opposite. It gives an impression

of grandeur by means of much adornment indiscriminately

applied and can be shown as mere bombast when they are

sripped away. Hence with every successive reading it loses

more and more of its effectiveness.

Sources

Having defined the sublime in terms of its touchstones,

Longinus next passes on to a discussion of the sources of the

sublime. These sources are of five kinds and beneath all of

 21

these lies a common foundation - the command of language,

without which nothing worthwhile can be done (On the

Sublime, 8,1 08). These are:

1. the ability to form grand conceptions (the most

important of all the sources);

2. the stimulus of powerful and inspired emotion;

3. the proper formation of two types of figure - the figures

of thought and the figures of speech;

~ 4. the creation of a noble diction which includes the
\[j
._;
~ choice of words, the use of imagery and the

0 elaboration of style, and

-.........
5. the total effect resulting from dignity and elevation (a
l
}: source which embraces all those already mentioned).

r- Of all these five sources the fist two are for the most part

innate - they refer to the poet's soul and hence may be said

to pertain to the 'content' of literature, while the others are

the product of art and refer to the artistic training of the poet,

and hence to the 'form' of literature.

Of all the five sources of the sublime Longinus puts first the

...
0\:::,.
ability to form grand conceptions which in its turn originates

- in the author's soul. Though this source is a gift rather than

an acquired characteristic the author is advised to train his

mind towards the conception of grand ideas, perpetually

impregnating them with noble inspiration. For 'greatness of

speech is the province of those whose thoughts are

 22

and 'stately expressions come naturally to the most high-

minded of men' (On the Sublime, 9,11 0). In fact, 'Sublimity is

the echo of a noble mind' says Longinus and maintains that

'it is the quality of mind which determines everything'. As an

instance of this, Longinus gives us an example from the

Odyssey in which he talks about Odysseus's visit to the

underworld, where unlike the other spirits, Ajax 'strides away

without saying a word' (On the Sublime, 9, 109).

Longinus next discusses the means by which greatness of

conception may be achieved. The first means (as the treatise

seems to suggest) is the distinction of the author's mind

towards great objects. Among the various examples given by

Longinus we may like to refer to the celebrated passage on

creation from the Hebrew lawgivers Genesis: God said, '---

Let there be light and there was light; let there be land, and

there was land'. Clearly, this is an expression of a high

conception of the power of the Divine being and Moses, the

lawgiver of the Jews is praised for it.

From divine affairs Longinus now moves on to human affairs

to show the greatness of ideas. He takes the famous prayer

of Ajax from the Iliad requesting Zeus to lift up the darkness

from the battlefield so that he is enabled to see and continue

his fight. Even if he meets his death in the day light, it will be

a death worthy of his courage: 'Father Zeus, do but rescue

the sons of Achaea from out of the gloom, give us fair

 23

weather, and grant that we may see with our eyes. So long as

it be in the light of day, even destroy us (On the Sublime, 9,

112).

Passages such as this and the other habitually associate

their authors with their sublime themes. As such, Homer,

Pindar, and the old Testament poets comprise a class of

natural genius and are all the prodigies of mankind. By the

strength of their natural talents, and without any assistance

of training and learning they have produced works that were

the delight of their own times and the wonder of posterity.

Such authors are characterized by a natural fire and

impetuosity and noble sallies of imagination and achieve

works that are nobly wild, extravagant and sublime in their

kind.

The selection and organization of material, and the ability to

relate them to one another in such a way as to make of them

a single organism is yet another means conducive to the

conception of great ideas. This Longinus illustrates with

Sappho's ode which shows her skill in selecting and fusing

the most extreme and intense manifestations of the emotions

attendant on the lover's frenzy. All such emotions are

awakened in lovers but what gives the poem its distinction is

the selection of them in their most extreme forms and their

fusion into a single organism.

 24

Yet another means of forming great conceptions 1s

'amplification which is used to increase the importance of a

subject to a higher level as well as to diminish and disparage

it' 5 . It can show how a thing is great or small. The universal

design of eloquence consists of three things, first, in

grammatical speech, next in figures, third in amplification.

Amplification, says Longinus, consists in and 1s often

associated with quantity and a certain amount of redundancy

(On the Sublime, 12,114). This however is different from

sublimity which consists in elevation and is often contained in

a single idea.

There are innumerous ways of affecting this device. To name

but a few, it may be managed by the rhetorical development

of a commonplace or by exaggeration or we may resort to the

orderly disposition of the factual points or of the appeals to

the feelings. Thus, if Cicero is to be differentiated form

Demosthenes in the use of sublimity it may be said that

Demosthenes is characterized by a sublimity which is for the

most part rugged, while Cicero by profusion. Demosthenes,

by reason of his force, and speed, and power of intensity may

be likened to a thunderbolt or flash of lightning.

Longinus does not illustrate this with the help of examples as

he has given elsewhere. However, for our convenience we

5
Alex Preminger, opp. cit., p. 32
 25

may supply a few from other sources and show how this

device helps in attaining the sublime. Thus in the sentence:

'It is a sin to bind a Roman Citizen, a crime to scourge him,

little short of the most unnatural murder to put him to death;

what then shall I call his cruxifixion?' 6 , we can see how a

single idea is developed in such a way as to achieve the

effect of the sublime. In yet another example when Othello

has just realized that Desdemona is innocent : Whip me, Ye

Devils I From the possession of this heavenly sight! I Blow

me about in winds! I Roast me in sulphur! I Wash me in steep

- down gulfs of liquid fire! I 0 Desdemona! Desdemona!

Dead! (Othello,5.2.276-80), we see how grandeur is achieved

with the help of this device. But like all other devices,

amplification should be regarded a means of attaining the

sublime, and not an end in itself.

Apart from amplification, two other methods which may be of

help in assisting the author in the formation of grand

conceptions are suggested. These are mimesis, i.e., imitation

or emulation of the great and the power of imagination.

Plato is said to show the sublime by way of mimesis.

Longinus uses mimesis in the broadest, not the restricted

rhetorical sense for he compares it to the inspiration of the

Pythian priestess at Delphi : 'So certain emanations are

conveyed from the genius of the men of old into the souls of

6
Ibid., opp., cit., p 32.
 26

those who emulate them, and ... even those who show very

few sings of inspiration derive enthusiasm from the grandeur

of their predecessors' (On the Sublime, 13,119).

The power of imagination, the other method to the great

conception, employs both the employment of imagery and the

invention of appropriate details to suit the description. An

image is defined as a 'mental picture' and the term is applied

to a passage in which carried away by his feelings the author

images that he is actually seeing the subject of his

description, and enables his audience to see it as well. This

Longinus illustrates from Euripides : 'Mother, I beseech you,

do not set upon me those blood-bolstered and snake -like

hags. See there, see there, they approach; they leap upon

me'. Again in the sentence: 'Ah! She will slay me! Whither

shall I fly' the poet himself sees the Furies, and thereafter,

compels his readers, too, to see them (On the Sublime, 15,

121).

Making a distinction between the poetic imagination and the

oratorical imagination Longinus says that the poetic

imagination seeks to enthrall the audience by working on

their feelings, whereas the oratorical imagination produces

vividness of description, though here also an attempt is made

to stir the feelings. We have already seen how Longinus has

illustrated the poetic imagination from Euripides. Other

illustrations have been given from Aechylus and Sophocles.

 27

Examples of oratorical imagination are given form

Demosthenes and Hyperides. The vividly drawn pictures of

the orator, says Longinus, overpower the audience and the

speech transcends the bounds of mere persuasion.

Longinus's treatment of the imagery and the power of

imagination, and his distinction between the poetic and the

oratorical imagination is commendable and complete than any

other ancient critic and it is with this that his discussion of

the first source of the sublime comes to an end.

Longinus's treatment of the second source, i.e., the stimulus

of powerful and inspired emotion; of emotion which great

literature stirs, the passion it calls forth and the transport or

ecstasy to which it leads is to be found scattered in the

treatise. 'Emotions', Longinus says) 'share a place in

literature, generally, and especially in the sublime' and

asserts forcefully that 'nothing contributes so decisively as a

noble emotion in the right setting when it forces its way to the

surface in a gust of frenzy and breathes a kind of divine

inspiration into the speaker's words'.

Emotion is an important source of the sublime and together

with thought it is demanded by Longinus in the same spirit in

which Mathew Arnold demands 'truth and seriousness' 7 . As

has already been discussed the sublime effect of literature is

7
R.A. Scott James. opp., cit., p . 93.
 28

like a flash of lightning and is attained not by argument, but

by revelation or illumination and its appeal is not through

reason but emotion. Thus if the Iliad is superior to the

Odyssey it is by virtue of dramatic intensity and its heaping

of passion which is lacking in the Odyssey. Similarly if

Demosthenes is superior to Cicero it is by virtue of his force

and speed and power and intensity. The right place for the

Demosthenean sublimity and intensity is in passages where

powerful emotions are involved.

Longinus, however, warns us against emotions that are mean

and not in the least sublime, such as pity, grief and fear.

Although no reason is given for the exclusion of these

emotions, it is suggested that Longinus has in mind the

emotions felt by the writer or the character in the drama,

rather than those of the audience.

Improper passion is also condemned by Longinus (On the

Sublime,3, 1 03). Writers who indulge in such excesses in their

quest for the sublime make faults of this nature. Such

irrelevant outbursts of emotions may produce upon them the

effect of ecstasy but leave their hearers unaffected.

Longinus's treatment of the third source, i.e., of figures, is

quite elaborate. Figurative language has been divided into

figures of thought and figures of speech. Figures of thought

also known as tropes are 'turns' or 'conversions' in which

 29

words are used in a way that effects a decided change or

expression in their standard meaning. Figures of speech or

rhetorical figures are words in which the departure from

standard usage is not primarily in the meaning but in order

and the rhetorical effects of the words is a natural source of

sublimity.

Adjuration, i.e., 'oath' or 'apostrophe' is the first of the

figures which is discussed by Longinus. In its modern sense

adjuration consists in addressing a dead or absent person, an

animal, a thing , or an abstract quality or idea as if it were

alive, present or capable of understanding. Some celebrated

examples are: '0 judgment ! thou are fled to british beasts'.

(Shakespeare, Julius Caesar, 3.2.10), 'Milton! thou shoud'st

be living at this hour'. (Wordsworth, "London", 1802), 'Ring

out , wild bells'. (Tennsyon, In Memoriam, 106), 'Thou still

unravished bride of quietness'. (Keats, "Ode on a Grecian

Urn"), '0 Greta, dear domestic stream'. (Coleridge,

"Recollections of Love").

In the case of Longinus, however, adjuration involves a

solemn appeal to something sacred to witness that a

statement is true or that a contract is binding. Taking the

famous Marathon oath from Demosthenes's De Corona, 'By

those who stood the shock at Marathon, it cannot be that you

were wrong ?', Longinus analyses the underlying causes of

its effectiveness. As a contrast to this oath Longinus cites

 30

another from a comedy of Eupolis and shows that the oath is

ineffective by comparison: 'For by the fight I fought at

Marathon, no one of them shall vex my heart and not pay for

it'. Though rhetorically speaking it is an oath, the context

does not give it an effect of sublimity (On the Sublime, 16,

126).

The next figure in line of treatment is rhetorical question. A

rhetorical question is a question asked, not to evoke an

actual reply, but to achieve an emphasis stronger than a

direct statement. Used frequently in persuasive discourse it

commands attention from the audience, serves to express

various shades of emotion and sometimes acts as a

transitional device to lead from one subject to another. 8 One

of the most celebrated examples of this figure is the closing

line of Shelley's "Ode to the West Wind": '0 Wind,/lf Winter

comes can Spring be far behind ?'

In Longinus's treatment the figure very considerably

enhances the grandeur and effectiveness of speech as is

evident in this passage from Demosthenes: 'Now, tell me, do

you want to go about asking one another, 'Is there any

news?' For what stranger news could there be than that of a

Macedonian conquering Greece?' "Is Philip dead?" "No, but

he is ill". 'What difference does it make to you? For even if

anything should happen to him, you will soon invent another

8
Alex Preminger, opp, cit. p. 705.
 31

Philip' (On the Sublime, 18,128). Here the inspired rapidity

in the play of the questions and answers, together with the

device of meeting his own objections as they were someone

else's has not only added to the sublimity of his words, but

also given them greater conviction (On the Sublime, 18, 128).

The figure, Longinus says, beguiles the audience into

thinking that each deliberately considered point has been

struck out and put into words on the spur of the moment (On

the Sublime, 18, 128). This method of asking questions and

providing answers gives the appearance of being a natural

outburst of feeling.

Longinus next discusses Asyndeton, the first of the figures of

speech. Asyndeton consists of the omission of conjunctions,

articles and sometimes even pronouns. Opposite of

polysyndenton it enables the poet to achieve effects of

extraordinary speed and economy. It is because the

amplification of conjunctions, sometimes, does not help to

achieve the desired effect of speed and economy and instead

robs the sentence of its power, grandeur, drive and

ruggedness of emotion which is toned down into

pointlessness and loses all its fire as is evident in the

example from I socrates: 'Furthermore, this too must not be

overlooked, that the aggressor might do many things, first by

his manner, then by his looks, and then by his mere voice'

whereas in Xenophon 'And locking their shields', they

pressed forward, fought slew, were slain (On the Sublime 19,
 32

129), the desired effect of rapidity, speed and economy is

achieved by omitting certain conjunctions.

It is, however, a combination of figures for a common

purpose rather than individual figure that brings greater and

moving effect and endures the passage with force,

persuasiveness, and beauty : 'By his manner, his looks, his

voice when he acts with insolence, when he acts with hostility

when he strikes you with his fists, when he strikes you like a

slave'. Here the orator does just the same as the aggressor;

he belabours the judge's minds with blow after blow. Thus,

the interweaving of asyndeta and anaphora ( repetition of

words) adds to the general effect (On the Sublime, 20, 130).

Hyperbaton, also known as 'inversion' and 'anastrophe',

consists in the arrangement of either words or ideas out of

their normal sequence. A beautiful example of the first order

of inversion is Coleridge's reference to Byron, 'So beautiful a

countenance I scarcely ever saw'. Here the normal word

order would have been 'I scarcely ever saw a so beautiful

countenance'. Longinus exemplifies this form Herodotus:

For our affairs stand on a razor's edge, men of

Ionia, whether we are to be free men or slaves,

and runaway slaves at that. Now that if you are

prepared to accept hardships straightway there is

toil for you. But you will be able to overcome your

enemies ( On the Sublime, 22,131 ).

 33

Here the normal word order would have been '0 men of Ionia,

now is the time for you to take upon you; for our affairs stand

on a razor's edge'. Apart from this, the author has inverted

the order of his ideas as well. Instead of saying that they

must endure toil, which is the point of his exhortation, he first

gives them the reason why they must toil when he says! 'Our

affairs stand on a razor's edge'.

After Hyperbaton, the figure that comes for discussion is

Polypton (accumulations, variations , and climaxes as well as

changes in number, person, tense, gender and case). These

figures are very powerful auxiliaries in the production of

elegance, sublime and emotional effect. They diversify and

enliven the composition to a great extent. This is exemplified

in 'Straight way a countless host ranged along the beaches

send out a cry, 'Tummy'! Here, the decorative quality of the

sentence is enhanced not only by words which are singular in

form, but which on close examination are found to have a

plural meaning (On the Sublime, 23, 133).

The use of plural in place of the singular has a more

resounding effect and impresses us by the very idea of

multiplicity implied in the plural number. This is exemplified

from Sophocles's Oedipus Tyranus in the following lines :

0 marriages, marriages! it is you that begot me

and gave me birth, and then brought to light again

the same seed, and showed fathers, brothers, and

 34

sons as being all kindred blood, and brides, wives

and mothers, too, and all the foulest deeds that

are done among men ( On the Sublime, 23, 133).

All these relate to a single name, that of Oedipus with that of

Jacosta. However, the expansion of the number serves to

pluralize the misfortunes as well. The figure, Longinus points

out, should be employed only when the subject admits of

amplification or redundancy, or exaggeration and emotiona-

lism.

The opposite process, the contraction of plural ideas into a

singular form also achieves sometimes an outstanding effect

of sublimity. The compression from multiplicity into unity

gives a strong impression of a single unity as is evident 1n

'And when Phrynicus produced his play The Capture of

Milietus the theatre burst into tears' (On the Sublime,24,

134).

The interchange of tense, i.e., to introduce circumstances

that are past in time but are shown happening at the present

is also recommended. It turns the passage from mere

narrative into vivid actuality as is evident in Xenophon :

'Some one has fallen under Cyrus's horse and being trampled

on strikes the horse in the belly with his sword. It rears and

throws Cyrus, and he falls to the ground' (On the Sublime,

25, 134).
 35

Similarly, a direct personal form of address 1s also very

effective, for it brings the hearer right into the middle of the

action being described : 'You would say that they met in the

shock of war, all unwearied and undaunted so impetuously

did they rush into the fray'. As Longinus puts it : 'When you

seem to be addressing not the whole audience, but a single

member of it---, you will affect him more profoundly, and

make him more attentive and full of active interest, if you

rouse him by these appeals to him personally' (On the

Sublime, 26, 135).

Another, still more effective way is the conversion to the first

person, i.e., when a writer, while speaking of a character,

suddenly breaks off and converts himself into that character.

This figure is in a way an outburst of emotion as is clear from

the following example from the Iliad :

And with a far-echoing shout Hector cried out to

the Trozans to rush against the ships and leave

the blood-spattered spoils. And if I spy anyone

who of his own will holds back from the ships I will

surely bring about this death (On the Sublime, 27,

136).

Here, as we see, the poet appropriately takes upon himself

the presentation of the narrative and then suddenly and

without any warning attributes the abrupt threat to the angry

chieftain. The change in the form of the passage, thus,

 36

anticipates the sudden change of the speakers. The figure,

Longinus says, should be used for preference when a sudden

crisis does not give the author time to linger, but compels

him to change at once from one character to another (On the

Sublime. 27, 136).

Periphrasis, the next figure in order of treatment, known also

as 'circumlocution' is used in its modern sense to avoid low,

technical, or commonplace terms through a round about way

but by using more elegant substitutes. As a round about way

of naming something this figure makes it meaning apparent

by approximating a whole or partial definition. Qunintilian

distinguished between the euphemistic (as in the phrase 'the

lord of hosts' to signify God) and descriptive (as in the

phrase ' the wandering stars' to signify planets).

According to Loginus this figure, especially, if it is not

bombastic or inelegant, but pleasantly tempered, often

harmonizers with the direct expression of a thought,

embellishes it and contributes to the sublime. For instance,

in 'You regard toil as the guide to a life of pleasure; you have

garnered in you hearts the best of all possessions and the

fittest for warriors. For nothing rejoices so much as praise'

the author by rejecting 'you are willing to work hard' in favour

of you make toil the guide to a life of pleasure' and by

expanding the rest of the sentence in the same way adds to

the effect, grandeur and sublimity of the thought. The figure,

 37

however, is to be used with a sense of proportion, otherwise

there is every cha nee of it Ia psi ng into insipidity, empty

chatter and dullness of wit as happens sometimes even with

such great writers as Plato when he says in his Laws:

'Neither golden nor silver treasure should be allowed to

establish itself and develop in a city (On the Sublime, 28.29,

138).

Thus, advocating caution in the use of figures Longinus

comes to the close of the third source. He however, does not

forget to add in the end that all these figures are means of

increasing the animation and the emotional effect of style,

and emotional effects play a large part in the production of

the sublime.

Longinus' treatment of the fourth source begins with a

discussion of the choice of words. Longinus opines that the

choice of appropriate and high sounding words should be the

aim of all orators and authors. As such, it imparts to style at

once grandeur, beauty, mellowness, weight, force and power

and moves and enchants the audience. But, as with the

figures, the employment of high sounding words is also liable

to abuse and the choice of grand words for trifling matters

would be like putting a big tragic mask upon a little child (On

the Sublime,30, 139). On the other hand, familiar and homely

words may be sometimes preferable to the ornamental words

and may be used for an effect with accuracy and credibility.

 38

This is illustrated form Herodotus and Cleomenes (On the

Sublime, 31, 140).

Longinus's treatment of metaphor and other tropes under the

fourth source is somewhat unconventional. He starts by

questioning the propriety of limiting the numbers of

metaphors in a passage to two or three and maintains that

there are no literary rules as such governing the use of

metaphors. In his support, Longinus refers to the depiction of

the human body by a series of metaphors in Xenophon and

still more divinely in Plato (On the Sublime, 32,140-141).

Like other embellishments of style, metaphor, Longinus says,

is also prone to excess and for all his admiration for Plato, he

does not fail to note the ' harsh and intemperate metaphors

and bombastic allegory' which occasionally creeps into and

disfigures the works of the otherwise divine Plato. For

instance, when he calls water 'a sober god', and describes its

mixing with wine as 'chastening'.

The importance of metaphor has duly been emphasized by

Aristotle. 'The greatest thing by far', says he, 'is to be a

master of metaphor. It is the one thing that cannot be learnt

from others; and it is also a sign of genius, since a good

metaphor implies an intuitive perception of the similarity in

dissimilars' 9 .

9
Alex Preminger. opp. cit., p. 491.
 39

Longinus's discussion of metaphor takes him to a

consideration of the superiority between flawed sublimity and

flawless mediocrity, in other words, between faulty genius

and flawless mediocrity. He does not hesitate to express his

preference for the former and says that they should always

be voted into the first lace for the greatness of mind that

they represent. It is for this reason that he chooses Homer

rather than Apollonius, Pindar rather than Bacchylides, and

Sophocles rather than lon. On the same principle

Demosthenes is preferred to Hyperides, in spite of the fact

that he lacks many secondary qualities that the latter

posses in abundance, so also with Plato and Lysias (On the

Sublime, 34.35, 144-146). Just as, by some natural instincts

we admire the grandeurs of Nature-the Nile, the Rhine, the

Ocean the Danube, the craters of Etna-even though they are

marred by blemishes, so are we led by the writing of a

sublime nature. It lifts the author above the level of a

common man and they are able to redeem all their faults 'by

a single happy stroke of sublimity'. (On the Sublime,36,147).

From this discussion Longinus goes back to a consideration

of the figurative language and takes up 'similies' and

'comparisons' which remain incomplete and he next

discusses hyperboles. Hyperboles are either bold statement

or estravagant exaggeration and are used either to advance

or abase the reputation of any thing or person. The best

hyperboles, says Longinus, are those which conceal the fact

 40

that they are hyperboles. This happens when they are used in

connection with some great circumstances and under the

influence of powerful emotion, as in the following passage

from Thucydides :

For the Syracusans went down and began their

slaughter; especially of those who were in the

river. And the water was immediately polluted;

but none the less it was drunk, thick though it was

with mud and blood, and most of them still thought

it was worth fighting for (On the Sublime,38,149).

That a drink of mud and blood is still worth fighting for is

made credible by the height of the emotions excited by the

circumstances.

Hyperboles that overstep the mark of propriety are

condemned by Longinus. Like figures, hyperboles, if not used

with care may fall flat and produce the opposite effect to that

which was intended. To help the author avoid such faults

Longinus reiterates the advice he had given in connection

with the figures which we have quoted above.

With this, Longinus comes to the close of the fourth source of

the sublime and takes up the last source, i.e., the total effect

resulting from dignity and elevation. In this last and final

source the emphasis is on the arrangement of words in

proper order. Longinus praises the harmony of words as the

 41

highest form of music. Since it also expresses meaning and

therefore appeals to the mind as well as the senses, it draws

our thoughts towards what is majestic, dignified and sublime

(On the Sublime,39, 151 ). He illustrates this from Demosthe-

nes and shows how a single change in the order of words or

even the addition of one syllable by using a lengthened form

alters the total effect of the sentence.

We may like to recall how in the enumeration of the sources

Longinus had remarked that the fifth source contains within it

all the other sources of the sublime, for the arrangement of

words presupposes thought, passion, figures and diction. If

there is no proper combination and there is a lack of harmony

in the structure of words, the elements of grandeur would be

dispersed. On the other hand, when they are put in a proper

order and combined into a single organism and enclosed

within the bonds of harmony they form a rounded whole.

Thus, there are writers like Philistus, Euripides and

sometimes even Aristophanes who have a natural gift of

sublimity and who, for the most part, have employed

common and popular word and yet have achieved dignity and

grandeur.

Longinus's primary concern, thus seems to be rhythm. This is

quite apparent when he expresses his dislike for short and

broken rhythms. He also disapproves rhythms that are too

obvious, for, in such cases, the style does not communicate

 42

the feeling of the words, instead it distracts the attention of

the audience towards the rhythm. Short, rhythmic phrases,

which usually result form a desire for excessive

compression are also no better. One further point that is

made is the use of trivial words which completely spoils a

great passage. Examples are given from Herodotus and

Theopompous and Longinus shows us how the authors

detract greatly form the sublime and tend to the trivial. (On

the Sublime, 43, 154-155). With this the discussion of the fifth

and last source comes to an end.

Loginus exercised a remarkable influence in the shaping of a

tradition of the sublime which began with Roberte II o' s edition

in 1554 and reached its influential phase with the translation

of Boileau, De Sublime, in 1674. Burke and Kant developed

their own theories of the sublime. But that remains outside

the purview of the present study. We shall like to conclude

this discussion with the statement that the revival of interest

in the treatise On the Sublime had fQr reaching effects on the

poetry and criticism in the writings of English critics from

Dryden onwards.

From this discussion of the Longinian sublime, we now move

on to a discussion of the concept of the sublime, if any, in

the Indian tradition.

 43

Indian Tradition

The Indian literary tradition starts with the Vedas. The Vedic

seers, being self - conscious poets, made observation on

their art : they spoke of speech being refined in their

intellects. The Muse they said chose to yield herself to the

elect. It was in a state of afflatus, a magnification of

personality, that they uttered their hymns with which they

established rapport with the God they adorned. The Vedic

seer - poet was called rishi and kavi, 'seer' and 'maker',

which as the 10th c. Kashmirian critic Tota explained,

emphasized that poetry depended both on v1s1on and

expression. The hymn was also called rasa, 'essence or most

delectable thing' and the Upanishad said that what was well

done and perfect was indeed the most delectable thing

(rasa). Here can be seen the concept of rasa which later

became the core of Indian aesthetics. 10

In the epics - the Ramayana and the Mahabharata there is

mention of I iterary qua I ities I ike sweetness, beauty, rich ness

of thought, and the power to make the past live through the

graphic narrative. The Ramayana has a story of its origin in

which the epic states that it was emotion (rasa), pathos in its

case, that became poetry. According to this great epic when

the seer Valmiki was out for a bath in the stream of Tamsa,

he found a bird pierced by the shaft of a fowler, and

as his heart became overwhelmed with sorrow at the sad

IOAl ex p remmger,
· · p. 383.
opp. c1t,
 44

lamentation of the she - bird separated from her consort, he

composed the verse which attained recognition as the first

sloka : Ma nisada pratistham tvam agamah sasvatih samah I

yat kraunca mithunad ekam avandthih kama mohitam. The

composition caused tremendous wonder in the mind of the

creator and kept him engaged in finding out the ingredients of

the new creation. The surprise experienced by him was not,

however, peculiar ; it is experienced by all creators, - all

poets. This story is of profound importance since it brings out

the Indian concept of the essence of poetic creation, i.e.,- a

sense of wonder, the characteristic feature that enables an

expression to reach the poetic heights. The story which tries

to explain the genesis of poetry, is important from another

point of view. It shows that the experience of the character is

shared to some extent by the poet and that of the poet to

certain extent by the reader which is explained by the

theorists in the Indian theoretical tradition.

The earliest and the fullest treatise on theory is Bharat's

Natyasastra which is followed by a long tradition of thinkers

and texts. Besides the primary texts there are also

pedagogical texts, that put together and elucidate the major

theories 11 (see table 1 and 2).

11
Kapil Kapoor, opp. cit., (New Delhi: Affiliated East- West Press Pvt. Ltd. 1996), p.l4.
 45

Table 1 Major schools, thinkers and texts -

School Thinker(s) Text (s)

Rasa Bharata Natyasastra (second century B.C.)

Dhanika- Dasarupaka (tenth century A.D.)

Dhananjaya

Alamkara Bhamaha Kavyalamkara (sixth century A.D.)

Dandin Kavyadarsa (seventh century A.D.)

Udbhata Kavyalamkarasarasamgraha (ninth century A.D.)

Rudrata Kavyalamkara (ninth century A.D.)

Riti Vamana Kavyalamkarasutra (ninth century A.D.)

Dhvani Anandavardhana Dhvanyaloka (ninth century A.D.)

Abh i navagu pta Abhinavabharati (also for rasa theory)

(eleventh century A.D.) and Locana

(commentary on Dhvanyaloka)

(eleventh century A.D.)

Mah i ma bhatta Vyaktiviveka (eleventh century A.D.)

Vakroti Kuntaka Vakrotijivita (eleventh century A.D.)

Guna- Dandin also Kavyadarsa (listed above)

Dosa Bhamaha Kavyalamkara (listed above)

Aucitya Ksemendra Aucityavicaracarca (eleventh century A.D.)

Table 2 Major pedagogical texts

Thinker(s) Text(s)

Rajasekhara Kavyamimamsa (ninth century A.D.)

Bhojaraja Sara s vati ka nth a vh a ran a, Sri n g a rap ra ka sa

(eleventh century A.D.)

Mammata Kavya Prakasa (eleventh century A.D.)

Viswanatha Sahityadarpana (fourteenth century A.D.)

Pt. Jagannatha Rasagangadhara (seventeenth century

A.D.)
 46

Bharat's Natyasastra deals with dramaturgy in all its aspects

and includes topics of poetics, language, metre, figures of

speech, literary flaws, stylistic qualities and above all

emotions (rasas) without which, 8 harata said, nothing stirred

in drama 12 . We have already seen how, for Longinus, the

sublimity of 'noble' emotions constituted the value of

literature and 'the stimulus of powerful and inspired emotion'

constituted the second source of the sublime. Before

Longinus, Aristotle talked about the emotional content of

literature which constituted the chief source of Sophoclean

tragedy. Johnson in his Preface to Shakespeare identified

emotions as valuable constituents of Shakespeare's

tragedies. Wordsworth's theory of poetry (Preface to Lyrical

Balladas) talks of 'powerful feelings' and 'emotion recollected

in tranquility' as the substance of poetry. Richards talks of

the 'emotive language' for the sake of effects (Principles of

Literary Criticism) and Eliot, talking of emotion and feelings,

says that 'the business of the poet is not to find new

emotions, but to use the ordinary ones' and that 'Great poetry

--- may be composed out of feelings solely' (Tradition and

Individual Talent).

To come to Bharat's theory of emotion or rasa as it is called,

it is built around the concept of bhava which is subdivided

into vibhava, sthayibhava, sancaribhava, anubhava and

sattvikbhava. Rasa is the first of the eleven elements in

12
Alex Preminger, opp, cit., p. 383.
 47

literary representation and it is first or primary because (i) it

is rasa that renders all the elements (vibhava, etc.},

sarthaka, meaningful and illumines the meaning of kavya;

(ii) in the absence of rasa, the purpose of the composition in

the form of knowledge is not fulfilled; and (iii) it is rasa that

creates ananda in the viewer /participant I reader. Bhava is

that which brings about a condition or which gets established

13
(through what happens) .

Bharata enumerates forty - n1ne bhavas - it is a claim about

the whole range of human experience. Eight I nine of these

are sthayi, relatively stable - stable because (i) springing

from stranger causes, they tend to endure longer, (ii) almost

everyone experiences them, and (iii) they are more frequent,

are experienced again and again 14 . These are: (1) rati (love),

(2) hasa (laughter), (3) soka (sorrow), krodha (anger}, (5)

utsaha (enthusiasm), (6) bhaya (fear), (7) vismaya

(astonishment) (9) nirveda (renunciation I indifference). The

rasas corresponding to these sthayibhavas are 15 : (1) srngara

(erotic), (2) hasa (comic), (3) karuna (compassionate), (4)

raudra (wrathful, terribleness), (5) vira (heroic}, (6)

bhayanaka (terrifying) (7) bibhatsa (odious), (8) adbhuta

(marvellous}, (9) santa (tranquil) 16 .

13
Kapil Kapoor, opp. cit., p. 106.
14
Ibid. p. 106.
15
Ibid. p. 105.
16
Ibib. P. 105.
 48

Then, there are ancillary emotions- the sancaribhavas: (10)

nirveda (indifference), (11) glani (debility), (12) sanka

(apprehension), (13) asuya (envy), (14) mada (intoxication of

pride), (15) srama (weariness), (16) alasya (indolence), (17)

dainya (depression), (18) cinta (painful reflection), (19) moha

(delusion of mind), (20) smrti (recollection), (21) dhrti

(contentment), (22) vrda (shame), (23) capalata

(unsteadiness), (24) harsa (joy), (25) avega (agitation/

flurry), (26) jadata (stupefaction I immobility), (27) garva

(arrogance), (28) visada (despondency), (29) autsukya

(impatience), (30) nidra (sleep), (31) apasmara

(dementedness), (32) supta (dreaming), (33) vibodha

(awakening), (34) amarsa (animosity I indignation), (35)

avahittha (constraint I dissimulation), (36) ugrata (ferocity),

(37) mati (resolve), (38) vyadhi (sickness), (39) unmada

(madness), (40) marana (demise), (41) trasa (alarm), (42)

vitarka (trepidation).

Then there are sattvikabhavas (inbuilt body responses), (43)

stambha (paralysis), (44) sveda (perspiration), (45) romanca

(horripilation), (46) svarabhanga (Change of voice), (47)

vepathu (trembling), (48) vaivarnya (Change of colour), (49)

asru (weeping), (50) pralaya (loss of consciousness).

The sattvikabhava and sancharibhavas (also known as

vyabhicaris) with the co- mingling, co- appearance of vibhava

 49

(cause) and anubhava (manifestation) evoke the

sthayibhavas. 17

The bhavas of Bharata enumerated above with all its

subdivisions of vibhava, anubhava sancaribhava and

sattvikbhava 'comprehensively study the whole range of

human emotion and analyse the structure of these emotions

in terms of cause, physical correlate (effect) and their effect

on man's being'. 18 The theory thus is a theory of aesthetic

experience and may be said to encompass Longinus's first to

sources of the sublime, viz. (1) the ability to form grand

conceptions and (2) the stimulus of powerful and inspired

emotions. Bharat's description of the sattvikbhava relates

especially to Longinus's elaboration of nobility soul which

plays most important part of all the sources. (Each rasa

according to Bharat has three subtypes - three fold division

of almost everything on the basis of the three gunas- sattva,

rajas, tamas provides the basis for classification,

Abhinavbharati on Natyasastra, 6.52)

Apart from the theory of rasa which is the core to the

Natysastra there is also in it a comprehensive treatment of

language in all its manifestations. As already mentioned it

deals with dramaturgy in all its aspects and includes topics of

poetics, language, metre, figures of speech, literary flaws,

17
Ibid. p., 107.
18
Ibid. P., 15.
 50

stylistic qualities and above all emotions (rasa). We have

briefly discussed his theory of rasa. Let us now move on to a

discussion of language, of diction and style as found the

Natyasastra.

Bharat has discussed in detail the aspect of language and

has devoted to its analysis four chapters entitled 'diction'

(vagavhinaya), 'rules on the use of languages'

(bhasavidhanam), 'modes of address and intonation'

(kakusvaravyanjakh) and 'styles' (vrttivikalpah). There are

references pertinent to this subject in other chapters as well.

We propose to take 'diction' and 'style' for our purposes.

Bharat has devoted one chapter XVII of the Natyasastra to a

discussion of diction. Under diction Bharat has enumerated

thirty-six excellent points (Natysastra, XVII, 6-41). These are

as follows :

1. Ornateness (bhusana), 2. Compactness (akasara

samghata), 3. Brilliance (sobha), 4. Parallelism

(udaharan), 5. Causation (hetu), 6. Hesitation (samsaya,

lit. doubt), 7. Favourable precedent (drstanta, lit.

example), 8. Discovery (prapti, lit. attaninment), 9.

Fancy (avhipraya, lit. belief), 10. Unfavourable

Precedent (nidarsana, lit. example), 11. Convincing

Explanation (nirukta, lit. etymology), Persuasion (siddhi,

lit. success), 13. Distinction (visesana), 14. Accusation

 51

of virtues (guna tip a ta, I it. opposition of virtues),

15. Excellence (atisaya), 16. Inference from similitude

(tulya- tarka, lit. reasoning from the comparables), 17.

Multiplex Prediction (padoccaya lit. collection of words),

18. Apt Description (dista, lit. described), 19. Pointed

Utterance (upadista, lit. utterance), 20. Deliberation

(vicara), 21. Inversion (viprayaya), 22. Slip of Tongue

(bhramsa, lit. lapse), 23. Mediation (anunaya, lit.

imploring), 24. Series of offers (mala, lit. garland), 25.

Clever Manners (daksinya), 26. Censure (garhana), 27.

Presumption (arthapatti), 28. Celebrity (prasiddhi), 29.

Interrogation (praccha), 30. Identity (sarupya), 31.

Indirect Expression of Desire (manoratha, lit. object of

the mind), 32. Wit (/esa). 33. Concealment (samksobha,

lit. upsetting), 34. Enumeration of Merits (guna -

kirtana), 35. Semi - uttered Expression (anukta siddhi,

lit. unuttered achivement), 36. Compliment (priyokti, lit.

pleasing utterance).

These thirty six excellent points 1 Bharat believes, embellish

and beautify a play, if used with discrimination according to

the sentiment introduced. (Natyasastra, XVII, 42).

Bharat, next, mentions the following four figures of speech

(alamkaras) (Natyasastra, XVII, 43) :

1. Simile (upama)

2. Metaphor (rupaka)
 52

3. Condensed Expression (dipaka, lit. illuminator).

4. Alliteration (yamaka)

Simile, Bharat explains, is of five kinds, VIZ, that of pra1se

(prasansa), censure (ninda), conceit (kalpita), uniqueness

(sadsri) and partial likeness (kimcit sadrsi).

Metaphor is that which is created with its own alternative -

has comparable elements and some or little similarity

( perceptible) and is expressed in separably.

Condensed expression, the third figure of speech, 1s

combining of words in different topics in a single sentence

(Manmohan Ghosh translates this figure of speech as 'twin')

Bharat explains 'yamaka' as an embellishment born out of

repetition of words at the beginning of the feet and other

places (Natyasastra, XVII, 60). He then goes to define the

ten kinds of 'yamaka' and gives illustrations from poetry.

Bharat recommends, in addition to these embellishments, the

following ten merits (gunas) ( N atyasastra ,_XVII, 95 - 1 05) :

1. Synthesis (slesa). It is the union of words

connected through intended meaning.

2. Perspiquity (prasada). It is easy comprehension

through the use of simple words and expressions.

 53

3. Smoothness (samata). When alamkaras and gunas

match and illuminate one another, it is an instance

of Smooth ness.

4. Concentration (samadhi). It is condensation of

meaning with the help of figures of speech.

5. Sweetness (madhuraya). When a sentence, heard

or uttered many times, does not tire, it is

Sweetness.

6. Grandeur (ojas). When a composition, censured

and deficient in quality, reflects an exalted sense

through its wealth of words and meanings, it is an

instance of Grandeur.

7. Softness (saukumarya). When a composition

consists of words easy to pronounce, euphonically

combined, and giving agreeable meaning, it is an

instance of Softness.

8. Clarity of Expression (artha-vyakti). When

meaning becomes clear to the penetrating mind

just after recital, it is an instance of Clarity of

Expression.

9. Exaltendness (udatta). When a composition

includes witty and graceful words having many

special senses which are marvellous it is an

instance of Exaltedness.

10. Loveliness (kanti). When a composition gives

delight to the ears as well as to the mind on

 54

account of its well-put-together words, it is an

instance of Loveliness.

The ten faults (dosas) which, according to Bharat, should be

avoided are (Natyasastra, XVII, 87-93) :

1. Circum locution (gudartha). Mentioning anything by

means of a synonym which is more difficult than

the original or the common expression is

Circumlocution.

2. Superfluous Expression (arthantara). Mentioning

anything that is superfluous or unnecessary is

Superfluous Expression.

3. Want of significance (arthahina). An expression

which is irrelevant or which remains incomplete, is

an instance of Want of Significance.

4. Defective significance (bhinartha). An expression

which is not refined or is worthy of a rustic is an

instance of Defective Significance.

5. Tautology (ekartha). Saying of the same thing 1n

many words is called Tautology.

6. Want of synthesis ( abhiluptartha). When a

sentence is complete within each foot of a verse

(and all the sentences are not connected with one

another by sense) it is an instance of want of

synthesis.

7. Logical Defect (nyayad - apeta). Anything devoid

of reasoning is an example of Logical Defect.

 55

8. Metrical Defect (visama). It is a lapse 1n the

metrical structure.

9. Hiatus (visandhi). It is keeping words separate

whereas they should have been combined 1n

sandhi.

10. Slang (sabda - cyuta, lit. lapse in a word). Use of

vulgar words is Slang.

Bharat mentions four styles (vritti). These are as follows:

1 bharati (verbal). This is the style which gives a

prominent place to speeches, and is employed by

male characters only (Natyasastra, XXII, 25).

2. sattvati (grand). This is the style endowed with

the quality of the spirit (sattva), the nyayas,

proper metres, has exuberance of joy and

suppression of the state of sorrow (Natyasastra,

XXII, 38).

3. kaisiki (graceful). This is the style which is

specially interesting on account of charming

costumes worn by actors mostly women, having a

lot of song and dance and the theme of love and

its enjoyment (Natyasastra, XXII, 4 7).

4. arbhati (energetic). This is the style which

includes mostly the qualities of a bold person

(arbhata) such as speaking many words,

deception, bragging and falsehood (Natysastra,

XXII, 55).
 56

Bharat then recommends suitable styles for the various

sentiments (Natyasastra, XXII, 63-64):

1. Verbal for the Pathetic and the Marvellous.

2. Grand for the Heroic and the Marvellous.

3. Graceful for the Erotic and the Comic.

4. Energetic for the Terrible, the Odious and the

Furious.

If we examine minutely Bharat's elaboration of 'diction'- the

thirty six excellent points (laksanas), the four figures of

speech, the ten merits (gunas) and the ten faults (dosas), we

shall find that they concern both sense and sound, content

and form, and aim at, not only the beauty and perspiquity of

expression but also the depth and exaltedness of thought and

language to which Longinus has also alluded to in his

enumeration of the sources of the sublime. If Bharat were to

sum up his views on diction after presenting this analysis of

excellent points, figures~ speech, merits and faults, his

summing up could not have much difference from what the

following passage says about Longinus's On the Sublime :

Its main object is to point out the essential

elements of an impressive style, which, avoiding

all tumidity. puerility, affectation and bad taste,

finds its inspiration in grandeur of thought and

intensity of feeling and its expression in nobility of

diction and in skillfully ordered composition. 19

19
Encyclopaedia Britannica, (London, 1953) vol 14, p. 380.
 57

Poetics developed out of the theories of Bharat who was

followed by Bhamaha, the first alamkarika poetician.

Bhamaha considered that the locus of literariness contained

in the mode of figurative expression, in the grammatical

accuracy and pleasantness of sound (euphony). Apart from

this Bhamaha concerned himself also with the merits and

defects of literary composition which was later discussed by

Dandin. Dandin took a more wholistic view and discussed the

qualities and defects of both content and form of literary

compositions. In Dandin, guna and dosa are primary

attributes of literary compositions. In chapter 1 (Kavyadarsa)

he discussed various qualities as attributes of riti and riti for

him was a method of expressing and evoking rasa, states of

being. In the third chapter he discussed (1) logical failure, (2)

linguistic failures, (3) failures of accurate reference to facts

of life and world, and (4) failure in communicating the desired

meanings. He added, further, that through sheer originality,

any of these defects could be transformed into an excellence

( K a v y ad a r sa, 3. 1 7 9). 20

After Dandin, Udbhata, tried to correlate guna I dosa with

both alamkara (figures of speech) and riti (linguistic styles)

and claimed that excellences and defects are not

independent features which can be distinguished in isolation

-in fact, guna and dosa are properties of figural composition.

°Kapil Kapoor, opp. cit.,

2
p. 27.
 58

Next comes Vamana, according to whom, riti is the soul of

poetry. This is of three kinds : 'vaidarbhi', 'gaudi' and

'pancali' (Kavyalamkarsutra, 1,11 ,9). The vaidarbhi is replete

with all the gunas, and does not have even the slightest

faults (Kavyalamkarsutra, 1,11,11). The gaudi exhibits a

marked predilection towards ojas (compactness of structure

and boldness of conception ) and kanti (richness of words

and the conspicuous presence of rasas). The pancali is

endowed with the qualities that the gaudi lacks : madhurya

(sweetness resulting from the conspicuousness of words and

a periphrastic manner of utterance) and saukumarya (freedom

from harsh words and disagreeable ideas) are its

characteristic qualities.

From the above it is clear that vaidarbhi is the complete or

the ideal riti for it is flexible enough to unify all the literary

excellences (and is, therefore, capable of much variety)

whereas the other two encourage extremes. Vamana defines

riti as constituted by a particular arrangement of words visist

padaracana riti (Kavyalamkarasutra, 1,2,6) which involves the

gunas and a/amkaras. As noted in our enumeration of the five

sources of the sublime, the last three deal specifically with

form and involve different aspects of word arrangement. Thus

Vaman's definition of riti would seem to correspond at least

in essence, to the last three sources of the sublime. In his

discussion of riti Vamana talks of the gunas, the dosas and

the alamkaras. The gunas are defined as those elements

 59

which create or constitute the charm of poetry

(Kavyalamkarasutra, 111,1.1). Hence the gunas are taken as

inseparable attributes of poetry. These are :

(1) ojas

(a) Compactness in the arrangement of words (Ill,

1 '2).

(b) Maturity and boldness of ideas (Ill, II, 2). This

has been explained in five different ways (i) the

use of phrase or a sentence for a single word, (ii)

the use of a single word in order to convey the

sense of a sentence, (iii) diffuseness of

sentences, where the self same idea is sought to

be ex p r e s sd. i n m o r e ways t h a n o n e , ( i v) b rev i t y o r

synthetic expression of ideas, where several

sentences (or phrases) are joined together in one

integrated whole through the use of suffixes

sanctioned by grammar, (v) the appropriateness of

meaning due to the use of particular epithets.

(2) prasada

(a) Laxity of structure (Ill, 1,6-10).

(b) Clearness of meaning, arising from the uses of

such words as are absolutely necessary.

(3) slesa

(a) Smoothness resulting from such a close proximity

of coalesceness of several words by virtue of

 60

which they all appear to constitute a single whole

(Ill, I, II).

(4) samta

(a) Homogeneity of diction and manner throughout a

verse or a literary work as a whole (Ill, 1,12).

(b) Non-relinquishment of the proper sequence of

ideas (111,11, 5).

(5) samadhi

(a) Orderly sequence of ascent and descent (Ill, I, 13-

20).

(b) A concentration of then and for the proper

compression of meaning (Ill, II, 7-10).

(6) madhurya

(a) Distinctness of words, associated with the

exclusion of long compounds (111,1,21). This 1s 1n

keeping with the definition of the pancali riti, of

which the excellence forms a dominant feature.

(b) Strikingness of utterance (111,11,11) by which is

meant a statement in an impressive but

periphrastic manner, in order to give special

charm.

(7) saukumarya

(a) Freedom from harshness (111,1,22.).

(b) Freedom from disagreeable and 1nausp1c1ous

ideas (111.11. 12).

 61

(8) udarata

(a) A certain liveliness of composition 'in which words

seem to be' dancing (Ill, I, 23).

(b) Avoidance of vocabulary in the manner of the

sense (111,11, 13).

(9) arthavyakti

(a) Explications of words whereby the meaning 1s

easily comprehended.

(b) Explicateness of ideas, which makes the nature of

things clear (111,11,14). The excellence consists in

the natural description of the subject-matter,

rather than in a description of a natural and

simple language.

10. kanti

(a) Richness of words (111,1,25). Without this

excellence the composition IS stale and a

reflection of conventional things.

(b) The conspicuous presence of rasas (Ill, II, 15). By

'conspicuous presence' Vamana means that the

excitants which bring out the emotional elements

of a poem are vividly represented by the

excellence.

Vamana sums up the discussion by reiterating that it 1s only

when all the qualities are fully manifest that literature 1s said

to be fully developed. If I iteratu re possess gram m atica I

 62

correctness, but its subject-matter 1s obscure and the gunas

are not happily mixed, it is worthless.

Vamana includes the excellences of form, as well as those of

content, among the characteristic features of his gunas. As

might be expected the former aspect is more dominant in the

sabdaguna, while the arthaguna delineates the beauty of

ideas.

Talking of the dosas, Vamana defines them as the opposites

of gunas. Once the nature of the gunas is understood, the

dosas can be understood by implications (Kavyalamkarasutra,

II, 1-2). The gunas produce beauty in poetry, so the dosas,

being their opposites would naturally distract from beauty.

The dosas are grouped under the following heads :

(1) padadosas (defect of words).

(2) padarathadosas (defects of the mean1ng of

words).

(3) vakyadosas (defects of sentences) ; and

(4) vakayarthadosas (defects pertaining to the

meaning of sentences).

After explaining the gunas and the dosas Vamana moves to a

consideration of the a/amkaras or the adornments of

literature which enhance the charm that has already been

produced by the quality. First he discusses the

'sabdalamkaras'. These are:

 63

(1) yamka or chime (IV,1,1 ).

(2) anuprasa or alliteration

Then, he discusses the arthalamkaras. These are:

(1) upama or simile (IV,11,2).

(2) parativasthupama or typical comparison (IV,III,2).

(3) samasokti or modal metaphor.

(4) aprastuta prasamsa or indirect description, i.e.,

the description of the upamana (IV,III,4).

(5) apahnuti or concealment (11,111,5).

(6) rupaka or metaphor (IV, 111,6).

(7) slesa or Paronomasia (IV, 111,7).

(8) vakrokti or homonym (IV,I11,8).

(9) utpreksa or poetic fancy (IV,III,9).

(10) atisayokti or hyperbole (IV,III,10)

(11) sandeha or the dubious (IV,111,11).

(12) virodha or contradiction (IV,III,12).

(13) vibhavana or peculiar causation (IV,II1,13).

(14.) ananvaya or unique (IV,III,14).

(15) upayopama or reciprocal comparison (IV,111,15).

(16) parivrti or exchange (IV,111,16).

(17) krama or sequence (IV,111,17).

(18) dipaka or illuminator (IV. Ill. 18-19).

(19) nidarsana or illustration (IV. Ill. 20).

(20) arthantara Nyasa or corroboration (IV,II1,21 ).

(21) vyatireka or dissimilitude (IV ,111,22).

(22) visesokti or peculiar allegation (IV,III,23).

 64

(23) vyasastuti or dissembling euology (IV,II1,24).

(24) vyasokti or artful assertion (IV,II1,25).

(25) tulyayogita or equal pairing (IV,111,26).

(26) aksepa or disparagement I hint (IV,111,27).

(27) sahokti or connected description (IV,III,28).

(28) samahita or conformance (IV,III,29).

We have already noted how Vamana's definition of riti would

seem to correspond at least in essence, to the last three

sources of the sublime, in other words to 'form' which involve

different aspects of word arrangement. The first source of

'great writing', according to Longinus, is the ability to form

grand concepti on s. Most of the arthagunas of Va man a

possess features that do not have any direct connection with

word-arrangement but are related to the meaning or 'content'

of literature. The first two sources of the sublime also refer to

content, and as such are similar in kind to arthaguna :

arthagunas, arthadosas and the arthalamkaras refer more

properly to the ideas of literature.

Ideas that are opposed to place, time, nature or the

established principles of art and sciences are not permitted

in literature (Kavyalamkarasutra, II, 11,23-24 and 111,11,5),

Longinus also holds a strict adherence to reality as an

essential feature of oratorical writing (On the Sublime, 15,

121), and even in tragedy, which may venture into the realm

of the mythical and the incredible, ideas that are opposed to

established facts are to be eschewed. It is on this ground

 65

that he condemns a simile in Xenophon (On the Sublime, 4,

1 05).

Also to be avoided are frivolous, undignified and long-winded

details, for they ruin the total effect of a passage, like air

holes fostered on to impressive buildings. Trivial ideas,

Longinus notes more than once (On the Sublime, 10, 114-146

and 43,154-55) terribly disfigure the sublime. Instead, a

harmonious fusion of the most appropriate details should be

the aim of the writer, for it invests the passage with grandeur

(On the Sublime, 10, 115). Sappho and Homer exhibit this

characteristic in abundance, for this reason, they have been

praised by Longinus. Vamana also recognises this feature as

one of the essentials of poetry his arthaguna kanti is

defined as the conspicuous presence of rasas

(Kavyalamkarasutra, 111,11,15), for which a proper selection

and unification of details is required.

Writers are also required to possess the ability to form grand

conceptions of their subjects. This ability, Longinus

maintains, originates in the nobility of the soul, and for this

reason the author must have a mind that is not mean and

ignoble (On the Sublime,9, 1 09). Homer and Moses are

praised for their grand conceptions; as is Alexander the

Great whose reply to Parmenio, Longinus quotes with

approval. Vamana' s arthaguna slesa, as well as the first

variety of meaning whose comprehension constitutes the

 66

arthaguna samadhi also rely on grand and clever ideas for

their effectiveness.

But it is not possible for every subject to be grand, and ideas

that are commonplace many acquire at least some amount of

grandeur by the use of amplification (On the Sublime, 11,

116-117). It may be managed in a number of ways, e.g., by

exaggeration, or by the rhetorical development of a

commonplace. The latter is also a feature of Vamana's

arthaguna ojas (i.e. the third variety of arthapraudhi,

consisting 1n the diffuseness of sentences)

( Kavya I am ka ra s utra, 111,11,9), and also characterises his

arthamadhurya ( Kavaya I am ka ras utra, 111,11,11). But he

cautions against the excessive use of these methods, since

such delatory style adds charm only within certain limits.

Longinus, also cites instances where this technique, if

employed improperly leads to the fault of frigidity (On the

Sublime, 4,1 0,4-5).

Since greatness of mind 1s a prerequisite of great

conceptions, the aspiring writer may train his faculties by an

imitation of those that have attained greatness before him. In

other words, if he can make his thoughts commensurate with

their thoughts, he may succeed in forming noble ideas (On

the sublime, 13-14, 118-121). In Vamana there is nothing that

directly relates to this issue; but in his classification of

meaning into absolutely original and that which is borrowed

 67

from others (Kavyalamkarasutra, 111.11.8.) he seems to accept

that literature may echo great passages from antiquity. The

concept of imitation as found in Longinus is very wide and

elevated ; whereas in Vamana (as his example of the second

kind of meaning illustrates) it narrows down to a reproduction

of ideas and the tricks of style.

Poetics as we noted earlier developed out of the theories of

Bharata. Bhamha and Dandin (ca. 700 A.D.) as also Vamana

(ca. 800 A.D.), defined poetry as word and sense in unison

and endowed with beauty : this beauty was the result of the

choice of proper words and constructions, avoidance of

literary flaws, addition of stylistic qualities and figures of

sound and sense and emotions. The emotions too, they said,

went to embellish only the expression in poetry, and hence,

these ancient critics who emphasized 'form' could be styled

'Expressionists' 21

But in the beginning of the 9th century A.D. the idea began to

gain ground that emotions were the centre of appeal not in

drama alone but in poems also, and soon there appeared in

Kashmir the foremost Indian aesthete Anandvardhan (9th

C.A.D.) who unified criticism by taking drama and poetry

together and applied to all forms of literary expression - play,

poem, lyric, and stray verse- the same principle of analysis

and evaluation. Taking his stand on emotion, which he re-

21
Alex Preminger opp. cit., p. 383.
 68

emphasized as the soul of poetry, he directed his main

enquiry to the intriguing question of how this emotion was

conveyed from the text of the poem and realized by the

reader or spectator. Obviously the express mention could not

evoke an emotional response. Emotional experience could

not be part of the direct meaning of words and sentences, nor

of their secondary significance. Between the text and the

emotions, the only possible relation is suggestion,

manifestation or revelation - dhavni, vyanjana, prakasa.

Suggestion is a unique process and could be employed even

in realms where the primary or secondary capacities of words

were enough to convey an idea. Even figures could be

rendered more attractive by suggestion ; intact suggestion

added a new dimension to speech, and reinforced the power

of the limited medium of language. It may be the symbolism

of suggestion that even the message of a whole work was

conveyed by a poet. Anandvardhan thus emphasized 'content'

or emotion as against formal features, style, figures etc - all

of which he put in a subordinate place. The formal features

were to be evaluated as good or bad not by themselves but in

relation to the emotion which they were to suggest, and this

relative value of expression called aucitya (adaptation or

appropriateness) was developed by Ksemendra (11th C.A.D.)

as a life giving complement to the principle of emotional

suggestiveness. 22

22
Alex Preminger, opp. cit., p. 384.
 69

Ksemendra's theory of propriety or appropriateness claims

that in all aspects of literary composition, there 1s a

possibility of a perfect and most appropriate choice - of

subject, of ideas, of words, of devices. As such it has close

affinities with Longinus's theory of the sublime (On the

Sublime). The concept of propriety with reference to custom,

subject, character and sentiment recurs 1n almost all

theorists and is often discussed with figures of speech, guna

ldosa and ritis. Anandvardhan relates this principle

specifically to rasa (Dhvanyaloka, 3.7,14). It has been used

for propriety in delineating bhavas according to characters,

and in the choice of margas according to the speaker,

content and type of literary composition. Ksemendra made

aucitya the centra I element of I iterari ness. 23 He defines

auchitya as the state of being proper - 'the state of being

proper is propriety' (Aucityavicarcarca, Verse. 7). In verses

8-10 Ksemendra enumerates the areas, locations or sites of

literary composition where the concept of propriety is

pertinent :

Propriety --- the very life of poetry, should be

found pervading the word and sentence, the

import of the composition, the merits and figurers

of speech, the flavour, the verb, the case, the

gender, the number, the adjective, the prefix, the

particle, the tense, the surroundings, the family,

23
Kapil Kapoor, opp. cit., p. 27.
 70

the vow or choice, the truth, the force, the

purpose, the winding of a sense, the intuition, the

stage, the thought, the nomenclature, the

benediction and other essentials of poetry.

(Aucityavicarcarca, Verses 8-1 0).

We have already seen how Longinus in the enumeration of

the sources of the sublime has alluded to (1) the ability to

form grand conceptions and (2) the stimulus of powerful

emotion which may be said to pertain to 'content' and (3) the

proper formation of the two types of figures, figures of

thought and figures of speech, (4) the creation of a noble

diction which includes the choice of words, the use of

imagery and the elaboration of style; and (5) the total effect

resulting from dignity and elevation which relate to 'form' (On

the Sublime 8,1 08). One may safely trace all these sources in

Ksemendra's enumeration of propriety.

As noted before Anandvardhan emphasized content or

emotion as against the formal features, style, figures etc. all

of which he put in a subordinate place. The formal features

were to be evaluated as good or bad not by themselves but in

relation to the emotion which they were to suggest, and this

relative value of expression called aucitya was developed by

Ksemendra as a life giving complement to the principle of

emotional suggestiveness.
 71

But there was still the moot question: how could the emotion

of one, the actor and character, be realized by another, the

spectator for in life, one's emotion produces diverse and

disparate reactions among the onlookers. Another eminent

critic of the 10th C.A.D. Nayak, offered the solution that 1n

poetry the artistic medium generalized or universalized or

abstracted the emotion from its contextual references, and

this enabled the emotion as such, not as the emotion of a

particular person and situation, to touch the corresponding

emotion to the spectator's heart. Nayaka did not accept

suggestion as all-in-all in poetry, though he accepted it as

one of the resources at the command of the poetic genius. He

and his younger contemporary Kuntaka established the

unique way (kavi-vyapara) of the poet's genius as the basic

principle in poetry. Comparing poetic expression with law and

scriptures on the one hand, and story and news on the other,

Nayaka said that in the former the letter mattered ; in the

latter, the substance alone mattered ; in poetry the way a

thing was said or conveyed was a II-i n-a II. 24

The way a thing was said or conveyed was vakrokti, meaning

literally deviant or marked expression. As a theory of

language of literature vakrokti claims that the characteristic

property of literary language is its 'markedness'. Kuntaka

(11th C.A.D.) who made vakrokti a full-fledged theory of

literariness proclaimed it to be the 'jeevita' or life of poetry.

24
Ibid., opp. cit., p. 30
 72

He classifies it into s1x heads : (1) varna - vinyasa which is

related with the unique use of letters, syllables or their

arrangements, (2) purvarbha which relates to the uniqueness,

appertaining to the first half of a noun or verb, (3) pada-

parardha which is concerned with the uniqueness, arising

from the letter of the 'padas' or phrases which embraces

unique use of tense, number, case etc ; (4) vakya which is

related with the uniqueness of sentences, including figures of

speech, (5) parakarna which is related with the uniqueness

employed in delineating some part or episode of the main

narrative and covers such things as delineation of the

character of the hero or other characters, alternation of the

historical story in some or the other detail or aspect, in a

manner conducive to evocation of rasa such as becomes the

life of the entire plot ; manipulating a subsidiary part of the

main story etc, and the last (6) prabandha which concerns

itself with the handling or managing of the narrative as a

whole. It is evident from this succinct description of the six

varieties that Kuntaka has so enunciated vakrokti that it

covers the whole art and craft of poetry. 25

As Kuntaka did not attach any apparent importance to the riti

concept, his enunciation of the three margas (style),

sukumara (elegant), vicitra (brilliant) and madhayama (the

mixed or intermediate) as devices of expression are to be

treated as examples of vakrokti. Six gunas (aucitya)

25
R.S. Tiwari, opp. cit., (Varanasi: Chaukhambha Orientalia, 1984), p. 254.
 73

(propriety), saubhagya (splendour), madhurya (sweetness),

prasada (perspecuity), lavanya (grace), abhijatya

(classicality). These are defined as kinds of language used to

achieve pa rticu I a rs effects. 26

We have already seen how Longinus defines sublimity as 'a

certain excellence and distinction in expression.' While

elucidating the different gunas, Kuntaka has emphasized

fundamentally the choice of felicitous phrases and Longinus,

too, underlines the importance of words and of phrases to

produce the effect of sublimity and goes so far as to assert

that 'words finely used are in truth the very light of thought'

(On the Sublime, 30, 139). Another point of similarity between

Kuntaka and Longinus is related to the use of poetic figures.

Kuntaka's attachment of importance to alamkaras in his

enunciation of vakya vakrata parallels Longinus's

acknowledgement of figures as one of the sources of sublime

: 'figures reinforce the sublime, and in their turn derive a

marvellous degree of support from it.' (On the Sublime, 17,

127). Kuntaka's vakrokti thus can be considered as another

version of sublimity without damaging Longinus's concept of

ecstasy or transport, belauded by him as the final result of

reading poetry in as much as Kuntaka's ahlada largely

approximates to it. The last point of similarity between the

two theorists relates to their concept of the qualifications of

the appreciators of poetry. In Kuntaka's critical jargon, such

26
Kapil Kapoor, opp. cit., p. 27.
 74

gifted readers are known as 'vidagthas' or the cleverness and

virtually the same thing has been affirmed by Longinus when

he says : 'the ability to judge literature is the crowning

achievement of long experience' (On the Sublime, 6, 1 06).

Let us return to Nayak's theory of universalization of

emotion. It was Abhinavagupta, the philosopher-critic (ca.

A. D. 1 000) who accepted Nayak's theory and pointed out that

aesthetic experience was a unique category, unlike any of the

known epistemological processes sense perception,

inference, remembrance etc. It manifested itself on the

presentation of the artistic stimulus which conditioned its

duration : it was a cycle which started with the poet and the

poem and completed itself in the heart of the connoisseur

who had become by constant literary activity, attuned to the

poet and was hence called sahrdaya, 'one of the same heart.'
wt...U.
In a(- known passage in the Locana well, Abhinavagupta

defines sahrdaya in the following terms : 27

Those people who are capable of identifying with

the subject - matter, as the mirror of their heart

has been cleansed and polished through constant

repetition and study of poetry, and who

sympathetically respond in their own hearts -

those people are known as sahrdyas (responsive

or sensitive readers (Abhinvabharti 1, 279).

 75

In support of his stand, Abhinvagupta quotes from Bharata's

Natyasastra which in Manmohan Ghosh's translation (1951,

120) reads as follows 'The state proceeding from the thing

which is congenial to the heart is the source of aesthetic

delight and it pervades the body just as fire spreads over the

dry wood'. Loginus, too, affirms that 'a well-timed stroke of

sublimity scatters everything before it like a thunderbolt, and

in a flash reveals the full power of the speaker' (On the

Sublime, 1, 100). Aesthetic enjoyment 1s not a joy in any

mundane sense, for it is a repose of the heart. It 1s the

equilibrium, the peace and the poise of the soul, which is

constantly disturbed by worldly preoccupations and which the

artistic experience restores for the nonce. The nature of this

artistic experience is discussed by Viswanath in the

Sahityadarpana. : 'It is pure, indivisible, self manifested,

compounded equally of joy and consciousness, free of

admixture with any other perception, the very twin brother of

mystic experience (brahmasvadana sahodarah), and the very

life of it is supersensuous (lokottara) wonder.' Jagannatha

clarified this theory of aesthetic bliss as the manifestation of

the Inner light and the bliss of the Self when the incrustations

obscuring it are broken down by the impact of the art.

Infusing the concept of camatkara into poetry, Jagannath

defined poetry as ramniyartha pratipadaQ.ah sabdah kavyam

'expression in a verbal medium whose' contemplation results

27
R.S. Tripathi, 'Dynamics of the Reader-Response' in R.S. Pathak, ed. Indian Response to
Literary Theories (New Delhi: Creative Books) p. 49.
 76

in a supermundane bliss (lokottara ah/ada). This

supermundane bliss is also alluded to by Longinus in his

treatise On the Sublime and is said to be the final result of

reading great writing.

From the above discussion, it becomes evident that the

Indian aestheticians I theorists have suitably taken almost all

the aspects of great writing I elevated style into their

consideration. It may, therefore, be safely submitted that the

concept of the sublime has always existed in the Indian

tradition.

We shall now proceed to a study of Indian English Poetry. We

shall first begin with a definition of Indian English Poetry

followed by a discussion of its history from its inception to its

present day.