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22
SUBLIMITY IN WRITING*.
Perplexes monarchs. Darkened fo, yet flume
Above them all the Archangel
Here various fourccs of the fublime are joined togeth¬
er ; the principal objett fuperlatively great ; a high,
fuperior nature, fallen indeed, but raifmg itfelf againft
diftrefs; the grandeur of the principal objeft heightened
by connecting it with fo noble an idea, as thaL of the
fun fuffering an eclipfe ; this picture, (haded with all
thofe images of change and-trouble, of darknefs and ter¬
ror, which coincide lb exquifitely with the fublime emo¬
tion ; and the whole exprefled in a ftyle and verfification
eafy, natural, and fimple, but magnificent,
Befide limplicity and concifenefs ftrength is effentially
necefl'dry to fublime writing. Strength of defcription
proceeds in a great meafurc from concifenefs; but it im¬
plies fomething more, namely a judicious choice of cir-
cumftances in the defcription ; fuch, as will exhibit the
objeCt in its full and molt ftriking point of view. For
every objeCt has feveral faces, by which it may be pre-
fented to us, according to the circumftances, with which
we furround it ; and it will appear fuperlatively fub¬
lime, or not, m proportion,, as thefe circumftances are
happily chofen, and of a lublime kind. In this the
great art of the writer cohfifts ; and indeed the princi¬
pal difficulty of fublime defcription. If tire defcription
be too general, and divefted of circumftances; tire objeCt
is (hewn in a faint light, and makes a feeble impreffion,
er no impreffion, on the reader. At the fame time, if.
SUBLIMITY IN WRITING*.
Perplexes monarchs. Darkened fo, yet flume
Above them all the Archangel
Here various fourccs of the fublime are joined togeth¬
er ; the principal objett fuperlatively great ; a high,
fuperior nature, fallen indeed, but raifmg itfelf againft
diftrefs; the grandeur of the principal objeft heightened
by connecting it with fo noble an idea, as thaL of the
fun fuffering an eclipfe ; this picture, (haded with all
thofe images of change and-trouble, of darknefs and ter¬
ror, which coincide lb exquifitely with the fublime emo¬
tion ; and the whole exprefled in a ftyle and verfification
eafy, natural, and fimple, but magnificent,
Befide limplicity and concifenefs ftrength is effentially
necefl'dry to fublime writing. Strength of defcription
proceeds in a great meafurc from concifenefs; but it im¬
plies fomething more, namely a judicious choice of cir-
cumftances in the defcription ; fuch, as will exhibit the
objeCt in its full and molt ftriking point of view. For
every objeCt has feveral faces, by which it may be pre-
fented to us, according to the circumftances, with which
we furround it ; and it will appear fuperlatively fub¬
lime, or not, m proportion,, as thefe circumftances are
happily chofen, and of a lublime kind. In this the
great art of the writer cohfifts ; and indeed the princi¬
pal difficulty of fublime defcription. If tire defcription
be too general, and divefted of circumftances; tire objeCt
is (hewn in a faint light, and makes a feeble impreffion,
er no impreffion, on the reader. At the fame time, if.
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Antiquarian books of Scotland > Languages & literature > Abridgement of lectures on rhetoric > (38) |
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Permanent URL | https://digital.nls.uk/135466910 |
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Description | Thousands of printed books from the Antiquarian Books of Scotland collection which dates from 1641 to the 1980s. The collection consists of 14,800 books which were published in Scotland or have a Scottish connection, e.g. through the author, printer or owner. Subjects covered include sport, education, diseases, adventure, occupations, Jacobites, politics and religion. Among the 29 languages represented are English, Gaelic, Italian, French, Russian and Swedish. |
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