By Christopher Stokes
Traversing the subjects of language, terror and illustration, this is often the 1st learn to have interaction Coleridge during the chic, exhibiting him to have a compelling place in an ongoing dialog approximately finitude. Drawing on shut readings of either his poetry and prose, it depicts Coleridge as a philosopher of "the restrict" with modern strength.
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Additional info for Coleridge, Language and the Sublime: From Transcendence to Finitude
Like irresistible beauty, it transports, it ravishes, it commands the admiration of all, who are within its reach. 18 Indeed, Burgh claims that the combination of image and sound makes sublime language the most powerful force that can be applied to the human mind. com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-13 Longinian genius in eighteenth-century Britain the passions of the audience, and work them as he pleases. Every thought is driven out of the minds of the hearers but that which the orator wishes to impress: an oratorical point is described as something to be carried, as if it was a military assault.
285). The discussion focuses largely on the matter of rhetorical technique, but in questioning whether the poetic (figures, appeals to the passions, vehemence, fictions – all the things associated with the Longinian sublime) should be introduced into oratory, it raises more general issues about sincerity and dissimulation. Philemon represents the sceptical voice. ’ (p. 284). Eubulus’s answer is slightly disingenuous, since he appears to reduce Philemon’s objection to the issue of style. Eubulus simply refers to the Longinian commonplace of sublimity possessing an irregular form; Philemon’s question arguably raises wider issues which are not answered in Eubulus’s answer on transgression of literary form.
It is the moment when Longinus instructs the orator on how to conceal figures that threatens to open a radical breach between nature and artifice, between a language of expression or exhibition and of concealment: A figure is therefore generally thought to be best when the fact that it is a figure is concealed … sublimity and emotion are a defence and a marvellous aid against the suspicion which the use of figures engenders. The artifice of the trick is lost to sight in the surrounding brilliance … and it escapes all suspicion.