Lecture XIV

Of the sublime in general and of sublimity of expression in particular

… The word sublimity I wish in this place to be understood in its most extensive sense: I speak not merely of that sublimity, which exhibits great objects with a magnificent display of imagery and diction; but that force of composition, whatever it be, which strikes and overpowers the mind, which excites the passions, and which expresses ideas at once with perspicuity and elevation; not solicitous whether the language be plain or ornamented; refined or familiar: in this use of the word I copy Longinus, the most accomplished author on this subject, whether we consider his precepts or his example.

The sublime consists either in language or sentiment, or more frequently in an union of both, since they reciprocally assist each other, and since there is a necessary and indissoluble connection between them: this,

however, will not prevent our considering them apart with convenience and advantage. The first object, therefore, which presents itself for our investigation, is, upon what grounds the poetic diction of the Hebrews, whether considered in itself, or in comparison with prose composition, is deserving of an appellation immediately expressive of sublimity.