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ancient theory in its focus on a detailed criticism of words, metaphors, and figures. More explicitly, in refusing to judge tropes as entities unto themselves, Longinus promotes the appreciation of literary devices as they relate to passages as a whole. Essentially, Longinus, rare for a critic of his time, focuses more on "greatness of style" than "technical rules." Despite his criticism of ancient texts, Longinus remains a "master of candor and good-nature". Moreover, the author invents striking images and metaphors, writing almost lyrically at times. In general, Longinus appreciates, and makes use of, simple diction and bold images.
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publication in the ancient world "either by modesty or by prudential motives". Moreover, Longinus stresses that transgressive writers are not necessarily shameless fools, even if they take literary risks that seem "bold, lawless, and original". As for social subjectivity, Longinus acknowledges that complete liberty promotes spirit and hope; according to
Longinus, "never did a slave become an orator". On the other hand, too much luxury and wealth leads to a decay in eloquence—eloquence being the goal of the
1798:, and the category passes into intellectual discourse. As "Longinus" says, "The effect of elevated language upon an audience is not persuasion but transport," a fitting sentiment for Romantic thinkers and writers who reach beyond logic, to the wellsprings of the Sublime. At the same time, the Romantics gain some contempt for Longinus, given his association with the "rules" of classical poets. Such contempt is ironic, given the widespread influence of Longinus on the shaping of 18th-century criticism.
1537:, who also dealt with the subject, were alive. Cassius was executed by Aurelian, the Roman emperor who conquered Palmyra in 273 AD, on charges of conspiring against the Roman state. This was most likely because of what he had written for Queen Zenobia of Palmyra while she was still in power. Longinus is reported to have written answers for the Queen, which were used in response to Aurelian, the man who would soon rise to power as the Roman emperor.
1671:, argues Rhys Roberts, is misleading, since Longinus' objective broadly concerns "the essentials of a noble and impressive style" than anything more narrow and specific. Moreover, about one-third of the treatise is missing; Longinus' segment on similes, for instance, has only a few words remaining. Matters are further complicated in realizing that ancient writers, Longinus' contemporaries, do not quote or mention the treatise in any way.
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1717:, critics have determined that the ancient philosopher and writer Plato is a "great hero" to Longinus. Not only does Longinus come to Plato's defense, but he also attempts to raise his literary standing in opposition to current criticisms. Another influence on the treatise can be found in Longinus' rhetorical figures, which draw from theories by a 1st-century BC writer,
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1832:, probably the most influential recent account of British and German Romantic attitudes towards the Sublime of both Burke and Longinus. Laura Quinney treats the attractions grim demystification in analyses of Longinus, particularly Weiskel's. Jonathan Culler has an appreciation of Hertz on Longinus in "The Hertzian Sublime."
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concentration on spiritual transcendence and lack of focus on the way in which language structures determine the feelings and thoughts of writers. Finally, Longinus' treatise is difficult to explain in an academic setting, given the difficulty of the text and lack of "practical rules of a teachable kind."
1860:
claims to have an affinity with the work of
Longinus, in a talk entitled "On the Absolute, the Sublime and Ecstatic Truth", presented in Milan. Herzog says that he thinks of Longinus as a good friend and considers that Longinus's notions of illumination has a parallel in some moments in his films. He
1648:
The author speaks also about the decay of oratory, as arising not only from absence of political freedom but also from the corruption of morals, which together destroy that high spirit which generates the
Sublime. Thus the treatise is clearly centred in the burning controversy which raged in the 1st
1621:
In the treatise, the author asserts that "the
Sublime leads the listeners not to persuasion, but to ecstasy: for what is wonderful always goes together with a sense of dismay, and prevails over what is only convincing or delightful, since persuasion, as a rule, is within everyone's grasp: whereas,
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According to this statement, one could think that the sublime, for
Longinus, was only a moment of evasion from reality. But on the contrary, he thought that literature could model a soul, and that a soul could pour itself out into a work of art. In this way the treatise becomes not only a text of
1573:
A similar effect was achieved by the lawgiver of the Jews—no mean genius, for he both understood and gave expression to the power of the divinity as it deserved—when he wrote at the very beginning of his laws, and I quote his words: "God said,"—what was it?—"Let there be light, and there was. Let
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is because the treatise is composed so differently from any other literary work. Since
Longinus' rhetorical formula avoids dominating his work, the literature remains "personal and fresh," unique in its originality. Longinus rebels against the popular rhetoric of the time by implicitly attacking
1600:
Longinus critically applauds and condemns certain literary works as examples of good or bad styles of writing. Longinus ultimately promotes an "elevation of style" and an essence of "simplicity". To quote this famous author, "the first and most important source of sublimity the power of forming
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finds
Longinus, at times, to be "too refined". Greene also claims that Longinus' focus on hyperbolical descriptions is "particularly weak, and apparently misapplied." Occasionally, Longinus also falls into a sort of "tediousness" in treating his subjects. The treatise is also limited in its
1587:
Given his positive reference to
Genesis, Longinus has been assumed to be either a Hellenized Jew or readily familiar with the Jewish culture. As such, Longinus emphasizes that, to be a truly great writer, authors must have "moral excellence". In fact, critics speculate that Longinus avoided
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was nearer to
Longinus in thinking that the root of this decadence was the establishment of Princedom, or Empire, which, though it brought stability and peace, also gave rise to censorship and brought an end to freedom of speech. Thus oratory became merely an exercise in style.
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was written, the trails of the real author were already lost. Neither author can be accepted as the actual writer of the treatise. Dionysius maintained ideas which are absolutely opposite to those written in the treatise; with
Longinus, there are problems with chronology.
1605:
is generally accepted to refer to a style of writing that elevates itself "above the ordinary". Finally, Longinus sets out five sources of sublimity: "great thoughts, strong emotions, certain figures of thought and speech, noble diction, and dignified word arrangement".
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The effects of the Sublime are: loss of rationality, an alienation leading to identification with the creative process of the artist and a deep emotion mixed in pleasure and exaltation. An example of sublime (which the author quotes in the work) is a poem by
1758:'s 1674 translation of the treatise into French that really starts its career in the history of criticism. Despite its popularity, some critics claim that the treatise was too "primitive" to be truly understood by a "too civilized" 17th-century audience.
1640:). The sources of the Sublime are of two kinds: inborn sources ("aspiration to vigorous concepts" and "strong and enthusiastic passion") and acquirable sources (rhetorical devices, choice of the right lexicon, and "dignified and high composition").
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Despite its faults, the treatise remains critically successful because of its "noble tone," "apt precepts," "judicious attitude," and "historical interests". One of the reasons why it is so unlikely that known ancient critics wrote
1805:. Simultaneously, the critical popularity of Longinus' work diminishes greatly; though the work is still in use by scholars, it is rarely quoted. Despite the lack of public enthusiasm, editions and translations of
1769:
established the translator and once more brought the work into prominence. Longinus' text reaches its height in popularity. In England, critics esteem Longinus' principles of composition and balance second only to
1666:
Translators have been unable to clearly interpret the text, including the title itself. The "sublime" in the title has been translated in various ways, to include senses of elevation and excellent style. The word
1513:, and considered "the most distinguished scholar of his day." He received his education at Alexandria and then went to Athens to teach. He later moved to Asia Minor, where he achieved the position of advisor to
1458:, a writer of the 1st century BC. There remains the possibility that the work belongs to neither Cassius Longinus nor Dionysius of Halicarnassus, but, rather, some unknown author writing under the
1525:, who died in 43 BC) and the work is now usually dated to the early 1st century AD. The work ends with a dissertation on the decay of oratory, a typical subject for the time when authors such as
1861:
quotes from Longinus: "For our soul is raised out of nature through the truly sublime, sways with high spirits, and is filled with proud joy, as if itself had created what it hears."
1801:
19th century - Early in the 19th century, doubts arise to the authorship of the treatise. Thanks to Italian scholar Amati, Cassius Longinus is no longer assumed to be the writer of
1705:
to which are added elevated constructions, technical expressions, metaphors, classic and rare forms which produce a literary pastiche at the borders of linguistic experimentation.
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1521:. Cassius is a dubious possibility for author of the treatise because he wrote in the 3rd century, and no literature later than the 1st century AD is mentioned (the latest is
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1446:
The author is unknown. In the 10th-century reference manuscript (Parisinus Graecus 2036), the heading reports "Dionysius or Longinus", an ascription by the medieval
1434:
and the effects of good writing. The treatise highlights examples of good and bad writing from the previous millennium, focusing particularly on what may lead to the
1747:, in 1554, and Niccolò da Falgano, in 1560. The original work is attributed to "Dionysius Longinus" and most European countries receive translations of the treatise.
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that was misread as "by Dionysius Longinus." When the manuscript was being prepared for printed publication, the work was initially attributed to
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and a work of literary criticism. It is written in an epistolary form and the final part, possibly dealing with public speaking, has been lost.
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is a compendium of literary exemplars, with about 50 authors spanning 1,000 years mentioned or quoted. Along with the expected examples from
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10th century - The original treatise, before translation, is copied into a medieval manuscript and attributed to "Dionysius or Longinus."
1454:(c. 213–273 AD). Since the correct translation includes the possibility of an author named "Dionysius", some have attributed the work to
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As far as the language is concerned, the work is certainly a unicum because it is a blend of expressions of the Hellenistic
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The treatise is dedicated to Postumius Terentianus, a cultured Roman and public figure, though little else is known of him.
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art and literature, and the rediscovered work of "Longinus" goes through half a dozen editions in the 17th century. It is
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pointed out excess of rhetoric and the pompous, unnatural techniques of the schools of eloquence as the causes of decay,
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Kennedy, William J.; Brenda Deen Schildgen (1997). "Interest in the Canon: Kant in the Context of Longinus and Adorno".
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Ferguson, Frances (Winter 1985). "A Commentary on Suzanne Guerlac's 'Longinus and the Subject of the Sublime'".
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wrote under Augustus, publishing a number of works. Dionysius is generally dismissed as the potential author of
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20th century - Although the text is still little quoted, it maintains its status, apart from Aristotle's
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Vom Erhabenen. Der Traktat 'Peri Hypsous' und seine ästhetisch-religiöse Renaissance im 18. Jahrhundert
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literary inquiry, but also one of ethical dissertation, since the Sublime becomes the product of a
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13th century - A Byzantine rhetorician makes obscure references to what may be Longinus' text.
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the Sublime, giving to speech an invincible power and strength, rises above every listener".
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Carson, Anne (2001). "Foam: (Essay with Rhapsody) On the Sublime in Longinus and Antonioni".
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Despite Longinus' acclaim, not all critical reception has been positive. 18th-century critic
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dated to the 1st century C.E. Its author is unknown, but is conventionally referred to as
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1816:, as "the most delightful of all the critical works of classical antiquity." Also see
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A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
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A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
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Dr George P. Landow, "Longinus" "On Great Writing" and the 18th-century Sublime"
1967:
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Credited with writing a number of literary works, Longinus was a disciple of
1497:, since the writing officially attributed to Dionysius differs from the work
1482:), and Pompeius Geminus (who was in epistolary conversation with Dionysius).
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16th century - The treatise is ignored by scholars until it is published by
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124:
85:
2527:, L. Spengel (ed.), Lipsiae, sumptibus et typis B. G. Teubneri, 1853,
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1848:
also uses three lines from the work as an epigraph to the Prologue to
1563:
and other figures of Greek culture, Longinus refers to a passage from
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305:
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2472:(Ancient Greek, with Boileau's 1674 French translation in parallel)
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804:
359:
345:
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1462:, likely in the 1st century. The error does imply that when the
1208:
2538:
1478:(author of a work which had many ideas in common with those of
3128:
1844:
and William J. Kennedy have significant accounts of his work.
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1631:
1474:(a rhetorician who lived in Rome during the 1st century AD),
1750:
17th century - Sublime effects become a desired end of much
1402:
1396:
1393:
1384:
2285:
Marin, Louis; Nicolas Poussin; Catherine Porter (1999).
3345:
The Work of Art in the Age of Mechanical Reproduction
1405:
1399:
1387:
1381:
3397:
3246:
3019:
2726:
2638:
2572:
1980:
Longinus. 9 Vol. Detroit: The Gale Group Inc, 2004.
1390:
2397:(2). The Johns Hopkins University Press: 291–297.
2190:
2419:Quinney, Laura, foreword by Harold Bloom (1995).
2233:Culler, Jonathan (2005). "The Hertzian sublime".
2189:Thomas, Weiskel; Portia Williams Weiskel (1976).
2150:The Kantian Sublime and the Revelation of Freedom
2359:The Theory of the Sublime from Longinus to Kant
1571:
2220:Weiskel's Sublime and the Impasse of Knowledge
1840:have occasion to discuss Longinus as well and
1569:, which is quite unusual for the 1st century:
2550:
1320:
8:
3275:The Literary Mind and the Carving of Dragons
2443:: CS1 maint: multiple names: authors list (
2074:From Lectures on Rhetoric and Belles Lettres
2044:The Norton Anthology of Theory and Criticism
1358:
961:A Dialogue Concerning Oratorical Partitions
2557:
2543:
2535:
2076:(2nd ed.). T. Zell. pp. 950–979.
2010:
2008:
2006:
1949:
1947:
1327:
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20:
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2004:
2002:
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1998:
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1988:
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1931:
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2421:Literary Power and the Criteria of Truth
2152:. Cambridge University Press, pp. 12-13.
2036:
2034:
2032:
2030:
2028:
1809:are published at the end of the century.
1051:Copia: Foundations of the Abundant Style
2089:
2087:
2085:
2083:
1889:
1887:
1885:
1883:
1881:
1879:
1877:
1875:
1873:
1869:
1794:owe a debt to Longinus' concept of the
1601:great conceptions." The concept of the
32:
3576:Ancient Greek philosophical literature
3561:Ancient Roman philosophical literature
2436:
1430:. It is regarded as a classic work on
2340:Agon: Towards a Theory of Revisionism
1662:Misleading translations and lost data
1254:Rhetoric of social intervention model
7:
1898:. New York: The Liberal Arts Press.
2072:Blair, Hugh; Abraham Mills (1866).
1649:century AD in Latin literature. If
2197:. Johns Hopkins University Press.
1820:'s essay on Longinus in his book,
1470:Among further names proposed, are
14:
3541:Greek literature (post-classical)
1896:On Great Writing (On the Sublime)
1792:Critique of the Power of Judgment
3493:
2508:
2500:Works by or about On the Sublime
2314:. Wayne State University Press.
1936:Russell, Andrew Russell (1964).
1725:Historical criticism and use of
1377:
40:
2455:(Tübingen, Mohr Siebeck, 2011).
2423:. University Press of Florida.
2374:Pseudo-Longinus On the Sublime.
2124:Greene, Edward Burnaby (1973).
1824:Hertz is in part responding to
1574:there be earth, and there was."
2376:(2022) Oxford University Press
2015:Roberts, William Rhys (1899).
1:
2361:. Cambridge University Press.
2289:. Stanford University Press.
2168:. Columbia University Press.
1224:List of feminist rhetoricians
3405:Aestheticization of politics
1422:
1353:
1214:Glossary of rhetorical terms
3531:Books of literary criticism
2518:public domain audiobook at
2383:Cambridge University Press.
2342:. Oxford University Press.
2041:Leitch, Vincent B. (2001).
1061:Language as Symbolic Action
3592:
3521:Ancient Greek rhetoricians
2148:Clewis, Robert R. (2009).
1688:Writing style and rhetoric
1675:Limitations of the writing
1632:
1491:Dionysius of Halicarnassus
1486:Dionysius of Halicarnassus
1456:Dionysius of Halicarnassus
1418:
1349:
3473:
2381:The Sublime in Antiquity.
1938:'Longinus' on the Sublime
971:De Optimo Genere Oratorum
3571:Ancient Greek aesthetics
2379:James I. Porter (2016).
1638:megalophrosunēs apēchēma
3425:Evolutionary aesthetics
3375:The Aesthetic Dimension
2477:English Translation of
2018:Longinus on the Sublime
1846:William Carlos Williams
1767:Longinus on the Sublime
911:De Sophisticis Elenchis
16:Book by Pseudo-Longinus
3355:Avant-Garde and Kitsch
3305:Lectures on Aesthetics
2357:Doran, Robert (2015).
2338:Bloom, Harold (1983).
1633:μεγαλοφροσύνης ἀπήχημα
1585:
1548:is both a treatise on
1501:in style and thought.
1359:
1031:De doctrina Christiana
1021:Dialogus de oratoribus
941:Rhetorica ad Herennium
167:Captatio benevolentiae
3556:Aesthetics literature
3500:Philosophy portal
2249:10.1353/mln.2006.0007
2126:Critical Essays: 1770
2094:Brody, Jules (1958).
1956:Robert Merry's Museum
1894:Grube, G.M.A (1957).
1856:German film director
1681:Edward Burnaby Greene
1199:Communication studies
1041:De vulgari eloquentia
901:Rhetoric to Alexander
3546:Texts in Koine Greek
3445:Philosophy of design
3325:In Praise of Shadows
3315:The Critic as Artist
2390:New Literary History
2193:The Romantic Sublime
2162:Hertz, Neil (1985).
2096:Boileau and Longinus
1962:: 179. 1 July 1851.
1830:The Romantic Sublime
1822:The End of the Line.
1790:and Immanuel Kant's
1765:1739 translation of
1719:Caecilius of Calacte
1472:Hermagoras of Temnos
3455:Philosophy of music
3430:Mathematical beauty
2482:by W. Hamilton Fyfe
2372:Stephen Halliwell,
2287:The Sublime Poussin
2165:The End of the Line
2047:. Norton. pp.
1204:Composition studies
1135:Health and medicine
1001:Institutio Oratoria
208:Eloquentia perfecta
3450:Philosophy of film
3440:Patterns in nature
3410:Applied aesthetics
3385:Why Beauty Matters
3171:Life imitating art
3032:Art for art's sake
2529:vol. 1 pp. 243-296
2312:The Rhetoric Canon
2274:. pp. 96–104.
1940:. Clarendon Press.
1741:Francis Robortello
1369:literary criticism
1289:Terministic screen
1071:A General Rhetoric
601:Resignation speech
138:Studia humanitatis
120:Byzantine rhetoric
3508:
3507:
3460:Psychology of art
3335:Art as Experience
2495:Project Gutenberg
2491:Works by Longinus
2430:978-0-8130-1345-9
2349:978-0-19-503354-0
2321:978-0-8143-2632-9
2296:978-0-8047-3477-6
2204:978-0-8018-1770-0
2175:978-0-231-05708-0
2135:978-0-85417-911-4
2058:978-0-393-97429-4
1905:978-0-87220-080-7
1644:Decay of rhetoric
1337:
1336:
1264:Rogerian argument
1011:Panegyrici Latini
103:The age of Cicero
3583:
3551:Literary critics
3498:
3497:
3496:
3390:
3380:
3370:
3360:
3350:
3340:
3330:
3320:
3310:
3300:
3290:
3280:
3270:
3260:
2559:
2552:
2545:
2536:
2512:
2511:
2504:Internet Archive
2448:
2442:
2434:
2414:
2362:
2353:
2326:
2325:
2307:
2301:
2300:
2282:
2276:
2275:
2267:
2261:
2260:
2230:
2224:
2223:
2218:Quinney, Laura.
2215:
2209:
2208:
2196:
2186:
2180:
2179:
2159:
2153:
2146:
2140:
2139:
2121:
2112:
2106:
2100:
2099:
2091:
2078:
2077:
2069:
2063:
2062:
2038:
2023:
2022:
2012:
1981:
1978:
1972:
1971:
1951:
1942:
1941:
1933:
1910:
1909:
1891:
1635:
1634:
1614:, the so-called
1583:
1505:Cassius Longinus
1452:Cassius Longinus
1425:
1420:
1412:
1411:
1408:
1407:
1404:
1401:
1398:
1395:
1392:
1389:
1386:
1383:
1362:
1356:
1351:
1329:
1322:
1315:
1229:List of speeches
1076:
1066:
1056:
1046:
1036:
1026:
1016:
1006:
996:
986:
976:
966:
956:
946:
936:
926:
916:
906:
896:
886:
876:
680:Neo-Aristotelian
247:Figure of speech
108:Second Sophistic
44:
21:
3591:
3590:
3586:
3585:
3584:
3582:
3581:
3580:
3526:Literary theory
3511:
3510:
3509:
3504:
3494:
3492:
3469:
3393:
3388:
3378:
3368:
3365:Critical Essays
3358:
3348:
3338:
3328:
3318:
3308:
3298:
3288:
3278:
3268:
3258:
3242:
3015:
2929:Ortega y Gasset
2722:
2634:
2568:
2563:
2525:Rhetores Graeci
2509:
2462:
2435:
2431:
2418:
2386:
2356:
2350:
2337:
2334:
2332:Further reading
2329:
2322:
2309:
2308:
2304:
2297:
2284:
2283:
2279:
2269:
2268:
2264:
2232:
2231:
2227:
2217:
2216:
2212:
2205:
2188:
2187:
2183:
2176:
2161:
2160:
2156:
2147:
2143:
2136:
2123:
2122:
2115:
2107:
2103:
2093:
2092:
2081:
2071:
2070:
2066:
2059:
2040:
2039:
2026:
2014:
2013:
1984:
1979:
1975:
1953:
1952:
1945:
1935:
1934:
1913:
1906:
1893:
1892:
1871:
1867:
1763:William Smith's
1761:18th century -
1730:
1711:
1690:
1677:
1664:
1646:
1616:Ode to Jealousy
1598:
1584:
1578:
1543:
1517:, the queen of
1507:
1488:
1444:
1428:Pseudo-Longinus
1380:
1376:
1365:Roman-era Greek
1333:
1304:
1303:
1249:Public rhetoric
1187:
1186:
1177:
1176:
1125:Native American
1090:
1089:
1080:
1079:
1074:
1064:
1054:
1044:
1034:
1024:
1014:
1004:
994:
984:
974:
964:
954:
944:
934:
924:
914:
904:
894:
884:
874:
865:
864:
855:
854:
695:
694:
685:
684:
628:
627:
616:
615:
506:Funeral oration
496:Farewell speech
453:Socratic method
409:
408:
399:
398:
161:
160:
151:
150:
56:
55:
17:
12:
11:
5:
3589:
3587:
3579:
3578:
3573:
3568:
3563:
3558:
3553:
3548:
3543:
3538:
3533:
3528:
3523:
3513:
3512:
3506:
3505:
3503:
3502:
3490:
3485:
3480:
3474:
3471:
3470:
3468:
3467:
3462:
3457:
3452:
3447:
3442:
3437:
3435:Neuroesthetics
3432:
3427:
3422:
3417:
3415:Arts criticism
3412:
3407:
3401:
3399:
3395:
3394:
3392:
3391:
3381:
3371:
3361:
3351:
3341:
3331:
3321:
3311:
3301:
3291:
3285:On the Sublime
3281:
3271:
3261:
3250:
3248:
3244:
3243:
3241:
3240:
3235:
3230:
3225:
3220:
3215:
3210:
3205:
3198:
3193:
3188:
3183:
3178:
3173:
3168:
3163:
3156:
3151:
3149:Interpretation
3146:
3141:
3136:
3131:
3126:
3121:
3116:
3111:
3106:
3101:
3096:
3091:
3086:
3081:
3076:
3071:
3066:
3065:
3064:
3059:
3049:
3044:
3042:Artistic merit
3039:
3034:
3029:
3023:
3021:
3017:
3016:
3014:
3013:
3006:
3001:
2996:
2991:
2986:
2981:
2976:
2971:
2966:
2961:
2956:
2951:
2946:
2941:
2936:
2931:
2926:
2921:
2916:
2911:
2906:
2901:
2896:
2891:
2886:
2881:
2876:
2871:
2866:
2861:
2856:
2851:
2846:
2841:
2836:
2831:
2826:
2821:
2816:
2811:
2806:
2801:
2796:
2791:
2786:
2781:
2776:
2771:
2766:
2761:
2756:
2751:
2746:
2741:
2736:
2730:
2728:
2724:
2723:
2721:
2720:
2713:
2708:
2703:
2698:
2693:
2691:Psychoanalysis
2688:
2683:
2678:
2673:
2668:
2663:
2658:
2653:
2648:
2642:
2640:
2636:
2635:
2633:
2632:
2627:
2622:
2617:
2612:
2607:
2602:
2597:
2592:
2587:
2582:
2576:
2574:
2570:
2569:
2564:
2562:
2561:
2554:
2547:
2539:
2533:
2532:
2522:
2515:On the Sublime
2506:
2497:
2488:
2483:
2479:On the Sublime
2474:
2468:On the Sublime
2461:
2460:External links
2458:
2457:
2456:
2451:Martin Fritz,
2449:
2429:
2416:
2403:10.2307/468748
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2370:
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2262:
2243:(5): 969–985.
2225:
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2203:
2181:
2174:
2154:
2141:
2134:
2113:
2109:On the Sublime
2101:
2079:
2064:
2057:
2024:
1982:
1973:
1943:
1911:
1904:
1868:
1866:
1863:
1854:
1853:
1826:Thomas Weiskel
1810:
1807:On the Sublime
1803:On the Sublime
1799:
1759:
1748:
1737:
1734:
1729:
1727:On the Sublime
1723:
1715:On the Sublime
1710:
1707:
1695:On the Sublime
1689:
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1580:On the Sublime
1576:
1557:On the Sublime
1546:On the Sublime
1542:
1539:
1506:
1503:
1499:On the Sublime
1495:On the Sublime
1487:
1484:
1480:On the Sublime
1443:
1440:
1360:De sublimitate
1341:On the Sublime
1335:
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1193:Ars dictaminis
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991:On the Sublime
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797:
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540:Lightning talk
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389:
382:
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370:
365:
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356:
349:
337:
332:
327:
325:Method of loci
322:
315:
308:
303:
302:
301:
294:
287:
280:
273:
261:
260:
259:
254:
244:
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129:
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127:
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112:
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105:
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78:
73:
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61:Ancient Greece
57:
51:
50:
49:
46:
45:
37:
36:
30:
29:
15:
13:
10:
9:
6:
4:
3:
2:
3588:
3577:
3574:
3572:
3569:
3567:
3564:
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3539:
3537:
3534:
3532:
3529:
3527:
3524:
3522:
3519:
3518:
3516:
3501:
3491:
3489:
3486:
3484:
3481:
3479:
3476:
3475:
3472:
3466:
3465:Theory of art
3463:
3461:
3458:
3456:
3453:
3451:
3448:
3446:
3443:
3441:
3438:
3436:
3433:
3431:
3428:
3426:
3423:
3421:
3418:
3416:
3413:
3411:
3408:
3406:
3403:
3402:
3400:
3396:
3387:
3386:
3382:
3377:
3376:
3372:
3367:
3366:
3362:
3356:
3352:
3346:
3342:
3337:
3336:
3332:
3327:
3326:
3322:
3316:
3312:
3307:
3306:
3302:
3297:
3296:
3292:
3287:
3286:
3282:
3277:
3276:
3272:
3267:
3266:
3262:
3257:
3256:
3255:Hippias Major
3252:
3251:
3249:
3245:
3239:
3236:
3234:
3231:
3229:
3226:
3224:
3221:
3219:
3216:
3214:
3211:
3209:
3206:
3204:
3203:
3199:
3197:
3194:
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3187:
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3182:
3179:
3177:
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3172:
3169:
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3162:
3161:
3157:
3155:
3152:
3150:
3147:
3145:
3142:
3140:
3137:
3135:
3132:
3130:
3127:
3125:
3122:
3120:
3117:
3115:
3114:Entertainment
3112:
3110:
3107:
3105:
3102:
3100:
3097:
3095:
3092:
3090:
3087:
3085:
3082:
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3060:
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3048:
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3043:
3040:
3038:
3037:Art manifesto
3035:
3033:
3030:
3028:
3027:Appropriation
3025:
3024:
3022:
3018:
3012:
3011:
3007:
3005:
3002:
3000:
2997:
2995:
2992:
2990:
2987:
2985:
2982:
2980:
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2975:
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2970:
2967:
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2945:
2942:
2940:
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2930:
2927:
2925:
2922:
2920:
2919:Merleau-Ponty
2917:
2915:
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2907:
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2900:
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2800:
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2760:
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2750:
2747:
2745:
2742:
2740:
2737:
2735:
2734:Abhinavagupta
2732:
2731:
2729:
2725:
2719:
2718:
2714:
2712:
2709:
2707:
2704:
2702:
2699:
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2692:
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2686:Postmodernism
2684:
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1886:
1884:
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1859:
1858:Werner Herzog
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1429:
1424:
1416:
1415:Ancient Greek
1410:
1374:
1370:
1366:
1361:
1355:
1347:
1346:Ancient Greek
1343:
1342:
1330:
1325:
1323:
1318:
1316:
1311:
1310:
1308:
1307:
1300:
1297:
1295:
1294:Toulmin model
1292:
1290:
1287:
1285:
1282:
1280:
1279:Talking point
1277:
1275:
1274:Speechwriting
1272:
1270:
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1098:
1096:
1095:Argumentation
1093:
1092:
1084:
1083:
1073:
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1058:
1053:
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1048:
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1023:
1022:
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1003:
1002:
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993:
992:
988:
983:
982:
978:
973:
972:
968:
963:
962:
958:
953:
952:
948:
943:
942:
938:
933:
932:
931:De Inventione
928:
923:
922:
918:
913:
912:
908:
903:
902:
898:
893:
892:
888:
883:
882:
878:
873:
872:
868:
867:
859:
858:
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848:
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838:
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833:
831:
828:
826:
823:
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811:
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766:
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753:
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748:
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733:
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723:
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718:
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689:
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651:
648:
644:
641:
640:
639:
636:
634:
631:
630:
626:
620:
619:
612:
611:War-mongering
609:
607:
604:
602:
599:
595:
592:
591:
590:
587:
583:
580:
579:
578:
577:Progymnasmata
575:
571:
568:
566:
563:
561:
558:
557:
556:
553:
551:
548:
546:
545:Maiden speech
543:
541:
538:
534:
531:
530:
529:
526:
524:
521:
517:
514:
513:
512:
509:
507:
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427:
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395:
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176:
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155:
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147:
146:Modern period
144:
140:
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126:
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118:
117:
116:
113:
109:
106:
104:
101:
100:
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93:Ancient India
91:
87:
84:
82:
79:
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76:Attic orators
74:
72:
69:
67:
64:
63:
62:
59:
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39:
38:
35:
31:
27:
23:
22:
19:
3383:
3373:
3363:
3333:
3323:
3303:
3293:
3284:
3283:
3273:
3263:
3253:
3200:
3176:Magnificence
3158:
3008:
2974:Schopenhauer
2809:Coomaraswamy
2727:Philosophers
2715:
2646:Aestheticism
2524:
2514:
2478:
2471:
2467:
2452:
2420:
2394:
2388:
2380:
2373:
2358:
2339:
2311:
2305:
2286:
2280:
2272:Conjunctions
2271:
2265:
2240:
2234:
2228:
2219:
2213:
2192:
2184:
2164:
2157:
2149:
2144:
2125:
2108:
2104:
2095:
2073:
2067:
2043:
2017:
1976:
1959:
1955:
1954:"Longinus".
1937:
1895:
1855:
1850:Kora in Hell
1842:Harold Bloom
1829:
1821:
1813:
1806:
1802:
1791:
1785:
1782:Edmund Burke
1775:
1766:
1726:
1714:
1712:
1700:
1694:
1691:
1678:
1665:
1647:
1637:
1627:
1624:
1620:
1615:
1608:
1599:
1586:
1579:
1572:
1564:
1556:
1554:
1545:
1544:
1508:
1498:
1494:
1489:
1479:
1476:Aelius Theon
1469:
1460:Roman Empire
1445:
1427:
1372:
1354:Perì Hýpsous
1340:
1339:
1338:
1219:Glossophobia
1191:
1110:Constitutive
1069:
1059:
1049:
1039:
1029:
1019:
1009:
999:
990:
989:
979:
969:
959:
949:
939:
929:
919:
909:
899:
889:
879:
869:
693:Rhetoricians
606:Stump speech
523:Invitational
476:
461:Dissoi logoi
459:
438:Deliberative
430:Controversia
428:
391:
384:
358:
351:
344:
317:
310:
298:Pronuntiatio
296:
289:
282:
275:
268:
227:
215:
206:
189:
182:
165:
136:
98:Ancient Rome
18:
3269:(c. 335 BC)
3259:(c. 390 BC)
3238:Work of art
3191:Picturesque
3047:Avant-garde
3004:Winckelmann
2879:Kierkegaard
2804:Collingwood
2774:Baudrillard
2701:Romanticism
2671:Historicism
2605:Mathematics
1838:Louis Marin
1834:Anne Carson
1713:In reading
1703:Koine Greek
1596:The sublime
1350:Περì Ὕψους
1299:Wooden iron
1259:Rhetrickery
1234:Oral skills
1170:Composition
1105:Contrastive
925:(c. 350 BC)
915:(c. 350 BC)
905:(c. 350 BC)
895:(c. 350 BC)
885:(c. 370 BC)
745:Demosthenes
725:Brueggemann
660:Ideological
511:Homiletics
424:Declamation
414:Apologetics
264:Five canons
132:Renaissance
115:Middle Ages
3515:Categories
3208:Recreation
3186:Perception
3079:Creativity
2779:Baumgarten
2769:Baudelaire
2651:Classicism
2566:Aesthetics
2098:. E. Droz.
1818:Neil Hertz
1709:Influences
1628:great soul
1550:aesthetics
1535:Quintilian
1442:Authorship
1432:aesthetics
1155:Technology
1145:Procedural
965:(c. 50 BC)
951:De Oratore
815:Quintilian
810:Protagoras
665:Metaphoric
589:Propaganda
472:Epideictic
386:Sotto voce
340:Persuasion
335:Operations
277:Dispositio
173:Chironomia
3536:Platonism
3213:Reverence
3119:Eroticism
3089:Depiction
3062:Masculine
2964:Santayana
2924:Nietzsche
2869:Hutcheson
2859:Heidegger
2844:Greenberg
2799:Coleridge
2764:Balthasar
2749:Aristotle
2711:Theosophy
2706:Symbolism
2681:Modernism
2666:Formalism
2439:cite book
2368:959033482
2257:170090087
1968:135926705
1772:Aristotle
1651:Petronius
1531:Petronius
1357:; Latin:
1269:Seduction
1100:Cognitive
1088:Subfields
1015:(100–400)
770:Isocrates
710:Augustine
700:Aristotle
675:Narrative
625:Criticism
570:Philippic
484:Panegyric
467:Elocution
448:Dialectic
368:Situation
229:Facilitas
223:Enthymeme
202:Eloquence
184:Delectare
3566:Rhetoric
3488:Category
3420:Axiology
3289:(c. 500)
3279:(c. 100)
3154:Judgment
3109:Emotions
3104:Elegance
3084:Cuteness
3057:Feminine
3020:Concepts
2989:Tanizaki
2969:Schiller
2954:Richards
2944:Rancière
2914:Maritain
2849:Hanslick
2789:Benjamin
2661:Feminism
2630:Theology
2610:Medieval
2600:Japanese
2595:Internet
2520:LibriVox
2466:Text of
1964:ProQuest
1828:'s book
1592:writer.
1577:—
1541:Contents
1511:Plotinus
1423:Longĩnos
1419:Λογγῖνος
1373:Longinus
1367:work of
1344:(Greek:
1140:Pedagogy
1120:Feminist
891:Rhetoric
881:Phaedrus
875:(380 BC)
825:Richards
795:Perelman
643:Pentadic
638:Dramatic
582:Suasoria
560:Diatribe
501:Forensic
478:Encomium
443:Demagogy
312:Imitatio
284:Elocutio
270:Inventio
240:Informal
159:Concepts
86:Sophists
81:Calliope
71:Atticism
66:Asianism
34:Rhetoric
26:a series
24:Part of
3483:Outline
3398:Related
3265:Poetics
3233:Tragedy
3223:Sublime
3196:Quality
3181:Mimesis
3139:Harmony
3124:Fashion
3099:Ecstasy
3094:Disgust
3010:more...
2979:Scruton
2904:Lyotard
2839:Goodman
2819:Deleuze
2754:Aquinas
2744:Alberti
2717:more...
2696:Realism
2676:Marxism
2656:Fascism
2639:Schools
2625:Science
2580:Ancient
2502:at the
2049:135–154
1814:Poetics
1796:sublime
1777:Poetics
1756:Boileau
1752:Baroque
1669:sublime
1655:Tacitus
1603:sublime
1590:sublime
1566:Genesis
1527:Tacitus
1519:Palmyra
1515:Zenobia
1448:copyist
1436:sublime
1363:) is a
1185:Related
1160:Therapy
1150:Science
1115:Digital
995:(c. 50)
985:(46 BC)
975:(46 BC)
955:(55 BC)
945:(80 BC)
935:(84 BC)
871:Gorgias
840:Toulmin
835:Tacitus
785:McLuhan
760:Gorgias
755:Erasmus
750:Derrida
715:Bakhtin
705:Aspasia
670:Mimesis
633:Cluster
565:Eristic
555:Polemic
550:Oratory
528:Lecture
291:Memoria
235:Fallacy
178:Decorum
125:Trivium
53:History
3389:(2009)
3379:(1977)
3369:(1946)
3359:(1939)
3349:(1935)
3339:(1934)
3329:(1933)
3319:(1891)
3309:(1835)
3299:(1757)
3166:Kitsch
3144:Humour
3074:Comedy
3052:Beauty
2994:Vasari
2984:Tagore
2959:Ruskin
2899:Lukács
2889:Langer
2834:Goethe
2759:Balázs
2739:Adorno
2620:Nature
2585:Africa
2427:
2411:468748
2409:
2366:
2346:
2318:
2293:
2255:
2201:
2172:
2132:
2055:
1966:
1902:
1612:Sappho
1523:Cicero
1244:Pistis
1239:Orator
1165:Visual
1075:(1970)
1065:(1966)
1055:(1521)
1045:(1305)
981:Orator
921:Topics
850:Weaver
780:Lysias
775:Lucian
765:Hobbes
740:de Man
735:Cicero
533:Public
516:Sermon
491:Eulogy
419:Debate
407:Genres
353:Pathos
319:Kairos
306:Hypsos
252:Scheme
217:Eunoia
197:Device
191:Docere
3478:Index
3247:Works
3228:Taste
3218:Style
2999:Wilde
2939:Plato
2934:Pater
2894:Lipps
2854:Hegel
2824:Dewey
2814:Danto
2794:Burke
2615:Music
2590:India
2573:Areas
2407:JSTOR
2253:S2CID
1865:Notes
1745:Basel
1561:Homer
1464:codex
1426:) or
1035:(426)
1025:(102)
863:Works
830:Smith
820:Ramus
805:Plato
800:Pizan
730:Burke
720:Booth
655:Genre
650:Frame
393:Topos
378:Grand
373:Style
360:Logos
346:Ethos
330:Modes
257:Trope
3202:Rasa
3160:Kama
3134:Gaze
3069:Camp
2949:Rand
2884:Klee
2874:Kant
2864:Hume
2784:Bell
2445:link
2425:ISBN
2364:OCLC
2344:ISBN
2316:ISBN
2291:ISBN
2199:ISBN
2170:ISBN
2130:ISBN
2111:1.4.
2053:ISBN
1900:ISBN
1836:and
1533:and
1209:Doxa
1005:(95)
845:Vico
594:Spin
3129:Fun
2909:Man
2829:Fry
2493:at
2399:doi
2245:doi
2241:120
2236:MLN
1784:'s
1774:'s
1743:in
1582:9.9
1284:TED
1130:New
790:Ong
3517::
3357:"
3347:"
3317:"
2441:}}
2437:{{
2405:.
2395:16
2393:.
2251:.
2239:.
2128:.
2116:^
2082:^
2051:.
2027:^
1985:^
1960:22
1958:.
1946:^
1914:^
1872:^
1780:.
1721:.
1636:,
1529:,
1438:.
1417::
1413:;
1397:aɪ
1394:dʒ
1348::
28:on
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3343:"
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2558:e
2551:t
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2531:.
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2299:.
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2178:.
2138:.
2061:.
2021:.
1970:.
1908:.
1852:.
1630:(
1409:/
1406:s
1403:ə
1400:n
1391:ˈ
1388:n
1385:ɒ
1382:l
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