Such terms are not on to the characteristics of the object, but yes the qualities or the disposals of the citizen, either that one that produce, either that one that judges the beauty. What he is beautiful is defined by the way as learn we it, analyzing the conscience of that he pronounces a taste judgment. Soon, the beauty is something as such reveals for us, we perceive that it, that is on to the directions, to the recognition of a pleasure, is predominant idea in diverse philosophical environments. In a similar way, it is in philosophical environments as such, that advances the idea of the Sublime one. 3 the SUBLIME one IS the ECHO OF a GREAT SOUL the Sublime one is a effect of the art (not a natural phenomenon), for whose accomplishment definitive rules concur and that it has as end the attainment of the pleasure. It is what it affirms Pseudo-Longino, the first author to write on Sublime still at the time alexandrina.
Longino places in first plan in the process of the creation artistic the moment of the enthusiasm: the Sublime one is, for it, something that livens up the poetical speech of inside for is and drags the listeners or readers to the ecstasy. As it affirms Pseudo-Longino (century I, Of the Sublime one), ' ' … the Sublime one does not take the listeners to the persuasion, but to the dither: because the unexpected jump that it provokes always prevails above all what it convinces or that agrada' '. The first seiscentistas reflections are still mentioned to one ' ' Sublime' style; ' e, therefore, to a rhetorical procedure appropriate to the heroic arguments and express through a raised language, capable to make with that noblemen try themselves passions. According to Longino, five productive sources of the Sublime one, five categories that as have estimated common and basic the linguistic talent, without which exist if cannot make nothing.