Longinus is a Greek literary critic, he is called Pseudo-Longinus or Dionysius-Longinus because his real name is unknown. His important work is on the sublime; consists of 17 chapters discussing the effects of good writing and figures of speech first published in 1554. Longinus takes a pragmatic position. His main question is: what is good writing and how can it be achieved? His answer to this question is that good writing is what he calls the sublime: it is part of the good. According to Longinus, sublime is a certain distinction and excellence in expression. The elevated language of the sublime aims to delightfully enchant the audience to the writer's desired end. So good writing that partakes of the sublime consists of elevated language, which takes the audience out of itself and somewhere that the writer has in mind. Longmire identifies three pitfalls to avoid in the pursuit of sublimity. 1. Shyness, 2. Childishness and 3. Parentirso. Shyness seeks to transcend the limits of the sublime through false elevation and boldness. Tongue. Childishness includes learning nonsense. The parenthesis is the expression of false and emptiness, which is taken from the ugly growths of literature. Longinus identifies three elements of the sublime, which are 1. The power to form great conceptions. 2.vehement and inspired passion. 3. the correct formation of the data. 4. Noble diction and 5. High composition. Recognizes great art by the presence of great ideas. Great ideas in turn are conceived by great men. These great men will also be capable of deep, sincere feelings that transcend sappy emotion. The figures are about the ways in which elevated thoughts and feelings can best be expressed. Noble there... in the center of the card... how's the stage. The audience will stay until the end of the show if they show the costumes of each era. It gives supernatural help and the importance of the choir is a game. The comedy was also supposed to consist of five acts. Finally, Horace considered iambic meters for tragedy and comedy to be the most suitable. He chose it because it is closer to speech than any other meter. Besides this, Horace accompanies the progress of drama in Greece from the uncultivated times to the times of the great masters. Horace comments on the poetic arc on different aspects of dramatic composition, his ideas on the theme, language, characters and style of drama were taken from Aristotle. His views on the role of the chorus, the length of the opera and the number of speakers in a scene, guided a large number of writers for several generations in Europe.
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