The enigmatic figure of Longinus, possibly a resident of the first century C.E., casts a long shadow over the realm of literary criticism with his work, Peri Hypsous (known in English as On the Sublime). Believed to have been penned during the reign of Emperor Nero, this treatise, despite its incomplete state, stands as a masterpiece of antiquity. The text blends Platonic rhetoric with Aristotelian logic, forming a compelling response to the literary assertions of Caecilius of Caleacte. In doing so, Longinus not only challenges Caecilius's views but also instructs those engaged in public discourse on how language can profoundly influence the human soul.

Central to Longinus’s theory is the concept of human dignity, which he intricately ties to the power of speech and the emotional reactions elicited by grand natural phenomena such as volcanoes and oceans. He argues that these natural wonders, when authentically captured in art, can stir profound emotional responses. Longinus’s aesthetic framework suggests that it is through the majestic evocation of nature and emotion that art achieves its highest purpose. His work offers a timeless reflection on the power of language and its capacity to transcend mere words, touching upon the very essence of human experience.

During antiquity, Longinus appeared to leave little imprint, as he remained uncited in contemporary works. However, this changed dramatically after Nicolas Boileau translated his work into French in 1674. This translation propelled Longinus into the European intellectual spotlight, where he experienced widespread acclaim, particularly throughout the eighteenth century. During this period, his terminology, insights, and perspectives became deeply ingrained in the thoughts and writings of critics and readers alike. By the nineteenth century, his influence was so pervasive that he was effectively absorbed into the broader literary discourse. The twentieth century saw his impact persist in a subtle, underlying manner, shaping literary analysis even if not always explicitly acknowledged.