By choosing to emphasise the Latin etymology of the word in discussing his notion of the sublime, Ruskin perhaps expects his reader to recall its association with ancient literary theory, in particular its use with regard to tragedy. Quintilian, for instance, speaks of Aeschylus as 'sublimis et grandiloquus' (elevated in tone with high mannered diction) (10.1.66) and notes the 'sublimior gravitas' of Sophocles (10.1.68). Likewise, having just spoken of the capacity of the sublime for 'exciting compassion and fortitude' which 'elates the mind and renders meanness of thought impossible' we are reminded of Aristotle's study of tragedy in The Poetics. The discussion of the sublime had been conducted at some length in classical antiquity in Longinus' discourse 'On the Sublime'. After Boileau's edition of 1674 the term 'sublime' had prevailed in translating the title of that work. Longinus' concept of the sublime embraced transport (ekstasis), the formation of great concepts and figures, inspired or vehement passion, and noble and elevated diction. He associated sublimity with genius calling it the 'echo of a great soul'. Oblique reference of this sort would of course be appropriate for Ruskin who views Turner as an heroic and prophetic artist portraying the sublimities of nature, whose use of classical themes in his paintings would fortify the idea of an affinity with the tragic poets of classical antiquity. It was an association Ruskin had made in the Preface to Modern Painters I ( MP I:xxii), drawing a comparison between the tragedies of Aeschylus and those of the contemporary painter.