The average English, from the sublime of the centre of Franconia, from the medieval Latin Sublimare to the refinement, the majesty, the Latin, the majesty of the sublime; this blessed mood, in which the weight of mystery, in which the heavy and tired of all this incomprehensible world, is illuminated (37-41).  (p. 258) Each of the romantics had a slightly different interpretation of the sublime. In addition, the feminist movement has used its own definition of the sublime in literature. Barbara Claire Freeman believes that the sublime so-called «feminine» does not seek to dominate and control the feeling of terror, which is the sublime «male» or «dominant». Instead, they accept the feeling of abduction and try to delve into their secrets and «metaphysical» aspects. Freeman believes that the domestication of the sublime, typically associated with femininity, is not the only aspect (and often not even found) in women`s literature.  «Sublimity refers to a certain type of high language that strikes its listener with the powerful and irresistible force of a thunderbolt. We always hear a sublime passage with the same pleasure. In the early modernist discourse, the urban landscape has become an important theme of the sublime. The rise of skyscrapers and big cities has become a centre of the writers` centre, and although they have focused on some natural aspects, the definition of the sublime has taken a slight turn. Christophe Den Tandt says: «The moment of sublime terror is always, to a certain extent, a social construct.»  The Tandt focuses on the politics of the sublime and the question of legitimacy and discusses whether the urban landscape is a form of reality, because the city cannot be considered a unique natural design.
On the contrary, man has made aspects an object of uncertainty and thus of terror and sublime.  Most scholars refer to Edmund Burkes A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757) as a pioneering treatise on the sublime. Burke defines the sublime as «what is appropriate in one way or another to excite ideas of pain and danger… No matter what is horrible one way or another, or whether it`s talking about horrible objects, or whether it works in a way that looks like terror. Burke believed that the sublime was something that could cause terror in the audience, because terror and pain were the strongest emotions. But he also believed that there was an inherent «joy» in this emotion. Anything that is great, infinite or opaque could be an object of terror and sublime, because there was an element of the unknown around them.