y simple. In an unlikely situation there is a feeling that if something like zombies invading a town did happen, then this story line is very conceivable. Romero's use of control and handling of universals strongly illustrates the proper execution of two of Longinus' criteria.
             Longinus goes on to point out flawed techniques when trying to achieve the sublime. He starts by claiming that "pseudo-tragic," "tumidity," and "pseudo-bacchanalian" will no doubt lead to failed sublimity. These three blunder in trying to achieve terror; they instead produce confusion. He feels that the creation of the sublime must be more than dissimulated, it must come from a place within the artist. This real feeling will show through and in the right situation will lead to being elevated. When a viewer surveys a sublime painting it is possible to feel sublimity, because they at once feel the terror the artist felt knowing they are safe. Longinus writes that when the artist, whether they be writer, poet or painter attempts grandeur, they usually fail, falling short of the desired effect;
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