Lost Angels of a Ruined Paradise: Themes of Cosmic Strife in Romantic Tragedy |
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Page 126
78-85 ) Beatrice does not deny that she was instrumental in the murder , but denies that it should be called a crime ( “ what men call a crime ” ) a and denies that Cenci should be called her father ( “ which thou hast called my ...
78-85 ) Beatrice does not deny that she was instrumental in the murder , but denies that it should be called a crime ( “ what men call a crime ” ) a and denies that Cenci should be called her father ( “ which thou hast called my ...
Page 137
It is also evident from several of his prose works , that Shelley refuted what he called the “ received hypothesis ” of Judeo Christianity about an anthropomorphic God whose moral nature represents the tyranny of the “ Power who tempted ...
It is also evident from several of his prose works , that Shelley refuted what he called the “ received hypothesis ” of Judeo Christianity about an anthropomorphic God whose moral nature represents the tyranny of the “ Power who tempted ...
Page 139
In the final analysis of Shelley's tragic vision , it seems that it is the very fact of being created , “ clothed into limbs ” or “ called into existence ” that is ultimately being questioned . Whether the Creator appears as a male ...
In the final analysis of Shelley's tragic vision , it seems that it is the very fact of being created , “ clothed into limbs ” or “ called into existence ” that is ultimately being questioned . Whether the Creator appears as a male ...
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Contents
Introduction 833562119 | 7 |
Wordsworths | 14 |
Coleridges REMORSE | 45 |
Copyright | |
4 other sections not shown
Common terms and phrases
accept action Adam affirm alienation allegorical Alvar appears associated Auranthe Beatrice Beatrice's beauty becomes blind blood Borderers brother Byron called cause Cenci centre character claims Coleridge Coleridge's comes Consequently cosmic crime darkness death demonic denies describes desire despair destruction dilemma direction divine drama effect error evil existence experience face fact faith fall fallen father feels figure final follows forces guilt heart Heaven Hell Herbert hero hero's heroine hope human Idonea Infinite innocence Keats Letter light loss lovers Ludolph man's Manfred Manfred's Marmaduke moral murder Nature offence Ordonio original Oswald Otho Paradise perfection play poet poet's presented Press question realm recognize relationship Remorse representative responsible reversal revolutionary role Romantic Satan scene seems sense Shelley Shelley's significance Spirit spite stands structure suffering symbolic takes Teresa things tion tragedy tragic truth turns tyrannical ultimately union universe villain vision wants wedding Wordsworth's