Lost Angels of a Ruined Paradise: Themes of Cosmic Strife in Romantic Tragedy |
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Page 61
131 ) manifest in the universe amounts to blasphemy , the sin of the Atheist who denies the existence of a Benevolent Creator . Ordonio identifies himself as such a sinner when he accuses Nature of being a ...
131 ) manifest in the universe amounts to blasphemy , the sin of the Atheist who denies the existence of a Benevolent Creator . Ordonio identifies himself as such a sinner when he accuses Nature of being a ...
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 168
Although he knows that “ Goethe made a comparison between Faust and Manfred , " Byron denies having read that work at all ... This would deny the direct , and minimize the indirect influence of Goethe's Faust , yet Byron cannot deny the ...
Although he knows that “ Goethe made a comparison between Faust and Manfred , " Byron denies having read that work at all ... This would deny the direct , and minimize the indirect influence of Goethe's Faust , yet Byron cannot deny the ...
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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