Romantic Horizons: Aspects of the Sublime in English Poetry and Painting, 1770-1850, Volume 10 |
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Page 126
1-4 ) Again , as in scene 1 , he implores Nature to provide release but finally realizes that it is he , not she , who must compromise and accept . Finally , a desperate Manfred prepares his own release by planning to leap from the ...
1-4 ) Again , as in scene 1 , he implores Nature to provide release but finally realizes that it is he , not she , who must compromise and accept . Finally , a desperate Manfred prepares his own release by planning to leap from the ...
Page 131
1-4 ) Again , as in scene 1 , he implores Nature to provide release but finally realizes that it is he , not she , who must compromise and accept . Finally , a desperate Manfred prepares his own release by planning to leap from the ...
1-4 ) Again , as in scene 1 , he implores Nature to provide release but finally realizes that it is he , not she , who must compromise and accept . Finally , a desperate Manfred prepares his own release by planning to leap from the ...
Page 153
I suspect that Keats originally intended to have Endymion arrive at the highest level , at empyreal transport , thereby making book 4 into a nineteenth - century Paradiso , but that he finally backed away from having his hero “ ensky'd ...
I suspect that Keats originally intended to have Endymion arrive at the highest level , at empyreal transport , thereby making book 4 into a nineteenth - century Paradiso , but that he finally backed away from having his hero “ ensky'd ...
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Contents
William Blake The Arlington Court Picture | 52 |
Evening | 78 |
W Turner The Slave Ship | 101 |
Copyright | |
8 other sections not shown
Common terms and phrases
achieved aesthetic Ancient appear artists attempt awareness beautiful became become Blake Byron called cave central century clearly clouds Coleridge color concerned consciousness considered Constable Constable's continue cosmic Cozens critics Cynthia daemons described earth edge effect elevated Endymion English especially eternal ethereal exist experience explain fact feel finally forms give heaven higher horizon human imagination important interest interpretations John Keats kind landscape light liminal lines look Manfred Martin matter meaning mind mountains nature never nineteenth objects once organized painters painting picture play pleasure poem poet poetry Prometheus psychological refers result romantic scene seems seen sense Shelley side soul space spirits structure Study sublime things thought threshold tion tradition trees turn Turner Unbound understanding universe vision visual Wordsworth