Romantic Horizons: Aspects of the Sublime in English Poetry and Painting, 1770-1850, Volume 10 |
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Page 54
The older man seems distracted , and his scepter - sign of his power - has fallen to his side , while the horses who presumably have pulled this chariot are being unharnessed by four women . There are steps in front of these women that ...
The older man seems distracted , and his scepter - sign of his power - has fallen to his side , while the horses who presumably have pulled this chariot are being unharnessed by four women . There are steps in front of these women that ...
Page 55
It is only when we look at the bottom third of the painting that the mythic symbolism seems obvious , and again we find all critics in agreement . The three women handling the rope are the Three Fates of classical mythology .
It is only when we look at the bottom third of the painting that the mythic symbolism seems obvious , and again we find all critics in agreement . The three women handling the rope are the Three Fates of classical mythology .
Page 88
Angus Fletcher has explained the paradox : He ( Coleridge ) is caught in a psychosomatic paradox : though the threshold is temporally nonexistent , a phantom - place , the passage across this no - man's land seems to be more intense ...
Angus Fletcher has explained the paradox : He ( Coleridge ) is caught in a psychosomatic paradox : though the threshold is temporally nonexistent , a phantom - place , the passage across this no - man's land seems to be more intense ...
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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