Understanding the the Romantic Imagination with Ramond, Wordsworth and

Understanding the the romanticistic conception with Ramond, Wordsworth and Shelley Works Cited Not IncludedThe expression to find the real world is not merely to measure and observe what is outback(a) us, barely to discover our own inner ground. This ground, this world where I am mysteriously present at once to myself and to the freedoms of other men, is not a visible, objective and determined structureIt is a living and self creating brain-teaser of which I am myself a part, to which I am myself my own droll door. (Thomas Merton in Finley 45) We take over spent a good deal of this semester concentrating on the sublime. We consume asked what (in nature) is sublime, how is the sublime described and how do different writers interpret the sublime. A sublime experience is recognizable by key words such(prenominal)(prenominal) as awe, astonishment and terror, feelings of insignificance, fractured syntax and the general inability to describe what is being go through. sensing an d interpretation of the sublime are directly linked to personal event and suffering, to spiritual beliefs and even expectation (consider Wordsworths disappointment at Mont Blanc). It has become sheer that there is a transition space between what a extendler experiences and what he writes a place wherein words often give off except the experience is intensified, even understood by the displaceer. This space, as I have understood it, is the imagination. In his quest for spiritual identity Thomas Merton offers the in a higher place quotation to illustrate what he calls interpenetration between the self and the world. As travel writers engage nature through their imagination, Mertons description of the inner ground is an appropriate one for the amorous conception of the imagination. ... ...here are similar aspects to each writers experience. Engaging the imagination, Ramond, Wordsworth and Shelley have undergo a kind of unity conscious of the self as the intelligence they ar e simultaneously aware of freedoms of other men. I suggested in the adit that the imagination is a transition place wherein words often denounce but the experience is intensified, even understood by the traveler. For all terce writers the nature of the imagination has, amazingly, been communicable. Ramond and Wordsworth are able to come to an articulate shutdown some the effects imagination has on their perceptions of nature. Shelley, however, remains skeptical rough the power of the imaginative process. Nonetheless, Shelleys experience is as real, as intense as that of Ramond and Wordsworth. Notes 1. Duncan Wus foot note, page 403. 2 Tintern Abbey. Line 97. Understanding the the Romantic Imagination with Ramond, Wordsworth and Understanding the the Romantic Imagination with Ramond, Wordsworth and Shelley Works Cited Not IncludedThe stylus to find the real world is not merely to measure and observe what is after-school(prenominal) us, but to discover our own inner ground. This ground, this world where I am mysteriously present at once to myself and to the freedoms of other men, is not a visible, objective and determined structureIt is a living and self creating mystery of which I am myself a part, to which I am myself my own laughable door. (Thomas Merton in Finley 45) We have spent a good deal of this semester concentrating on the sublime. We have asked what (in nature) is sublime, how is the sublime described and how do different writers interpret the sublime. A sublime experience is recognizable by key words such as awe, astonishment and terror, feelings of insignificance, fractured syntax and the general inability to describe what is being experienced. comprehension and interpretation of the sublime are directly linked to personal situation and suffering, to spiritual beliefs and even expectation (consider Wordsworths disappointment at Mont Blanc). It has become patent that there is a transition space between what a traveler exp eriences and what he writes a place wherein words often fail but the experience is intensified, even understood by the traveler. This space, as I have understood it, is the imagination. In his quest for spiritual identity Thomas Merton offers the preceding(prenominal) quotation to illustrate what he calls interpenetration between the self and the world. As travel writers engage nature through their imagination, Mertons description of the inner ground is an appropriate one for the Romantic conception of the imagination. ... ...here are similar aspects to each writers experience. Engaging the imagination, Ramond, Wordsworth and Shelley have experienced a kind of unity conscious of the self as the individual they are simultaneously aware of freedoms of other men. I suggested in the initiation that the imagination is a transition place wherein words often fail but the experience is intensified, even understood by the traveler. For all trey writers the nature of the imagination has, amazingly, been communicable. Ramond and Wordsworth are able to come to an articulate coda about the effects imagination has on their perceptions of nature. Shelley, however, remains skeptical about the power of the imaginative process. Nonetheless, Shelleys experience is as real, as intense as that of Ramond and Wordsworth. Notes 1. Duncan Wus foot note, page 403. 2 Tintern Abbey. Line 97.