Understanding the the Romantic Imagination with Ramond, Wordsworth and

grounds the the Romantic Imagination with Ramond, Wordsworth and Shelley Works Cited Not IncludedThe way to puzzle the real world is not merely to measure and observe what is outside us, merely to discover our own inner ground. This ground, this world where I am cryptically present at once to myself and to the freedoms of other men, is not a visible, accusing and determined structureIt is a living and self creating mystery of which I am myself a part, to which I am myself my own unique door. (Thomas Merton in Finley 45) We bind spent a good deal of this semester concentrating on the make pure. We throw away asked what (in record) is luxurious, how is the sublime described and how do different writers interpret the sublime. A sublime live 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 see to itd. Perception and version of the sublime atomic number 18 dire ctly linked to personal circumstance and suffering, to sacred beliefs and even expectation (consider Wordsworths disappointment at Mont Blanc). It has become evident that in that location is a transition space between what a traveler experiences and what he writes a place wherein words often fail moreover the experience is intensified, even unsounded by the traveler. This space, as I have understand it, is the imaging. In his quest for ghostlike identity Thomas Merton offers the above address to illustrate what he calls interpenetration between the self and the world. As travel writers wage personality through their vagary, Mertons description of the inner ground is an appropriate one for the Romantic invention 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 soul they are simultaneously aware of freedoms of other men. I s uggested in the introduction that the imagination is a transition place wherein words often fail scarcely the experience is intensified, even understood by the traveler. For all three writers the nature of the imagination has, amazingly, been communicable. Ramond and Wordsworth are able to come to an articulate conclusion virtually the effects imagination has on their perceptions of nature. Shelley, however, remains skeptical most the world government agency of the imaginative process. Nonetheless, Shelleys experience is as real, as intense as that of Ramond and Wordsworth. Notes 1. Duncan Wus home note, page 403. 2 Tintern Abbey. Line 97. dread the the Romantic Imagination with Ramond, Wordsworth and Understanding the the Romantic Imagination with Ramond, Wordsworth and Shelley Works Cited Not IncludedThe way to grow the real world is not merely to measure and observe what is outside us, still 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, neutral and determined structureIt is a living and self creating mystery of which I am myself a part, to which I am myself my own unique 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. Perception and recitation of the sublime are directly linked to personal circumstance and suffering, to spiritual beliefs and even expectation (consider Wordsworths disappointment at Mont Blanc). It has become evident that on that point is a transition space between what a traveler experiences and what he writes a place wherein wo rds 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 above recognition to illustrate what he calls interpenetration between the self and the world. As travel writers oblige nature through their imagination, Mertons description of the inner ground is an appropriate one for the Romantic figure 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 soul they are simultaneously aware of freedoms of other men. I suggested in the introduction that the imagination is a transition place wherein words often fail but the experience is intensified, even understood by the traveler. For all three writers the nature of the imagination has, amazingly, been communicable. Ramond and Wordsworth are able to com e to an articulate conclusion 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 up note, page 403. 2 Tintern Abbey. Line 97.