Understanding the the Romantic Imagination with Ramond, Wordsworth and

spirit the the Romantic Imagination with Ramond, Wordsworth and Shelley Works Cited Not IncludedThe way to find the real world is non merely to measure and observe what is outside us, but to break out our own inner ground. This ground, this world where I am mysteriously present at one time to myself and to the freedoms of other men, is not a visible, objective and determined anatomical 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 character) is sublime, how is the sublime described and how do different writers exemplify the sublime. A sublime experience is recognizable by tell apart 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 circumstance and suffering, to spiritual beliefs and yet expectation (consider Wordsworths disappointment at Mont Blanc). It has be accrue evident that thither is a transition space between what a traveller experiences and what he writes a intrust wherein words often fail but the experience is intensified, even mum by the traveler. This space, as I have understood it, is the imagination. In his quest for spiritual identity Thomas Merton offers the above quotation to illustrate what he c whollys 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 from each one writers experience. Engaging the imagination, Ramond, Wordsworth and Shelley have experienced a kind of iodine 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 come to an articulate conclusion virtually 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 anxious 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 way to find the real world is not merely to measure and observe what is outside us, but to discover our own inner ground. This ground, this world where I am myst eriously 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 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 interpretation 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 there is a transition space between what a traveler experiences and what he writes a place wherein words often fai l 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 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 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 come to an articu late 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 note, page 403. 2 Tintern Abbey. Line 97.