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By M. H. Abrams

Compiles severe essays at the Romantic Age and the person works of Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats.

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37. The name of the poem and a few parts of its suggestion and feeling— specially its be aware of non secular 'enthusiasm' for 'Nature" within the seme of the noticeable universe—are corresponding to, and possibly by-product from, Shaftesbury's MoraMsts. yet in Shaftesbury there's no competition of "nature* to 'art' and no antinomian pressure, both moral or aesthetic; 'decorum,' 'order,' 'balance,* and 'proportion' are between his favourite phrases. 38. Cf. my essay, 'The First Gothic Revival,' and so forth. 39 Spectator, No. a hundred and forty four. forty Quotations during this paragraph from F. Schlege! are from Athenaeum, II, i, p. 29; III, i, p. . 12; I, 2, p. sixty eight; III, i, p. 19. these from A. W. Schlegel have already been mentioned through Marie Joachimi, Weltanschauung der Romantik, 179-18341. Cf. my essay on 'The which means of Romantic," and so on. forty two. evaluation of Herder's Humanitatsbriefe; in Minor, Fr. Schlegel, 1794-1802. forty three. Vorrede, Die Griechen und Rimer, in Minor, op. cit. , I, eighty two. forty four. Vorschule der Aesthetik, I, Programm V, § 23. forty five. Vorlesungen iiber dramatische Kunst und Literatur, 1869-11, in Werke, 1846, V, sixteen. Cf. additionally Novalis's Bymnen an die Nacht. forty six. Op. cit. , V, 17. forty seven. De TAllemagne, feet. II, chap. XI. forty eight. at the lines in Mala, cf. Chinard, L'Exotisme americain dans I'oeuvre de Chateaubriand, 1918, ch. ix. forty nine. The part on Shakespeare was once released in April, 1801 (Melanges pofitiques et littefaires, 1854, pp. 390 ff. ). 50. it's slightly tough to reconcile this with the eloquent passage at the Gothic church within the Genie du ChnsMontone (V, Ch. 8); but even there, whereas ascribing to the Gothic type 'une beaute qui lui est particuliere," Chateaubriand additionally refers to its 'proportions barbares. ' 24 W. ok. W I M S A T T The constitution of Romantic Nature Imagery scholars of romantic nature poetry have had greatly to inform us in regards to the philosophic parts of this poetry: the explicit combination of deistic theology, Newtonian physics, and pantheistic naturalism which pervades the Wordsworthian panorama within the interval of 'Tintern Abbey,* the theism which sounds within the "Eolian Harp' of Coleridge, the clash among French atheism and Platonic idealism which even in "Prometheus Unbound' Shelley was once unable to solve. we have now been steered in a number of the extra merely scientiic coloring of the poetry—the photos derived from geology, astronomy, and magnetism, and the coruscant eco-friendly secret which the electricians contributed to such phenomena as Shelley's Spirit of Earth. we have now thought of additionally the "sensibility* of romantic readers, precise, based on one persuasive interpretation, from that of neoclassic readers. What used to be fascinating to the age of Pope, 'Puffs, Powders, Patches, Bibles, Billet-doux" (even approximately those the age should be loath to confess its excitement), was once no longer, we're toM, what was once so glaringly fascinating to the age of Wordsworth. 'High mountains are a sense, however the hum of towns torture. ' finally, fresh serious historical past has reinvited cognizance to the romantic concept of mind's eye, and particularly to the model of that thought which Coleridge derived from the German metaphysicians, the view of poetic mind's eye because the esemplastic strength which reshapes our fundamental information of the realm into symbolic avenues to the theological.

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