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Literature Review- Imagination
In the Romantic Era, imagination was viewed with profound importance
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In this thematic review I aim
to consider everything that shaped the Romanticism society’s view that imagination can
influence spiritual perception
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Finally, I intend to evaluate the meaningfulness of the big six’s
theories on imagination today whether there are any downsides to the extent the knowledge we
can achieve through imaginative visions
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Evidence of the philosophical divide can be found in a letter from William Blake to
an assumed suitable Patron for one of his paintings, Reverend Dr
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Trusler’s
rationale leads him to describe Blake’s art as unearthly, wishing it was more “explicit” (Blake,
1827, p
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Blake (1827) argues back essentially
referring to Trusler as “weak men” (Blake, 1827, p
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Blake’s letter on
sight and vision goes on to discuss elucidation, arguing that even the common man can
experience “spiritual sensation” (Blake, 1827, p
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A utopian
Romantic attitude was to desire the unattainable and seek escapism through actively searching
for ways to personally connect with nature
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Therefore, they avoided the topic of everyday
society which was corrupted with politics and religion; transcending society’s sensibility
through the universal purity of the natural world
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162), explaining that he is attempting to
remain impartial to humanity’s artistic individualism
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162); he argues
that simplicity provides the best creative encouragement for the imagination
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Both
Romantic poets agree that fancy shows no originality but that it is necessary to inspire new
ideas from organizing old ones
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491), which even the common man can experience as it takes
place subconsciously and is therefore uncontrollable
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491); which Coleridge believes only the artistic and
creative genius can possess (indirectly elevating the poet’s status and abilities)
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To quote Robert Gleckner’s Blake’s Religion of Imagination, imagination is like “[seeing]
the world through rose coloured glasses” (Gleckner, 1956, p
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Maurice Bowra’s The Romantic Imagination, also focuses partially on the duty of the poet and
the subjectivity of Romantic poetry
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11)
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11)
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Bowra later turns his attention to Wordsworth, a renowned Romantic nature poet who
imagines “[nature's] soul and the soul of man
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20)
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Nature is the world’s rawest element
which is unsullied from civilization
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When the physical is translated into the metaphysical, there
are no boundaries to self and worldly discovery
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155)
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Imagination is levelled to the gods when Blake attempts to analyze
the Ancient’s perception of the wisdom of the gods in the Marriage of Heaven and Hell, dubbing
their origin as imagination; “all deities reside in the human breast” (Gleckner, 1956 p
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In
his introduction, Gleckner comments that to Blake imagination is “the highest faculty available
to man for his salvation” (Gleckner, 1956, p
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Gleckner (1956) voices that Blake had
categorized imagination as a religion which is stifled by society’s failure to understand the
colossal power of imaginative thought and the world as infinite
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This symbolises that the insight which stems from
imagination is too ideal and too heavenly that the common man would devastate it
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Shelley (1817) declares that the intellectual beauty which imagination manifests is capable of
“[freeing] this world from its dark slavery]” (Shelley, 1817, p
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The archaic quality of
Shelley’s metaphysical figure of intellectual beauty alludes to the right hemisphere of the brain
which controls our imagination and creativity
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We only need to “worship
[intellectual beauty] and every form containing [it]” (Shelley, 1817, p
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775) as Shelley claims to
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774) world
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155)
in a personal experiment taking mescaline in an attempt to awaken the beauty of imagination
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” (Huxley, 1954) Even in the twentieth century humanity is still subject, to a lesser
extent, to the belief that imagination is boundless
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Samuel Taylor Coleridge, like Blake envisioned a garden like Eden, a biblical paradise
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He has an almost apocalyptic vision
explaining a “dark chasm” (Coleridge, 1816, p
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461), yet
“savage” (Coleridge, 1816, p
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Essentially, the combination of the man-made and the natural
worlds will tarnish the coherent goodness of nature; creativity should be witnessed in the form
of visions
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Bibliography
Blake, W
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In: Greenblatt, S
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The Norton Anthology
of English Literature
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Ninth Edition
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W
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Blake, W
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In: Greenblatt, S
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The Norton Anthology
of English Literature
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Ninth Edition
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W
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Bowra, C
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(1961)
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Oxford: Oxford university press
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T
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In: Greenblatt, S
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The Norton Anthology of
English Literature
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Ninth Edition
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W
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Coleridge, S
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(1816) Kubla Khan
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(ed
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Volume D
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London: W
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Norton & Company
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F
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Blake’s Religion of Imagination
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[online] Jstor
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359-369
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jstor
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[Accessed: 13th
November 2015]
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(1954)
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United Kingdom: Chatto & Windus
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B
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In: Greenblatt, S
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The Norton Anthology of
English Literature
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Ninth Edition
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W
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