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Understanding the the Romantic Imagination together with Ramond, Wordsworth and Shelley Works Cited Not Contained "The way to find the 'real' world is not merely to quantify and detect what is outside us, yet to discover our own inner earth. This 'floor', this 'universe' where I'm strangely present at once to myself and to the liberty of different men, isn't a visible, objective and decided structureIt is a living and self creating puzzle of that I am myself a part, to that I am myself my own unusual door." (Thomas Merton at Finley 45) We have spent a great deal of this semester concentrating on the sidelines. We have inquired what (in essence) is sublime, how will be 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 overall inability to explain what's being experienced. Perception and interpretation of the sublime are directly connected to personal circumstance and anguish, to religious beliefs and even anticipation (consider Wordsworth's disappointment at Mont Blanc). It has become evident that there's a transition space between what a traveler encounters and what he writes; a location wherein words often fail but that the experience is intensified, even understood from the traveller. This distance, as I have known it, is still your creativity. In his quest for spiritual identity Thomas Merton provides the above quote to exemplify what he calls 'interpenetration' between itself and the planet. As travel writers engage nature by using their imagination, Merton's explanation of the 'interior floor' is a suitable one for the Romantic conception of their creativity. .