[1] Boswell, Johnson (1791), 318: The mention of this gentleman led us to talk of the Western Islands of Scotland, to visit which he expressed a wish that then appeared to me a very romantick fancy, which I little thought would be afterwards realized.

[2] Byron, Idleness (1806), 36: Our love is fix'd, I think we've prov'd it; | Nor time, nor place, nor art have mov'd it; | Then wherefore should we sigh and whine, | With groundless jealousy repine; | With silly whims, and fancies frantic, | Merely to make our love romantic?

[3] Byron, Idleness (1807), 85 f. (86): Oft does my heart indulge the rising thought, | Which still recurs, unlook'd for and unsought; | My soul to Fancy's fond suggestion yields, | And roams romantic o'er her airy fields.

[4] Byron, Don Juan III–V (1821), 345: Now my sere fancy ‘falls into the yellow | Leaf,’ and imagination droops her pinion, | And the sad truth which hovers o'er my desk | Turns what was once romantic to burlesque.

[5] Coleridge, Rel. Mus. (1796), 72: Beneath some arch'd romantic rock reclined | They felt the sea breeze lift their youthful locks[.]

[6] Coleridge, Kubla Khan (*1798; 1816), 212: But oh! that deep romantic chasm which slanted | Down the green hill athwart a cedarn cover!

[7] Cooper, Last Mohic. (1826), 523: The river was confined between high and cragged rocks, one of which impended above the spot where the canoe rested. As these, again, were surmounted by tall trees, which appeared to totter on the brows of the precipice, it gave the stream the appearance of running through a deep and narrow dell. All beneath the fantastic limbs and ragged tree-tops, which were, here and there, dimly painted against the starry zenith, lay alike in shadowed obscurity. Behind them, the curvature of the banks soon bounded the view, by the same dark and wooded outline; but in front, and apparently at no great distance, the water seemed piled against the heavens, whence it tumbled into caverns, out of which issued those sullen sounds, that had loaded the evening atmosphere. It seemed, in truth, to be a spot devoted to seclusion, and the sisters imbibed a soothing impression of security, as they gazed upon its romantic, though not unappalling beauties.

[8] Dickens, Pickw. Pap. I (1837), 3 f. (4): On his right hand sat Mr. Tracy Tupman – the too susceptible Tupman, who to the ⟨4⟩ wisdom and experience of maturer years superadded the enthusiasm and ardour of a boy, in the most interesting and pardonable of human weaknesses – love. Time and feeding had expanded that once romantic form; the black silk waistcoat had become more and more developed; inch by inch had the gold watch-chain beneath it disappeared from within the range of Tupman's vision; and gradually had the capacious chin encroached upon the borders of the white cravat; but the soul of Tupman had known no change – admiration of the fair sex was still its ruling passion.

[9] Dickens, Pickw. Pap. II (1837), 432: “My sister!” exclaimed Mr. Benjamin Allen, folding her in a most romantic embrace. | “Oh, Ben, dear, how you do smell of tobacco,” said Arabella, rather overcome by this mark of affection.

[10] Hawthorne, Amb. Guest (1835), 325: Though they dwelt in such a solitude, these people held daily converse with the world. The romantic pass of the Notch [sc. Crawford Notch, New Hampshire ❏] is a great artery, through which the life-blood of internal commerce is continually throbbing, between Maine, on one side, and the Green Mountains and the shores of the St. Lawrence on the other. The stage-coach always drew up before the door of the cottage. The wayfarer, with no companion but his staff, paused here to exchange a word, that the sense of loneliness might not utterly overcome him, ere he could pass through the cleft of the mountain, or reach the first house in the valley. ➢ vgl. [70, 72]

[11] Irving, Sketch Book (1819–20), 121: On the summit of one of the heights of the Odenwald, a wild and romantic tract of upper Germany, that lies not far from the confluence of the Main and the Rhine, there stood, many, many years since, the Castle of the Baron Von Landshort.

[12] Keats, Imit. Spens. (*1814; 1817), 27: For sure so fair a place was never seen, | Of all that ever charm'd romantic eye [...].

[13] Lewis, Monk (1796), 243: “Happy man!” he exclaimed in his romantic enthusiasm, “happy man, who is destined to possess the heart of that lovely girl! [...]”

[14] Radcliffe, Udolpho I (1794), 229: Though the deep valleys between these mountains [sc. Apennine] were for the most part clothed with pines, sometimes an abrupt opening presented a perspective of only barren rocks, with a cataract flashing from their summit among broken cliffs, till its waters, reaching the bottom, foamed along with louder fury; and sometimes pastoral scenes exhibited their ‘green delights’ in the narrow vales, smiling amid surrounding horror. There herds and flocks of goats and sheep browsing under the shade of hanging woods, and the shepherd's little cabin reared on the margin of a clear stream, presented a sweet picture of repose. | Wild and romantic as were these scenes, their character had far less of the sublime than had those of the Alps which guard the entrance of Italy. Emily was often elevated, but seldom felt those emotions of indescribable awe which she had so continually experienced in her passage over the Alps.

[15] Radcliffe, Udolpho II (1794), 11: She blamed herself for suffering her romantic imagination to carry her so far beyond the bounds of probability, and determined to endeavour to check its rapid flights lest they should sometimes extend into madness.

[16] Sandby, Collect. II/2 (1782), 25: CASTLE-MENZIES, the seat of Sir Robert Menzies, is situated romantically at the foot of the northern side of Strathe-Tay. The woods that rise boldly above, and the grey rocks that peep between, are no small embellishment to the vale. Far up the hill are the remains of a hermitage, formed by two sides of native rock, and two of wall, some centuries past the retreat of the chief of the family, who, disgusted with the world, retired here, and resigned his fortune to a younger brother. [...] A neat walk conducted us along the sides of a deep and well-wooded glen, enriched with a profusion and variety of cascades, that struck us with astonishment. The first, which lies on the left, runs down a rude stair-case, with numbers of landing-places, and patters down the steps with great beauty. Advancing along the bottom, on the right, we perceived a deep and darksome chasm, water-worn for ages; the end filled with a great cataract, consisting of several breaks. The rocks more properly arch than impend over it, and trees imbrown and shade the whole. [...]

⟨Abb. 2/24⟩


P. Sandby R. A. pinx.t                                                  F. Chesham sculp.t

View of Strath Tay S.r Robert Menzies seat.

[17] Sandby, Collect. I (1783), 2: When Richard I. went upon his romantic expedition to the Holy-Land, he put the government of the kingdom into the hands of the Bishops of Durham and Ely[.]

[18] Sandby, Collect. I (1783), 57: About a mile west of Bristol is St. Vincent's or the Hot Well, which is on the north side of the river Avon, and affords a romantic and beautiful prospect. [...] It is close to the north side of the river Avon, which is carried, as it were, in a deep trough, about two miles from the hot well towards the King's road. The rocks on the side of this channel are rough, craggy, and romantic. Many of them are very high, and naturally formed into grotesque figures. In some places the cliffs hang over the river in an astonishing manner; and as many of them are covered with little shrubs, tufts of grass, and short trees, they appear like little hanging woods, and afford a prospect scarce equalled by any in the kingdom. [...]

⟨Abb. 58⟩


P. Sandby R. A. pinx.t                                                  Fr. Chesham sculp.t

The Hot Wells at Bristol from a Meadow, near Rownham Passage.

[...]

⟨Abb. 59⟩


P. Sandby R. A. Pinx.t                                      W. Walker & W. Angus Sculp.t

View of the ROCK HOUSE at BRISTOL WELLS taken from the Foot of S.t Vincent’s Rock.

[19] Scott, Waverley I (1814), 38 f. (39): In English literature he was master of Shakspeare and Milton, ⟨39⟩ of our earlier dramatic authors, of many picturesque and interesting passages from our old historical chronicles, and particularly of Spenser, Drayton, and other poets who have exercised themselves on romantic fiction, of all themes the most fascinating to a youthful imagination, before the passions have roused themselves, and demand poetry of a more sentimental description. In this respect his acquaintance with Italian opened him yet a wider range. He had perused the numerous romantic poems, which, from the days of Pulci, have been a favourite exercise of the wits of Italy; and had sought gratification in the numerous collections of novelle, which were brought forth by the genius of that elegant though luxurious nation, in emulation of the Decameron. In classical[6] literature, Waverley had made the usual progress, and read the usual authors; and the French had afforded him an almost exhaustless collection of memoirs, scarcely more faithful than romances, and ⟨40⟩ of romances so well written as hardly to be distinguished from memoirs.

[20] Scott, Waverley I (1814), 337: At a short turning, the path, which had for some furlongs lost sight of the brook, suddenly placed Waverley in front of a romantic water-fall.

[21] Scott, Waverley I (1814), 340 f. (341): “I have given you the trouble of walking to this spot, Captain Waverley, both because I thought the scenery would interest you, and because a Highland song would suffer still more from my imperfect translation, were I to produce it without its own wild and appropriate accompaniments. To speak in the poetical language of my country, the seat of the Celtic Muse is in the mist of the secret and solitary hill, and her voice in the murmur of the mountain stream. He who woos her must love the barren rock more than the fertile ⟨341⟩ valley, and the solitude of the desert better than the festivity of the hall.” | Few could have heard this lovely woman make this declaration, with a voice where harmony was exalted by pathos, without exclaiming that the muse whom she invoked could never find a more appropriate representative. But Waverley, though the thought rushed on his mind, found no courage to utter it. Indeed, the wild feeling of romantic[2/4] delight with which he heard, the first few notes she drew from her instrument, amounted almost to a sense of pain.

[22] Scott, Antiquary (1816), 155 f. (156): They stood pretty high upon the side of the glen, which had suddenly opened into a sort of amphitheatre to give room for a pure and profound lake of a few acres extent, and a space of level ground around it. The banks then arose everywhere steeply, and in some places were varied by rocks – in others covered with the copse, which run up, feathering their sides lightly and irregularly, and breaking the uniformity of the ⟨156⟩ green pasture-ground. – Beneath, the lake discharged itself into the huddling and tumultuous brook, which had been their companion since they had entered the glen. At the point at which it issued from ‘its parent lake,’ stood the ruins which they had come to visit. They were not of great extent; but the singular beauty, as well as the wild and sequestered character of the spot on which they were situated, gave them an interest and importance superior to that which attaches itself to architectural remains of greater consequence, but placed near to ordinary houses, and possessing less romantic accompaniments.

[23] Scott, Old Mort. (1816), 127: The view downwards is of a grand woodland character; but the level ground and gentle slopes near the river form cultivated fields of an irregular shape, interspersed with hedgerow-trees and copses, the enclosures seeming to have been individually cleared out of the forest which surrounds them, and which occupies, in unbroken masses, the steeper declivities and more distant banks. The stream, in colour a clear and sparkling brown, like the hue of the Cairngorm pebbles, rushes through this romantic region in bold sweeps and curves, partly visible and partly concealed by the trees which clothe its banks.

[24] Scott, Midloth. (1818), 9: Helen Walker died about the end of the year 1791, and her remains are interred in the churchyard of her native parish of Iron-gray, in a romantic cemetery on the banks of the Cairn.

[25] Scott, Bride (1819), 59: She had never happened to see a young man of mien and features so romantic and so striking as young Ravenswood [...].

[26] Scott, Kenilworth (1821), 378: The Queen [...] had probably listened with more than usual favour to that mixture of romantic gallantry with which she always loved to be addressed; and the Earl had, in vanity, in ambition, or in both, thrown in more and more of that delicious ingredient, until his importunity became the language of love itself.

[27] P. B. Shelley, Adonais (1821), 430 f. (431): John Keats died at Rome of a consumption, in his twenty-fourth year, [...] ⟨431⟩ [...] and was buried in the romantic and lonely cemetery of the Protestants in that city, under the pyramid which is the tomb of Cestius, and the massy walls and towers, now mouldering and desolate, which formed the circuit of ancient Rome. The cemetery is an open space among the ruins, covered in winter with violets and daisies. It might make one in love with death, to think that one should be buried in so sweet a place.

[28] Smollett, H. Clinker (1771), 178: Scarborough, though a paltry town, is romantic from its situation along a cliff that over-hangs the sea.

[29] Walpole, Otranto (21765), 7 f. (8): The author of the following pages [...] wished to conduct the mortal agents in his drama according ⟨8⟩ to the rules of probability; in short, to make them think, speak and act, as it might be supposed mere men and women would do in extraordinary positions. He had observed, that in all inspired writings, the personages under the dispensation of miracles, and witnesses to the most stupendous phenomena, never lose sight of their human character: whereas in the productions of romantic story, an improbable event never fails to be attended by an absurd dialogue.

[30] Beckford, Vathek (1786; 31816), 79: This singular lake, those flames reflected from its glassy surface, the pale hues of its banks, the romantic[2/4] cabins, the bullrushes, that sadly waved their drooping heads; the storks, whose melancholy cries blended with the shrill voices of the dwarfs, every thing conspired to persuade her, that the angel of death had opened the portal of some other world..

[31] Boswell, Johnson (1791), 28: There is a circumstance in his life somewhat romantick[2/3], but so well authenticated, that I shall not omit it. A young woman of Leek, in Staffordshire, while he served his apprenticeship there, conceived a violent passion for him; and though it met with no favourable return, followed him to Lichfield, where she took lodgings opposite to the house in which he lived, and indulged her hopeless flame. When he was informed that it so preyed upon her mind that her life was in danger, he with a generous humanity went to her and offered to marry her, but it was then too late: her vital power was exhausted; and she actually exhibited one of the very rare instances of dying for love..

[32] Boswell, Johnson (1791), 63: The Portuguese traveller, contrary to the general vein of his countrymen, has amused his reader with no romantick absurdity, or incredible fictions; whatever he relates, whether true or not, is at least probable; and he who tells nothing exceeding the bounds of probability, has a right to demand that they should believe him who cannot contradict him..

[33] Boswell, Johnson (1791), 120: [U]nder the title of ‘The Life of Savage,’ they will publish only a novel, filled with romantick adventures, and imaginary amours..

[34] Boswell, Johnson (1791), 327: He took delight in hearing my description of the romantick[6/2] seat of my ancestors. “I must be there, Sir, (said he) and we will live in the old castle; and if there is not a room in it remaining, we will build one.”.

[35] Boswell, Johnson (1791), 859: I reminded him, that the Laird of Auchinleck had an elegant house, in front of which he could ride ten miles forward upon his own territories, upon which he had upwards of six hundred people attached to him; that the family seat was rich in natural romantick beauties of rock, wood, and water [...]..

[36] Boswell, Johnson (1791), 865: Dr. Johnson obligingly proposed to carry me to see Islam [= Ilam, Staffordshire Peak District Park], a romantick scene, now belonging to a family of the name of Port, but formerly the seat of the Congreves. I suppose it is well described in some of the Tours. Johnson described it distinctly and vividly, at which I could not but express to him my wonder; because, though my eyes, as he observed, were better than his, I could not by any means equal him in representing visible objects. I said, the difference between us in this respect was as that between a man who has a bad instrument, but plays well on it, and a man who has a good instrument, on which he can play very imperfectly..

[37] Boswell, Johnson (1791), 980: Dr. Robertson expatiated on the character of a certain nobleman; [...] that he was one of the strongest-minded men that ever lived; that he would sit in company quite sluggish, while there was nothing to call forth his intellectual vigour; but the moment that any important subject was started, for instance, how this country is to be defended against a French invasion, he would rouse himself, and shew his extraordinary talents with the most powerful ability and animation. Johnson. “[...] The true strong and sound mind is the mind that can embrace equally great things and small. Now I am told the King of Prussia will say to a servant, ‘Bring me a bottle of such a wine, which came in such a year; it lies in such a corner of the cellars.’ I would have a man great in great things, and elegant in little things.” He said to me afterwards, when we were by ourselves, “Robertson was in a mighty romantick humour, [...] ⟨981⟩ [...] but I downed him with the King of Prussia.”.

[38] Burns, Poems (1786), 1, 107: Thro' many a wild, romantic grove, | Near many a hermit-fancy'd cove, | (Fit haunts for Friendship or for Love, | In musing mood) | An aged Judge, I saw him rove, | Dispensing good..

[39] Burns, Poems (1786), 1, 163: Certain little, romantic, rocky, green hills, in the neighbourhood of the ancient seat of the Earls of Cassilis..

[40] Byron, Childe Harold I–II (1812), 44: O'er vales that teem with fruits, romantic hills, | [...] Whereon to gaze the eye with joyaunce fills, | Childe Harold wends through many a pleasant place..

[41] Byron, Childe Harold I–II (1812), 46: Oh, lovely Spain! renowned, romantic Land! | Where is that standard which Pelagio bore, | When Cava's traitor-sire first called the band | That dyed thy mountain streams with Gothic gore? ➢ vgl. [43, 197].

[42] Byron, Mar. Fal. (1821), 378: Love – romantic Love – which in my youth | I knew to be illusion, and ne'er saw | Lasting, but often fatal, it had been | No lure for me, in my most passionate days [...]..

[43] Byron, Bronze (1823), 558: [R]enowned, romantic Spain | Holds back the invader from her soil again. ➢ vgl. [41, 197].

[44] Byron, Don Juan VI–XIV (1823), 284: Some rumour also of some strange adventures | Had gone before him, and his wars and loves; | And as romantic heads are pretty painters, | [...] He found himself extremely in the fashion [...]..

[45] Byron, Don Juan VI–XIV (1823), 328: The little Leila, with her orient eyes | And taciturn Asiatic disposition, | [...] Her charming figure and romantic history | Became a kind of fashionable mystery..

[46] Byron, Don Juan VI–XIV (1823), 347: But coming young from lands and scenes romantic, | Where lives not law-suits must be risked for Passion, | And Passion's self must have a spice of frantic, | Into a country where 'tis half a fashion, | Seemed to him half commercial, half pedantic, | Howe'er he might esteem this moral nation; | Besides (alas! his taste – forgive and pity!) | At first he did not think the women pretty..

[47] Coleridge, Rev. Hort (1796), 356: Far from folly, far from men, | In the rude romantic glen, | ⟨357⟩ Up the cliff, and thro' the glade, | Wandering with the dear-lov'd maid, | I shall listen to the lay, | And ponder on thee far away[.].

[48] Coleridge, Yg. Frd. (1797), 193: [H]aply there uprears | That shadowing pine its old romantic limbs, | Which latest shall detain the enamoured sight | Seen from below, when eve the valley dims[.] .

[49] Coleridge, Lin. Elb. (1799), 147: The dingy kidling with its tinkling bell | Leaped frolicsome, or old romantic goat | Sat, his white beard slow waving..

[50] Coleridge, Biogr. Lit. II (1817), 6: [M]y endeavours should be directed to persons and characters supernatural, or at least romantic[.] .

[51] Coleridge, Biogr. Lit. II (1817), 174: It was a fairy scene! and to encrease its romantic character, among the moving objects [...] was a beautiful child, dressed with the elegant simplicity of an English child, riding on a stately goat, the saddle, bridle, and other accoutrements of which were in a high degree costly and splendid..

[52] Coleridge, Biogr. Lit. II (1817), 184: [T]ill we can prove that Kotzebue, or any of the whole breed of Kotzebues, whether dramatists, or romantic[1] writers, or writers of romantic[2] dramas, were ever admitted to any other shelf in the libraries of well-educated Germans than were occupied by their originals and apes' apes in their ⟨185⟩ mother country, we should submit to carry our own brat on our own shoulders[.].

[53] Cooper, Pioneers (1823), 13: Near the centre of the State of New-York lies an extensive district of country, whose surface is a succession of hills and dales [...]. It is among these hills that the Delaware takes its rise; and flowing from the limpid lakes and thousand springs of this region, the numerous sources of the Susquehanna meander through the valleys, until, uniting their streams, they form one of the proudest rivers of the United States. The mountains are generally arable to the tops, although instances are not wanting, where the sides are jutted with rocks, that aid greatly in giving to the country that romantic and picturesque character which it so eminently possesses. The vales are narrow, rich, and cultivated; with a stream uniformly winding through each..

[54] Cooper, Pioneers (1823), 230: The wood-chopper was left alone, in the bosom of the forest, to pursue his labours. Elizabeth turned her head, when they reached the point where they were to descend the mountain, and thought that the slow fires, that were glimmering under his enormous kettles, his little brush shelter, covered with pieces of hemlock bark, his gigantic size, as he wielded his ladle with a steady and knowing air, aided by the back-ground of stately trees, with their spouts and troughs, formed, altogether, no unreal picture of human life in its first stages of civilization. Perhaps whatever the scene possessed of a romantic character was not injured by the powerful tones of Kirby's voice, ringing through the woods, as he again awoke his strains to another ⟨231⟩ tune, which was but little more scientific than the former..

[55] Cooper, Last Mohic. (1826), 528: The strong glare of the fire fell full upon his sturdy, weather-beaten countenance and forest attire, lending an air of romantic wildness to the aspect of an individual, who, seen by the sober light of day, would have exhibited the peculiarities of a man remarkable for the strangeness of his dress, the iron-like inflexibility of his frame, and the singular compound of quick, vigilant sagacity, and of exquisite simplicity, that by turns usurped the possession of his muscular features..

[56] Cooper, Pathfinder (1840), 249 f. (250): There was so much of the wild and solitary character of the wilderness about Ontario, that one scarcely expected to meet with a vessel on its waters. The Scud herself, to those who were in her, resembled a man threading the forest alone, and the meeting was like that of two solitary hunters beneath the ⟨250⟩ broad canopy of leaves, that then covered so many millions of acres, on the continent of America. The peculiar state of the weather served to increase the romantic, almost supernatural appearance of the passage. Cap alone regarded it with practised eyes, and even he felt his iron nerves thrill under the sensations that were awakened by the wild features of the scene..

[57] Cooper, Deerslayer (1841), 1006: [I]t is certainly more agreeable to be here in attendance on Miss Judith Hutter, than to be burying Indians, on a point of the lake, however romantic the position, or brilliant the victory..

[58] de Quincey, Klosterh. (1832), 110: The intercourse of the Sister Madeline with the Lady Abbess was free and unreserved. At all hours they entered each other's rooms with the familiarity of sisters; and it might have been thought that in every respect they stood upon the equal footing of near relatives, except that occasionally in the manners of the Abbess was traced or imagined a secret air of deference towards the desolate Sister Madeline, which, as it was not countenanced at all by their present relations to each other, left people at liberty to build upon it a large superstructure of romantic conjectures..

[59] de Quincey, Klosterh. (1832), 154: For the rest, as regarded the mysterious movements of The Masque, these were easily explained. Fear, and the exaggerations of fear, had done one half the work to his hands – by preparing people to fall easy dupes to the plans laid, and by increasing the romantic wonders of his achievements..

[60] Dickens, Pickw. Pap. I (1837), 199: Slumber soon fell upon the senses of Mr. Winkle, but his feelings had been excited, and his admiration roused; and for many hours after sleep had rendered him insensible to earthly objects, the face and figure of the agreeable Mrs. Pott presented themselves again and again to his wandering imagination. | The noise and bustle which ushered in the morning, were sufficient to dispel from the mind of the most romantic visionary in existence, any associations but those which were immediately connected with the rapidly-approaching election..

[61] Dickens, Pickw. Pap. I (1837), 354: Mr. Pickwick Journeys to Ipswich, and Meets with a Romantic Adventure with a Middle-Aged Lady[.].

[62] Dickens, Pickw. Pap. II (1837), 214: Mr. Smangle proceeded to entertain his hearers with a relation of divers romantic adventures in which he had been from time to time engaged, involving various interesting anecdotes of a thorough-bred horse, and a magnificent Jewess, both of surpassing beauty, and much coveted by the nobility and gentry of these kingdoms..

[63] Dickens, Pickw. Pap. II (1837), 230: Can't step far – no danger of over-walking yourself here – Spike park – grounds pretty – romantic, but not extensive – open for public inspection – family always in town – housekeeper desperately careful – very..

[64] Dickens, Pickw. Pap. II (1837), 336 f. (337): I am particular in describing how my uncle walked up the middle of the street, with his thumbs in his waistcoat pockets, gentlemen, because [...] there is nothing at all extraordinary in this ⟨337⟩ story, unless you distinctly understand at the beginning that he was not by any means of a marvellous or romantic turn..

[65] Dickens, N. Nickleby (1839), 231 f. (232): J. S. is misinformed when he supposes that the highly-gifted and beautiful Miss Snevellicci, nightly captivating all hearts at our pretty and commodious little theatre, is not the same lady to whom the young gentleman of immense fortune, residing within a hundred miles of the good city of York, lately made honorable proposals. We have reason to know that Miss Snevellicci is the lady who was implicated in that ⟨232⟩ mysterious and romantic affair, and whose conduct on that occasion did no less honor to her head and heart, than do her histrionic triumphs to her brilliant genius..

[66] Dickens, B. Rudge II (1841), 409: He had one other constant attendant, in the person of a beautiful Jewish girl; who attached herself to him from feelings half religious, half romantic [...]. .

[67] Godwin, Clb. Will. (1794), 289: I fixed upon an obscure market-town in Wales as the chosen seat of my operations. [...] It was clean, chearful and of great simplicity of appearance. It was at a distance from any public and frequented road, and had nothing which could deserve the name of trade. The face of nature around it was agreeably diversified, being partly wild and romantic, and partly rich and abundant in production..

[68] Goldsmith, Citicen (1762), 250: The luxuriant air of the country, the romantic situation of her palace, and the genius of a people whose only happiness lies in sensual refinement, all contributed to banish the remembrance of her native country..

[69] Hawthorne, R. Malv. Bur. (1832), 354: The face of the country, for the last few miles, had been diversified by swells of land, resembling huge waves of a petrified sea; and in one of the corresponding hollows, a wild and romantic spot, had the family reared their hut, and kindled their fire..

[70] Hawthorne, Amb. Guest (1835), 327: In the household of the Notch, he found warmth and simplicity of feeling, the pervading intelligence of New-England, and a poetry, of native growth, which they had gathered, when they little thought of it, from the mountain-peaks and chasms, and at the very threshold of their romantic and dangerous abode. ➢ vgl. [10].

[71] Hawthorne, Old News (1835), 147 f. (148): At the commencement of the campaign of 1759, the British general informs the farmers of New-England that a regular market will be established at Lake George, [...] far away from any permanent settlements, among the hills which border that romantic lake, with the solemn woods overshadowing the scene..

[72] Hawthorne, Sketches (1835), 423: This is the Notch of the White Hills. [...] We had now reached a narrow passage, which showed almost the appearance of having been cut by human strength and artifice in the solid rock. There was a wall of granite on each side, high and precipitous, especially on our right, and so smooth that a few evergreens could hardly find foothold enough to grow there. This is the entrance, or, in the direction we were going, the extremity of the romantic defile of the Notch. ➢ vgl. [10].

[73] Irving, Hist. New York (1809), 102: While the voyagers were looking around them on what they conceived to be a serene and sunny lake, they beheld at a distance a crew of painted savages, busily employed in fishing, who seemed more like the genii of this romantic region – their slender canoe lightly balanced like a feather on the undulating surface of the bay..

[74] Irving, Hist. New York (1809), 104: Now would they be caught by the wanton eddies, and, sweeping round a jutting point, would wind deep into some romantic little cove that indented the fair island of Manna-hata [...]..

[75] Irving, Hist. New York (1809), 159: This is a grievance which I have more than once had to lament in the course of my wearisome researches among the works of my fellow historians, who have strangely disguised and distorted the facts respecting this country; and particularly respecting the great province of New Netherlands, as will be perceived by any who will take the trouble to compare their romantic effusions [...] with this authentic history..

[76] Irving, Hist. New York (1809), 262: But all these fair and glorious scenes were lost upon the gallant Stuyvesant; naught occupied his mind but thoughts of iron war and proud anticipations of hardy deeds of arms. Neither did his honest crew trouble their vacant heads with any romantic speculations of the kind..

[77] Irving, Ind. Char. (1814), 233: The few hordes which still linger about the shores of Huron and Superior, and the tributary streams of the Mississippi, will share the fate of those tribes that once spread over Massachusetts and Connecticut, and lorded it along the proud banks of the Hudson; of that gigantic race said to have existed on the borders of the Susquehanna; and of those various nations that flourished about the Patowmac and the Rappahanoc, and that peopled the forests of the vast valley of Shenandoah. They will vanish like a vapour from the face of the earth; their very history will be lost in forgetfulness; and “the places that now know them will know them no more for ever.” Or if, perchance, some dubious memorial of them should survive, it may be in the romantic dreams of the poet, to people in imagination his glades and groves, like the fauns and satyrs and sylvan deities of antiquity..

[78] Irving, Sketch Book (1819–20), 74: Whether this is a mere poetic fiction, or whether the Lady Jane did actually send him a token of her favour in this romantic way, remains ⟨75⟩ to be determined according to the faith or fancy of the reader..

[79] Irving, Sketch Book (1819–20), 75: Such is the poetical account given by James of his love adventures in Windsor Castle. How much of it is absolute fact, and how much the embellishment of fancy, it is fruitless to conjecture: let us not, however, reject every romantic incident as incompatible with real life; but let us sometimes take a poet at his word..

[80] Irving, Sketch Book (1819–20), 76 f.: It was the recollection of this romantic[2/3] tale of former times, and of the golden little poem which had its birth place in this tower, that made me visit the old pile with more than common interest. The ⟨77⟩ suit of armour hanging up in the hall, richly gilt and embellished as if to figure in the tournay, brought the image of the gallant and romantic[2/3] prince vividly before my imagination..

[81] Irving, Sketch Book (1819–20), 78: I have visited Vaucluse with as much enthusiasm as a pilgrim would visit the shrine at Loretto; but I have never felt more poetical devotion than when contemplating the old tower and the little garden at Windsor, and musing over the romantic[2/3] loves of the Lady Jane and the Royal Poet of Scotland..

[82] Irving, Sketch Book (1819–20), 126: The drawbridge had been let down, and the stranger was before the gate. He was a tall gallant cavalier, mounted on a black steed. His countenance was pale, but he had a beaming, romantic eye, and an air of stately melancholy..

[83] Irving, Sketch Book (1819–20), 127 f. (128): Her colour came and went as she listened with deep attention. Now and then she made some blushing reply, and when his eye was turned ⟨128⟩ away, she would steal a side long glance at his romantic countenance, and heave a gentle sigh of tender happiness..

[84] Irving, Sketch Book (1819–20), 137: It was the tomb of a crusader; of one of those military enthusiasts, who so strangely mingled religion and romance, and whose exploits form the connecting link between fact and fiction; between the history and the fairy tale. There is something extremely picturesque in the tombs of these adventurers, decorated as they are with rude armorial bearings and gothic sculpture. They comport with the antiquated chapels in which they are generally found; and in considering them, the imagination is apt to kindle with the legendary associations, the romantic fictions, the chivalrous pomp and pageantry which poetry has spread over the wars for the Sepulchre of Christ..

[85] Irving, Sketch Book (1819–20), 218 (1): There is something about these stately old avenues that has the effect of gothic architecture, not merely from the pretended similarity of form, but from their bearing the evidence of long duration, and of having had their origin in a period of time with which we associate ideas of romantic[2/3/6] grandeur..

[86] Irving, Sketch Book (1819–20), 218 (2): It was from wandering in early life among this rich scenery, and about the romantic solitudes of the adjoining park of Fulbroke [...], that some of Shakespeare's commentators have supposed he derived his noble forest meditations of Jaques, and the enchanting woodland pictures in “As you like it.” It is in lonely wanderings through such scenes, that the mind drinks deep but quiet draughts of inspiration, and becomes intensely sensible of the beauty and majesty of nature. The imagination kindles into reverie and rapture; vague but exquisite images and ideas keep breaking upon it; and we revel in a mute and almost incommunicable luxury of thought..

[87] Irving, Sketch Book (1819–20), 264: It was one of those wild streams that lavish, among our romantic solitudes, unheeded beauties, enough to fill the sketch book of a hunter of the picturesque..

[88] Irving, Sketch Book (1819–20), 284: But it is meet I should, in the true spirit of romantic story, give some account of the looks and equipments of my hero and his steed. The animal he bestrode was a broken down plough horse, that had outlived almost every thing but his viciousness..

[89] Keats, G. Felt. Math. (*1815; 1817), 42: But might I now each passing moment give | To the coy muse, with me she would not live | In this dark city, nor would condescend | 'Mid contradictions her delights to lend. | Should e'er the fine-eyed maid to me be kind, | Ah! surely it must be whene'er I find | Some flowery spot, sequester'd, wild, romantic, | That often must have seen a poet frantic; | Where oaks, that erst the Druid knew, are growing, | And flowers, the glory of one day, are blowing; | Where the dark-leav'd laburnum's drooping clusters | Reflect athwart the stream their yellow lustres, | And intertwined the cassia's arms unite, | With its own drooping buds, but very white; | Where on one side are covert branches hung, | 'Mong which the nightingales have always sung | In leafy quiet: where to pry, aloof, | Atween the pillars of the sylvan roof, | Would be to find where violet beds were nestling, | ⟨43⟩ And where the bee with cowslip bells was wrestling. | There must be too a ruin dark, and gloomy, | To say “joy not too much in all that's bloomy.”.

[90] Lewis, Monk (1796), 220: Ah me! how oft will fancy's spells, in slumber, | Recall my native country to my mind! | How oft regret will bid me sadly number | Each lost delight, and dear friend left behind! || Wild Murcia's vales and loved romantic bowers, | The river on whose banks a child I played, | My castle's antient halls, its frowning towers, | Each much-regretted wood, and well-known glade [..]..

[91] Longfellow, Hyperion (1839), 18: He is threading his way along through a narrow alley, and now up a flight of stone steps, and along the city wall, towards that old round tower built by the Archbishop Frederick of Cologne, in the twelfth century. It has a romantic[1/2/3] interest in his eyes; for he has still in his mind and heart that beautiful sketch of Carové, in which is described a day on the tower of Andernach. [⦿].

[92] Longfellow, Hyperion (1839), 33: Lisbeth led the way through the little village, and, turning to the right, pointed up the romantic, lonely valley which leads to the Liebenstein [...]..

[93] Longfellow, Hyperion (1839), 113: A mill forms as characteristic a feature in the romantic[2] German landscape as in the romantic[7] German tale. It is not only a mill, but likewise ⟨114⟩ an alehouse and rural inn; so that the associations it suggests are not of labor only, but also of pleasure. It stands in the narrow defile, with its picturesque thatched roof; thither throng the peasants, of a holiday; and there are rustic dances under the trees..

[94] Longfellow, Hyperion (1839), 129 f. (130): After a few hours' drive, they were looking down ⟨130⟩ from the summit of a hill directly upon the housetops of Ems. There it lay, deep sunk in the hollow beneath them [...]. High and peaked rise the hills that throw their shadows into this romantic valley, and at their base winds the river Lahn..

[95] Longfellow, Hyperion (1839), 136: Just as the sun set, two female figures walked along the romantic woodland pathway leading to the Angel's Meadow, a little green opening on the brow of one of the high hills which see themselves in the Neckar and hear the solemn bells of Kloster-Neuburg. The evening shadows were falling broad and long, and the cuckoo began to sing..

[96] Longfellow, Hyperion (1839), 153: Thus he pursued his way down the Hasli Thal into the Bernese Oberland [...]. | His heart dilated in the dilating valley, that grew broader and greener at every step. The sight of human faces and human dwellings soothed him; and through the fields of summer grain, in the broad meadows of Imgrund, he walked with a heart that ached no more, but trembled only, as our eyelids when we have done weeping. As he climbed the opposite hill, which hems in this romantic valley, and, like a heavy yoke, chafes the neck of the Aar, he believed the ancient tradition, which says that once the valley was a lake. From the summit of the hill he looked southward upon a beautiful landscape of gardens, and fields of grain, and woodlands, and meadows, and the ancient castle of Resti, looking down upon Meyringen. ⟨154⟩ And now all around him were the singing of birds, and grateful shadows of the leafy trees, and sheeted waterfalls dropping from the woodland cliffs, seen only, but unheard, – the fluted columns breaking into mist, and fretted with frequent spires and ornaments of foam, and not unlike the towers of a Gothic church inverted..

[97] Longfellow, Hyperion (1839), 155: Interlachen! How peacefully, by the margin of the swift-rushing Aar, thou liest on the broad lap of those romantic meadows, all overshadowed by the wide arms of giant trees!.

[98] Longfellow, Hyperion (1839), 193: I do not mean to describe the valley of Lauterbrunnen, nor the bright day passed there. I know that my gentle reader is blessed with the divine gift of a poetic fancy; and can see already how the mountains rise, and the torrents fall, and the beautiful valley lies between; and how, along the dusty road, the herdsman blows his horn, and travellers come and go in charabancs [...]. He knows already how romantic[3] ladies sketch romantic[2] scenes; and how cold meat tastes under the shadow of trees; and how time flies, when we are in love, and the beloved one near..

[99] Macpherson, Comala (1762 [1761]), 23: Her passion was so violent, that she followed him, disguised like a youth who wanted to be employed in his wars. She was soon discovered [...]. Her romantic passion and beauty recommended her so much to the king, that he had resolved to make her his wife [...]. .

[100] Radcliffe, Udolpho I (1794), 3: He was sometimes accompanied in these little excursions by Madame St. Aubert, and frequently by his daughter; when, with a small osier basket to receive plants, and another filled with cold refreshments, such as the cabin of the shepherd did not afford, they wandered away among the most romantic and magnificent scenes, nor suffered the charms of Nature's lowly children to abstract them from the observance of her stupendous works..

[101] Radcliffe, Udolpho I (1794), 8: Madame St. Aubert [...], as she sauntered along the wood-walks of this romantic glen, [...] she often looked at them alternately with a degree of tenderness that filled her eyes with tears..

[102] Radcliffe, Udolpho I (1794), 15: “The evening gloom of woods was always delightful to me,” said St. Aubert [...]. “I remember that in my youth this gloom used to call forth to my fancy a thousand fairy visions and romantic images; and I own I am not yet wholly insensible of that high enthusiasm which wakes the poet's dream: I can linger with solemn steps under the deep shades, send forward a transforming eye into the distant obscurity, and listen with thrilling delight to the mystic murmuring of the woods.” .

[103] Radcliffe, Udolpho I (1794), 27: St. Aubert, instead of taking the more direct road that ran along the feet of the Pyrenees to Languedoc, chose one that, winding over the heights, afforded more extensive views and greater variety of romantic scenery..

[104] Radcliffe, Udolpho I (1794), 30: Leaving the splendour of extensive prospects, they now entered this narrow valley, screened by | Rocks on rocks piled, as if by magic spell; | Here scorch'd by lightnings, there with ivy green. | The scene of barrenness was here and there interrupted by the spreading branches of the larch and cedar, which threw their gloom over the cliff, or athwart the torrent that rolled in the vale. No living creature appeared – except the izard scrambling among the rocks, and often hanging upon points so dangerous that fancy shrunk from the view of them. This was such a scene as Salvator would have chosen, had he then existed, for his canvas. St. Aubert, impressed by the romantic character of the place, almost expected to see banditti start from behind some projecting rock, and he kept his hand upon the arms with which he always travelled..

[105] Radcliffe, Udolpho I (1794), 40 (1): I took this road, because I knew it led through a more romantic tract of mountains than the spot I have left..

[106] Radcliffe, Udolpho I (1794), 40 (2): The way winding still nearer, they perceived in the valley one of those numerous bands of gipsies, which at that period particularly haunted the wilds of the Pyrenees, and lived partly by plundering the traveller. Emily looked with some degree of terror on the savage countenances of these people shown by the fire, which heightened the romantic[2/4] effect of the scenery, as it threw a red dusky gleam upon the rocks and on the foliage of the trees, leaving heavy masses of shade and regions of obscurity which the eye feared to penetrate..

[107] Radcliffe, Udolpho I (1794), 42: St. Aubert invited him to accompany him for a few days in the carriage. This he the more readily did, since he had discovered that Valancourt was of a family of the same name in Gascony, with whose respectability he was well acquainted. The latter accepted the offer with great pleasure, and they again set forward among these romantic wilds towards Roussillon..

[108] Radcliffe, Udolpho I (1794), 49: The scenes through which they now passed were as wild and romantic as any they had yet observed; with this difference, that beauty, every now and then, softened the landscape into smiles. | Little woody recesses appeared among the mountains, covered with bright verdure and flowers; or a pastoral valley opened its grassy bosom in the shade of the cliffs, with flocks and herds loitering along the banks of a rivulet that refreshed it with perpetual green. | St. Aubert could not repent the having taken this fatiguing road, though he was this day, also, frequently obliged to alight, to walk along the rugged precipice, and to climb the steep and flinty mountain. The wonderful sublimity and variety of the prospects repaid him for all this; and the enthusiasm with which they were viewed by his young companions, heightened his own, and awakened a remembrance of all the delightful emotions ⟨50⟩ of his early days, when the sublime charms of nature were first unveiled to him..

[109] Radcliffe, Udolpho I (1794), 54: On every side appeared the majestic summits of the Pyrenees; some exhibiting tremendous crags of marble, whose appearance was changing every instant as the varying lights fell upon their surface; others, still higher, displaying only snowy points, while their lower steeps were covered almost invariably with forests of pine, larch, and oak, that stretched down to the vale, This was one of the narrow valleys that open from the Pyrenees into the country of Roussillon, and whose green pastures and cultivated beauty form a decided and wonderful contrast to the romantic grandeur that environs it..

[110] Radcliffe, Udolpho I (1794), 58: They travelled on, among vineyards, woods, and pastures, delighted with the romantic beauty of the landscape, which was bounded on one side by the grandeur of the Pyrenees, and on the other by the ocean; and soon after noon they reached the town of Collioure, situated on the Mediterranean..

[111] Radcliffe, Udolpho I (1794), 61: They reached the romantic town of Leucate early in the day; but St. Aubert was weary, and they determined to pass the night there. In the evening he exerted himself so far as to walk with his daughter to view the environs, that overlook the lake of Leucate, the Mediterranean, part of Roussillon, with the Pyrenees, and a wide extent of the luxuriant province of Languedoc, now blushing with the ripened vintage which the peasants were beginning to gather..

[112] Radcliffe, Udolpho I (1794), 108: As he leaned on the wall of the terrace, watching the rapid current of the Garonne, “I was a few weeks ago,” said he, “at the source of this noble river; I had not then the happiness of knowing you, or I should have regretted your absence – it was a scene so exactly suited to your taste. It rises in a part of the Pyrenees still wilder and more sublime, I think, than any we passed in the way to Roussillon.” He then described its fall among the precipices of the mountains, where its waters, augmented by the streams that descend from the snowy summits around, rush into the Vallée d'Aran; between those romantic heights it foams along, pursuing its way to the north-west, till it emerges upon the plains of Languedoc; then, washing the walls of Toulouse, and turning again to the north- west, it assumes a milder character, as it fertilizes the pastures of Gascony and Guienne in its progress to the Bay of Biscay..

[113] Radcliffe, Udolpho I (1794), 115: I can perceive that you imagine yourself to be violently in love with this young adventurer, after an acquaintance of only a few days. There was something, too, so charmingly romantic in the manner of your meeting!.

[114] Radcliffe, Udolpho I (1794), 123: On the distant horizon to the south she discovered the wild summits of the Pyrenees, and her fancy immediately painted the green pastures of Gascony at their feet. Her heart pointed to her peaceful home [...]; and her imagination, piercing the veil of distance, brought that home to her eyes in all its interesting and romantic beauty..

[115] Radcliffe, Udolpho I (1794), 148: You, who are so fond of a romantic country and fine views, will doubtless be delighted with this journey..

[116] Radcliffe, Udolpho I (1794), 167: During several days the travellers journeyed over the plains of Languedoc; and then entering Dauphiny, and winding for some time among the mountains of that romantic province, they quitted their carriages and began to ascend the Alps. And here such scenes of sublimity opened upon them, as no colours of language must dare to paint!.

[117] Radcliffe, Udolpho I (1794), 171: The river Doria, which, rising on the summit of Mount Cenis, had dashed for many leagues over the precipices that bordered the road, now began to assume a less impetuous, though scarcely less romantic character, as it approached the green valleys of Piedmont, into which the travellers descended with the evening sun; and Emily found herself once more amid the tranquil beauty of pastoral scenery; among flocks and herds, and slopes tufted with woods of lively verdure, and with beautiful shrubs, such as she had often seen waving luxuriantly over the Alps above. The verdure of the pasturage, now varied with the hues of early flowers, among which were yellow ranunculuses and pansy violets of delicious fragrance, she had never seen excelled. – Emily almost wished to become a peasant of Piedmont, to inhabit one of the pleasant embowered cottages which she saw peeping beneath the cliffs, and to pass her careless hours among these romantic landscapes..

[118] Radcliffe, Udolpho I (1794), 172: The travellers, passing Novalesa, reached, after the evening had closed, the small and ancient town of Susa, which had formerly guarded this pass of the Alps into Piedmont. The heights which command it, had, since the invention of artillery, rendered its fortifications useless; but these romantic heights, seen by moonlight, with the town below surrounded by its walls and watch-towers, and partially illumined, exhibited an interesting picture to Emily..

[119] Radcliffe, Udolpho I (1794), 182 f. (183): And bid the freshen'd waters glide, | For fern-crown'd nymphs, of lake or brook, | ⟨183⟩ Through winding woods and pastures wide, | And many a wild, romantic nook..

[120] Radcliffe, Udolpho I (1794), 291: Emily [...] went down to walk upon the ramparts, the only walk, indeed, which was open to her, though she often wished that she might be permitted to ramble among the woods below, and still more, that she might sometimes explore the sublime scenes of the surrounding country. But as Montoni would not suffer her to pass the gates of the castle, she tried to be contented with the romantic views she beheld from the walls..

[121] Radcliffe, Udolpho II (1794), 77: So romantic and improbable, indeed, did her present situation appear to Emily herself, particularly when she compared it with the repose and beauty of her early days, that there were moments when she could almost have believed herself the victim of frightful visions glaring upon a disordered fancy..

[122] Radcliffe, Udolpho II (1794), 126: Emily having purchased a little straw hat, such as was worn by the peasant girls of Tuscany, and some other little necessary equipments for the journey, and the travellers having exchanged their tired horses for others better able to carry them, recommenced their joyous way as the sun was rising over the mountains; and after travelling through the romantic country for several hours, began to descend into the vale of Arno..

[123] Radcliffe, Udolpho II (1794), 138: It was on the evening of the seventh day that the travellers came within view of the Château-le-Blanc, the romantic beauty of whose situation strongly impressed the imagination of Blanche, who observed with sublime astonishment the Pyrenean mountains, which had been seen only at a distance during the day, now rising within a few leagues, with their wild cliffs and immense precipices, which the evening clouds, floating round them, now disclosed, and again veiled..

[124] Radcliffe, Udolpho II (1794), 143: The soft and shadowy tints that overspread the scene, the waves undulating in the moonlight, and their low and measured murmurs on the beach were circumstances that united to elevate the unaccustomed mind of Blanche to enthusiasm. | “And have I lived in this glorious world so long,” said she, “and never till now beheld such a prospect – never experienced these delights! Every peasant girl on my father's domain has viewed from her infancy the face of nature, has ranged at liberty her romantic wilds; while I have been shut in a cloister from the view of these beautiful appearances, which were designed to enchant all eyes and awaken all hearts. How can the poor nuns and friars feel the full fervour of devotion if they never see the sun rise or set? Never till this evening did I know what true devotion is; for never before did I see the sun sink below the vast earth. To-morrow, for the first time in my life, I will see it rise. Oh, who would live in Paris, to look upon black walls and dirty streets, when, in the country, they might gaze on the blue heavens and all the green earth!”.

[125] Radcliffe, Udolpho II (1794), 151: At some distance among these woods stood a pavilion, which had once been the scene of social gaiety, and which its situation still made one of romantic beauty..

[126] Radcliffe, Udolpho II (1794), 153: One window opened upon a romantic glade, where the eye roved among the woody recesses, and the scene was bounded only by a lengthened pomp of groves; from another the woods receding disclosed the distant summits of the Pyrenees; a third fronted an avenue, beyond which the grey towers of Château-le-Blanc and the picturesque part of its ruin were seen partially among the foliage; while a fourth gave, between the trees, a glimpse of the green pastures and villages that diversify the banks of the Aude..

[127] Radcliffe, Udolpho II (1794), 223: There lived in the province of Bretagne a noble baron, famous for his magnificence and courtly hospitalities. His castle was graced with ladies of exquisite beauty, and thronged with illustrious knights; for the honour he paid to feats of chivalry invited the brave of distant countries to enter his lists, and his court was more splendid than those of many princes. Eight minstrels were retained in his service, who used to sing to their harps romantic fictions taken from the Arabians, or adventures of chivalry that befell knights during the Crusades, or the martial deeds of the baron, their lord [...]. .

[128] Radcliffe, Udolpho II (1794), 267: Meanwhile Count de Villefort and Lady Blanche had passed a pleasant fortnight at the Château de Saint Foix with the baron and baroness, during which they made frequent excursions among the mountains, and were delighted with the romantic wildness of Pyrenean scenery..

[129] Radcliffe, Udolpho II (1794), 270: To the Bat || From haunt of man, from day's obtrusive glare, | Thou shroud'st thee in the ruin's ivied tower, | Or in some shadowy glen's romantic bower, | Where wizard forms their mystic charms prepare, | Where horror lurks, and ever-boding care..

[130] Radcliffe, Udolpho II (1794), 281: The count now made inquiry concerning the method of pursuing the chase among the rocks and precipices of these romantic regions, [...] when a horn was sounded at the gate..

[131] Radcliffe, Ital. (1797), 30: “Where is the principle,” said the Marchese, impatiently, »which shall teach you to disobey a father; where is the virtue which shall instruct you to degrade your family?” | “There can be no degradation, my Lord, where there is no vice,” replied Vivaldi; “and there are instances, pardon me, my Lord, there are some few instances in which it is virtuous to disobey.” | “This paradoxical morality,” said the Marchese, with passionate displeasure, “and this romantic language, sufficiently explain to me the character of your associates, and the innocence of her, whom you defend with so chivalric an air. Are you to learn, Signor, that you belong to your family, not your family to you; that you are only a guardian of its honour, and not at liberty to dispose of yourself? My patience will endure no more!”.

[132] Sandby, Collect. II/1 (1782), 8: The grandeur of the ocean, corresponding with that of the mountain, formed a majestic and solemn scene; ideas of immensity swelled and exalted our minds at the sight; all lesser objects appeared mean and trifling, so that we could hardly do justice to the ruins of and old castle, situated upon a conical hill, the foot of which is washed by the sea, and which has every feature that can give a romantic appearance. [...]

⟨Abb. 1/4⟩


P. Sandby R. A. pinx.t                                         W. Walker & W. Angus sculp.t.

[133] Sandby, Collect. II/1 (1782), 10: Behind the house is a lawn containing above eighty acres, surroundes by rising hills, woods, and walks; at the bottom of which the hills draw together, and the river runs in a narrow channel, through rocks, covered with woods, for many miles, affording many most delightful and romantic scenes. ➢ vgl. ❏.

[134] Sandby, Collect. II/2 (1782), 30: A View of the FALLS of TUMEL. | Mr. Pennant in his Tour through Scotland gives the following description of this romantic spot. | [...] On going up a steep hill, we had a fine view of the lake. – Where the mountains almost close, is Mount Alexander, where Struan once resided, and which he called his hermitage: it is a most romantic situation, prittily wooded, impending over a fine bason [...] in a deep hollow beneath. At the bottom of this hill is [...] a little fountain [...]; near this are several rude but beautiful walks amidst the rocks and trees [...]. [...]

⟨Abb. 2/27⟩


P. Sandby R. A. pinx.t                                        W. Walker & W. Angus sc.

View of Craig Toraphen, and the Lin of Tumel..

[135] Sandby, Collect. II/3 (1782), 18: BANTRY BAY, in the county of Desmond, is among the chief curiosities of the kingdom of Ireland. [...] Its winding shores have a very picturesque appearance: but what principally attracts a traveller's attention, is a large cataract of a river, which, after taking its course near the town, discharges itself into this noble bay with great force and impetuosity, descending from a precipice of considerable heighth, in several large sheets of water. These different falls, with an adjoining mill, the broken rocks that strive to intercept their passage, and the hills rising behind them, form altogether a scene very striking and romantic. [...]

⟨Abb. 3/19⟩


P. Sandby R. A. Pinx.t                                                                T. Cook Sculp.t

Cataract of the Bantry River in IRELAND..

[136] Sandby, Collect. II/3 (1782), 26: This town [sc. Eniskillen] is [...] the most rurally situated of any island town in the kingdom, and perhaps of any in the British dominions. It is also well situated for trade, by a communication of the Lake with several counties, and on the N. W. with the sea, through a river that, from Belleck to Ballyshannon, is one continued series of cascades and waterfalls, which are both beautiful and romantic..

[137] Sandby, Collect. I (1783), 51: There are [...] a great variety of most delightful walks in the fields and meadows round Shrewsbury, embellished with romantic and entertaining prospects. [...]

⟨Abb. 50⟩


P. Sandby pinx.t                                                                          W. Watts sculp.
View of Shrewsbury Castle..

[138] Sandby, Collect. I (1783), 55: Far from violating its natural beauties, Mr. Shenstone's only study was to give them their full effect; and also the form in which things now appear be indeed the consequence of much thought and labour, yet the Hand of Art is no way visible either in the shape of the ground, the disposition of the trees, or (which are here so numerous and striking) the romantic fall of cascades. [...]

⟨Abb. 57⟩


Smith pinxit.                    John Boydell excudit.                    Mason sculpsit

A View in Virgil’s Grove, at the Leasows, in the County of Salop.
The Seat of W.m Shenstone Esq.r.

[139] Sandby, Collect. I (1783), 67: In the castle are shewn the sword and other accountrements of the famous Guy, earl of Warwick, who ist thought to have lived in the time of king Athelstan, and whose exploits are related with such romantic circumstances, that the whole ist generally deemed fabulous..

[140] Sandby, Collect. I (1783), 69: Within a few miles of this Village, the river Ure falls in several places over rocks in a very romantic manner: the first is of several steps, near the bridge, and though not very steep, is beautifully picturesque. It is in a fine hallow, inclosed by hills, and shaded with trees: the bridge is of one arch of great extent; the top is thick overgrown with ivy, and the whole view bounded by a number of steep hills, intermixed with trees..

[141] A. W. Schlegel [TrBlack], Dram. Art I (1815), 8: The whole play of living motion hinges on harmony and contrast. Why then should not this phenomenon be repeated in the history of man? This idea led, perhaps, to the discovery of the true key to the ancient and modern history of poetry and the fine arts. Those who adopted it gave to the peculiar spirit of modern art, as opposed to the antique or classical[6/5], the name of romantic[5/2]. The appellation is certainly not unsuitable: the word is derived from romance, the name of the language of the people which was formed from the mixture of Latin and Teutonic, in the same manner as modern cultivation is the fruit of the union of the peculiarities of the northern nations with the fragments of antiquity. Hence the cultivation of the ancients was much more of a piece than ours. [Original A. W. Schlegel, Dramat. Lit. I (1809), 13: Das ganze Spiel lebendiger Bewegung beruht auf Einstimmung und Gegensatz. Warum sollte sich diese Erscheinung nicht auch in der Geschichte der Menschheit im großen wiederhohlen? Vielleicht wäre mit diesem Gedanken der wahre Schlüssel zur alten und neuen Geschichte der Poesie und der schönen Künste gefunden. Die, welche dieß annahmen, haben für den eigenthümlichen Geist der modernen Kunst, im Gegensatz mit der antiken oder classischen[6/5], den Namen romantisch[12/4] erfunden. Allerdings nicht unpassend: das Wort kommt her von romance, der Benennung der Volkssprachen, welche sich durch die Vermischung des Lateinischen mit den Mundarten des Altdeutschen gebildet hatten, gerade wie die neuere Bildung aus den fremdartigen Bestandtheilen der nordischen Stammesart und der Bruchstücke des Alterthums zusammengeschmolzen ist, da hingegen die Bildung der Alten weit mehr aus einem Stücke war.].

[142] Scott, Waverley I (1814), 40: The Spanish had contributed to his stock of chivalrous and romantic lore. The earlier literature of the northern nations did not escape the study of one who read rather to awaken the imagination than to benefit the understanding. And yet, knowing much that is known but to few, Edward Waverley might justly be considered as ignorant, since he knew little of what adds dignity to man, and qualifies him to support and adorn an elevated situation in society..

[143] Scott, Waverley I (1814), 54: From the minuteness with which I have traced Waverley's pursuits, and the bias which this unavoidably communicated to his imagination, the reader may perhaps anticipate, in the following tale, an imitation of the romance of Cervantes. But he will do my prudence injustice in the supposition. My intention is not to follow the steps of that inimitable author, in describing such total perversion of intellect as misconstrues the objects actually presented to the senses, but that more common aberration from sound judgment, which apprehends occurrences indeed in their reality, but communicates to them a tincture of its own romantic tone and co⟨55⟩louring..

[144] Scott, Waverley I (1814), 67: Late, when the Autumn evening fell | On Mirkwood-Mere's romantic dell, | The lake return'd, in chasten'd gleam, | The purple cloud, the golden beam [...]..

[145] Scott, Waverley I (1814), 72 f. (73): I do not invite my fair readers, whose sex and impatience give them the greatest right to complain of these circumstances, into a flying chariot drawn by hyppogriffs, or moved by enchantment. Mine is an humble English post-chaise, drawn upon four wheels, and keeping his majesty's highway[.] Those who dislike the vehicle may leave it at the next halt, and wait for the conveyance of Prince Hussein's tapestry, or Malek the Weaver's flying sentry-box. Those who are contented to remain with me will be occasionally exposed to the dulness inseparable from heavy roads, steep hills, sloughs, and other terrestrial retardations; but, with tolerable horses and a civil driver, [...] I also ⟨73⟩ engage to get as soon as possible into a more picturesque and romantic country, if my passengers incline to have some patience with me during my first stages..

[146] Scott, Waverley I (1814), 93: He now entered upon a new world, where, for a time, all was beautiful because all was new. Colonel G—, the commanding officer of the regiment, was himself a study for a romantic, and at the same time an inquisitive youth..

[147] Scott, Waverley I (1814), 178: Edward, we have informed the reader, was warm in his feelings, wild and romantic in his ideas and in his taste of reading, with a strong disposition towards poetry..

[148] Scott, Waverley I (1814), 337 f. (338): Eddying round this reservoir, the brook found its way over a broken part of the ledge, and formed a second fall, which seemed to seek the very abyss; then, wheeling out beneath from among the smooth dark rocks, which it had polished for ages, it wandered murmuring down the glen, forming the stream up which Wa⟨338⟩verley had just ascended. The borders of this romantic reservoir corresponded in beauty; but it was beauty of a stern and commanding cast, as if in the act of expanding into grandeur. Mossy banks of turf were broken and interrupted by huge fragments of rock, and decorated with trees and shrubs, some of which had been planted under the direction of Flora, but so cautiously, that they added to the grace, without diminishing the romantic wildness of the scene..

[149] Scott, Waverley II (1814), 64: Waverley ascended the glen with an anxious and throbbing heart. Love, with all its romantic train of hopes, fears, and wishes, was mingled with other feelings of a nature less easily defined..

[150] Scott, Waverley II (1814), 233: The country around was at once fertile and romantic. Steep banks of wood were broken by corn fields, which this year presented an abundant harvest, already in a great measure cut down..

[151] Scott, Waverley III (1814), 367: Indeed, the most romantic parts of this narrative are precisely those which have a foundation in fact..

[152] Scott, Antiquary (1816), 95: Plans, suiting the romantic temper of the brain that entertained them, chased each other through his head, thick and irregular as the motes of the sun-beam, and, long after he had laid himself to rest, continued to prevent the repose which he greatly needed..

[153] Scott, Antiquary (1816), 98: While the verses were yet singing, Lovel had returned to his bed; the train of ideas which they awakened was romantic[2/4] and pleasing, such as his soul delighted in, and, willingly adjourning till more broad day the doubtful task of determining on his future line of conduct, he abandoned himself to the pleasing languor inspired by the music, and fell into a sound and refreshing sleep [...]. .

[154] Scott, Antiquary (1816), 164: [T]he romantic predominated in the legend so much above the probable, that it was impossible for a lover of fairyland like me to avoid lending a few touches to make it perfect in its kind..

[155] Scott, Antiquary (1816), 167: This talk brought them to their hut, a wretched wigwam, situated upon one side of a wild, narrow, and romantic dell, in the recesses of the Brockenberg..

[156] Scott, Antiquary (1816), 180: What! that romantic story is true, then? – And pray, does the valorous knight aspire, as is befitting on such occasions, to the hand of the young lady whom he redeemed from peril? It is quite in the rule of romance, I am aware [...]. .

[157] Scott, Antiquary (1816), 197: There are many caves of the same kind in different parts of Scotland. I need only instance those of Gorton, near Rosslyn, in a scene well known to the admirers of romantic nature..

[158] Scott, Old Mort. (1816), 347 f.: It was on a delightful summer evening, that a stranger, well mounted, and having the appearance of a military man of rank, rode down a winding descent which terminated in view of the romantic ruins of Bothwell Castle and the river Clyde, which winds so beautifully between rocks and woods to sweep around the towers formerly built by Aymer de Valence. Bothwell Bridge was at a little distance, and also in sight. The opposite field, once the scene of slaughter and conflict, now lay as placid and quiet as the surface of a summer lake. The trees and ⟨348⟩ bushes, which grew around in romantic variety of shade, were hardly seen to stir under the influence of the evening breeze..

[159] Scott, Old Mort. (1816), 403: Steady, bold, and active, Morton hesitated not to follow her; but the necessary attention to secure his hold and footing in a descent where both foot and hand were needful for security, prevented him from looking around him, till, having descended nigh twenty feet, and being sixty or seventy above the pool which received the fall, his guide made a pause, and he again found himself by her side in a situation that appeared equally romantic and precarious. They were nearly opposite to the waterfall, and in point of level situated at about one-quarter's depth from the point of the cliff over which it thundered, and three-fourths of the height above the dark, deep, and restless pool which received its fall..

[160] Scott, Midloth. (1818), 77 f. (78): If I were to choose a spot from which the rising or setting sun could be seen to the greatest possible advantage, it would be that wild path winding around the foot of the high belt of semicircular rocks, called Salisbury Crags, and marking the verge of the steep descent which slopes down into the glen on the south-eastern side of the city of Edinburgh. The prospect, in its general outline, commands a close-built, high-piled ⟨78⟩ city, stretching itself out beneath in a form, which, to a romantic imagination, may be supposed to represent that of a dragon; now, a noble arm of the sea, with its rocks, isles, distant shores, and boundary of mountains; and now, a fair and fertile champaign country, varied with hill, dale, and rock, and skirted by the picturesque ridge of the Pentland mountains..

[161] Scott, Midloth. (1818), 331: Behind the Rector's house the ground sloped down to a small river, which, without possessing the romantic vivacity and rapidity of a northern stream, was, nevertheless, by its occasional appearance through the ranges of willows and poplars that crowned its banks, a very pleasing accompaniment to the landscape..

[162] Scott, Midloth. (1818), 427: Arran, a mountainous region, or Alpine island, abounds with the grandest and most romantic scenery..

[163] Scott, Midloth. (1818), 486: [A]fter the breaking out and suppression of the rebellion in 1745, the peace of the country, adjacent to the Highlands, was considerably disturbed. Marauders, or men that had been driven to that desperate mode of life, quartered themselves in the fastnesses nearest to the Lowlands, which were their scene of plunder; and there is scarce a glen in the romantic and now peaceable ⟨487⟩ Highlands of Perth, Stirling, and Dumbartonshire, where one or more did not take up their residence..

[164] Scott, Bride (1819), 38: Left to the impulse of her own taste and feeling, Lucy Ashton was peculiarly accessible to those of a romantic[5/8] cast. Her secret delight was in the old legendary tales of ardent devotion and unalterable affection, chequered as they so often are with strange adventures and supernatural horrors. This was her favoured fairy realm, and here she erected her aërial palaces..

[165] Scott, Bride (1819), 40: A large and well-wooded park, or rather chase, stretched along the hill behind the castle, which occupying [...] a pass ascending from the plain, seemed built in its very gorge to defend the forest ground which arose behind it in shaggy majesty. Into this romantic region the father and daughter proceeded, arm in arm, by a noble avenue overarched by embowering elms, beneath which groups of the fallow-deer were seen to stray in distant perspective..

[166] Scott, Bride (1819), 313: By many readers this may be deemed overstrained, romantic, and composed by the wild imagination of an author, desirous of gratifying the popular appetite for the horrible; but those who are read in the private family history of Scotland during the period in which the scene is laid, will readily discover, through the disguise of borrowed names and added incidents, the leading particulars of AN OWER TRUE TALE. .

[167] Scott, Ivanhoe (1820), 80: The scene was singularly romantic. On the verge of a wood, which approached to within a mile of the town of Ashby, was an extensive meadow, of the finest and most beautiful green turf, surrounded on one side by the forest, and fringed on the other by straggling oak-trees, some of which had grown to an ⟨81⟩ immense size..

[168] Scott, Ivanhoe (1820), 275: The accents of an unknown tongue, however harsh they might have sounded when uttered by another, had, coming from the beautiful Rebecca, the romantic and pleasing effect which fancy ascribes to the charms pronounced by some beneficent fairy [...]..

[169] Scott, Ivanhoe (1820), 467: Ivanhoe distinguished himself in the service of Richard, and was graced with farther marks of the royal favour. He might have risen still higher, but for the premature death of the heroic Cœur-de-Lion, before the Castle of Chaluz, near Limoges. With the life of a generous, but rash and romantic monarch, perished all the projects which his ambition and his generosity had formed [...]..

[170] Scott, Kenilworth (1821), 347: The Earl of Leicester having handed the Queen up to her throne, and seated her there, knelt down before her, and kissing the hand which she held out, with an air in which romantic and respectful gallantry was happily mingled with the air of loyal devotion, he thanked her, in terms of the deepest gratitude, for the highest honour which a sovereign could render to a subject..

[171] Scott, Kenilworth (1821), 375: The retreat which she had chosen gave her the easy alternative of avoiding observation. It was but stepping back to the farthest recess of a grotto, ornamented with rustic work and moss-seats, and terminated by a fountain, and she might easily remain concealed, or at her pleasure discover herself to any solitary wanderer whose curiosity might lead him to that romantic retirement..

[172] Scott, Quent. Durw. (1823), 16: I am contented to subscribe to the opinion of the best qualified judge of our time, [...] who thinks we have carried to an extreme our taste for simplicity, and that the neighbourhood of a stately mansion requires some more ornate embellishments than can be derived from the meagre accompaniments of grass and gravel. A highly romantic situation may be degraded, perhaps, by an attempt at such artificial ornaments; but, then, in by far the greater number of sites, the intervention of more architectural decoration than is now in use, seems necessary to redeem the naked tameness of a large house, placed by itself in the midst of a lawn, where it looks as much unconnected with all around as if it had walked out of town upon an airing..

[173] Scott, Quent. Durw. (1823), 32: A tone of romantic and chivalrous gallantry (which, however, was often disgraced by unbounded license) characterised the intercourse between the sexes [...]..

[174] Scott, Quent. Durw. (1823), 115: Although accounted complete in all the exercises of chivalry, and possessed of much of the character of what was then termed a perfect knight, the person of the Count was far from being a model of romantic beauty. He was under the common size, though very strongly built, and his legs rather curved outwards, into that make which is more convenient for horseback, than elegant in a pedestrian..

[175] Scott, Quent. Durw. (1823), 150: A hundred wild dreams, such as romantic and adventurous youth readily nourished in a romantic and adventurous age, chased from his eyes the bodily presentment of the actual scene, and substituted their own bewildering delusions [...]. .

[176] Scott, Quent. Durw. (1823), 405: Durward followed Lord Crawford in silence to the Ursuline convent, in which the Countess was lodged, and in the parlour of which he found the Count de Crèvecœur. | “So, young gallant,” said the latter, sternly, “you must see the fair companion of your romantic expedition once more, it seems?”.

[177] Scott, Waverley Gen. Prfc. (1829), 6: The chief enjoyment of my holidays was to escape with a chosen friend, who had the same taste with myself, and alternately to recite to each other such wild adventures as we were able to devise. We told, each in turn, interminable tales of knight-errantry and battles and enchantments, which were continued from one day to another as opportunity offered, without our ever thinking of bringing them to a conclusion. As we observed a strict secrecy on the subject of this intercourse, it acquired all the character of a concealed pleasure; and we used to select, for the scenes of our indulgence, long walks through the solitary and romantic environs of Arthur's Seat, Salisbury Crags, Braid Hills, and similar places in the vicinity of Edinburgh; and the recollection of those holidays still forms an oasis in the pilgrimage which I have to look back upon..

[178] M. Shelley, Frankenst. (1818), 19: It is true that I have thought more, and that my day dreams are more extended and magnificent; but they want (as the painters call it) keeping [›Proportion‹]; and I greatly need a friend who would have sense enough not to despise me as romantic, and affection enough for me to endeavour to regulate my mind..

[179] M. Shelley, Frankenst. (1818), 162: I visited Edinburgh with languid eyes and mind; and yet that city might have interested the most unfortunate being. Clerval did not like it so well as Oxford: for the antiquity of the latter city was more pleasing to him. But the beauty and regularity of the new town of Edinburgh, its romantic[2/6] castle, and its environs, the most delightful in the world, Arthur's Seat, St. Bernard's Well, and the Pentland Hills, compensated him for the change, and filled him with cheerfulness and admiration..

[180] P. B. Shelley, Islam (1817), 32: For this purpose I have chosen a story of human passion in its most universal character, diversified with moving and romantic adventures, and appealing, in contempt of all artificial opinions or institutions, to the common sympathies of every human breast..

[181] P. B. Shelley, Epips. (1821), 411: His life was singular; less on account of the romantic vicissitudes which diversified it, than the ideal tinge which it received from his own character and feelings..

[182] Sheridan, Rivals (1775), 90: Am not I a lover; aye, and a romantic one too?.

[183] Sheridan, Rivals (1775), 138: You know, Sir, Lydia is romantic – dev'lish romantic, and very absurd of course [...]..

[184] Smollett, H. Clinker (1771), 26 f. (27): We set out for Bath to-morrow, and I am almost sorry for it; as I begin to be in love with solitude, and this ⟨27⟩ is a charming romantic place..

[185] Smollett, H. Clinker (1771), 214: Yesterday we dined at Haddington, which has been a place of some consideration, but is now gone to decay [...]. It is very romantic, from its situation on the declivity of a hill, having a fortified castle at the top, and a royal palace at the bottom..

[186] Smollett, H. Clinker (1771), 236: I am now little short of the Ultima Thule, if this appellation properly belongs to the Orkneys or Hebrides. These last are now lying before me, to the amount of some hundreds, scattered up and down the Deucalidonian sea, affording the most picturesque and romantic prospect I ever beheld [...]..

[187] Smollett, H. Clinker (1771), 238: We have fixed our head-quarters at Cameron, a very neat country-house belonging to commissary Smollett, where we found every sort of accommodation we could desire – It is situated like a Druid's temple, in a grove of oak, close by the side of Lough-Lomond, which is a surprising body of pure transparent water, unfathomably deep in many places, six or seven miles broad, four and twenty miles in length, displaying above twenty green islands, covered with wood; some of them cultivated for corn, and many of them stocked with red deer – They belong to different gentlemen, whose seats are scattered along the banks of the lake, which are agreeably romantic beyond all conception..

[188] Smollett, H. Clinker (1771), 248: I have seen the Lago di Garda, Albano, De Vico, Bolsena, and Geneva, and, upon my honour, I prefer Lough-Lomond to them all; a preference which is certainly owing to the verdant islands that seem to float upon its surface, affording the most enchanting objects of repose to the excursive view. Nor are the banks destitute of beauties, which even partake of the sublime. On this side they display a sweet variety of woodland, corn-field, and pasture, with several agreeable villas emerging as it were out of the lake, till, at some distance, the prospect terminates in huge mountains covered with heath, which being in the bloom, affords a very rich covering of purple. Every thing here is romantic beyond imagination. This country is justly styled the Arcadia of Scotland; and I don't doubt but it may vie with Arcadia in every thing but climate..

[189] Smollett, H. Clinker (1771), 250: Above that house is a romantic glen or clift of a mountain, covered with hanging woods, having at bottom a stream of fine water that forms a number of cascades in its descent to join the Leven; so that the scene is quite enchanting..

[190] Wordsworth, Descr. Sk. (1793), 58: On as we move, a softer prospect opes, | Calm huts, and lawns between, and sylvan slopes. | While mists, suspended on th' expiring gale, | Moveless o'er-hang the deep secluded vale, | The beams of evening, slipping soft between, | Light up of tranquil joy a sober scene; – | Winding it's dark-green wood and emerald glade, | The still vale lengthens underneath the shade; | While in soft gloom the scattering bowers recede, | Green dewy lights adorn the freshen'd mead, | Where solitary forms illumin'd stray | Turning with quiet touch the valley's hay, | On the low [...] brown wood-huts delighted sleep | Along the brighten'd gloom reposing deep. | While pastoral pipes and streams the landscape lull, | And bells of passing mules that tinkle dull, | In solemn shapes before th' admiring eye | Dilated hang the misty pines on high, | Huge convent domes with pinnacles and tow'rs, | And antique castles seen thro' drizzling show'rs. || From such romantic dreams my soul awake, | Lo! Fear looks silent down on Uri's lake, | By whose unpathway'd margin still and dread | Was never heard the plodding peasant's tread..

[191] Wordsworth, Isl. Grasm. (1800), 198: And hither does one Poet sometimes row | His pinnace, a small vagrant barge, up-piled | With plenteous store of heath and withered fern, | (A lading which he with his sickle cuts, Among the mountains) and beneath this roof | He makes his summer couch, and here at noon | Spreads out his limbs, while, yet unshorn, the Sheep, | Panting beneath the burthen of their wool, | Lie round him, even as if they were a part | Of his own Household: nor, while from his bed | He looks, through the open door-place, toward the lake | And to the stirring breezes, does he want | Creations lovely as the work of sleep – Fair sights, and visions of romantic joy!.

[192] Wordsworth, 2Prelude (*1799..1805), 38: Sometimes, mistaking vainly, as I fear, | Proud spring-tide swellings for a regular sea, | I settle on some British theme, some old | Romantic tale by Milton left unsung; | More often resting at some gentle place | Within the groves of chivalry I pipe | Among the shepherds, with reposing knights | Sit by a fountain-side and hear their tales..

[193] Wordsworth, 2Prelude (*1799..1805), 250: Enchanting age and sweet – | Romantic[2/3] almost, looked at through a space, | How small, of intervening years!.

[194] Wordsworth, Excursion (1814), 268: But, if to these Wayfarers once pertained | Aught of romantic interest, it is gone..

[195] Wordsworth, Mem. Cont. (1822), 168: Aix-la-Chapelle || Was it to disenchant, and to undo, | That we approached the Seat of Charlemaine? | To sweep from many an old romantic[6/2/3] strain | That faith which no devotion may renew! | Why does this puny Church present to view | Her feeble columns? and that scanty chair! | This sword that one of our weak times might wear! | Objects of false pretence, or meanly true!.

[196] Wordsworth, Arm. Lady (1835), 99: Judge both Fugitives with knowledge: | In those old romantic[6/2/3] days | Mighty were the soul's commandments | To support, restrain, or raise..

[197] Wordsworth, Cord. (1835), 54: Not in the mines beyond the western main, | You say, Cordelia, was the metal sought, | Which a fine skill, of Indian growth, has wrought | Into this flexible yet faithful Chain; | Nor is it silver of romantic Spain; | But from our loved Helvellyn's depths was brought, | Our own domestic mountain. ➢ vgl. [41, 43].