The philosophical concept of the Sublime, although generally difficult to define due to its complex nature, is most often described as an object or environment that evokes a feeling of profound fear when he saw. The key difference between the concept of the Sublime and the simpler concept of "beauty" is that the Sublime, although evoking awe, is generally accompanied by a feeling of unease and often even fear, rather than evoking fear. only response of pleasure in the as does an object of beauty.[1] Sublime entities include mountains, oceans, caves, and cathedrals, all of which can simultaneously evoke joy and terror when one finds oneself in one's present. Say no to plagiarism. Get a tailor-made essay on 'Why Violent Video Games Should Not Be Banned'?Get the original essayColeridge, who had a continuing fascination with The Sublime - apparent in both his poetic works and his autobiographical writings - made the difference between the Sublime and the beautiful using a metaphorical circle. In his Biographia Literaria he suggests: “The circle is a beautiful figure in itself; it becomes Sublime, when I contemplate eternity under this figure.” This analogy indicates the need for deeper exploration and contemplation in the face of the Sublime. [2] As Coleridge says, there is no simple definition or understanding of the Sublime, and this is because the feeling it provokes is so profound that putting it into simple words is not a task simple. So why is the concept of the Sublime so strongly present in Romantic literature, a movement based solely on the written word? The answer is exactly what Coleridge suggests: The Sublime calls for exploration and introspection, for which Romantic poetry provides the ideal support. The literature of the Romantic period most often finds the Sublime in nature. As Romantic poetry is often an expression of the Self, it can serve as a form of written introspection, and Romantic poets are able to use sublime surroundings as a tool for deeper reflection and understanding of the Self, then turn towards writing to exercise this ability. . The analysis of nature is synonymous with the analysis of the Self and so, when one is left only to nature, one is essentially left to one's own devices, and all thoughts about one's surroundings are also thoughts coming from above. deep in the psyche. Thus, when we approach sublime objects in nature, which often represent a void or something dwarf for man, our introspection becomes transcendent and we are able to introspect at a deeper level, allowing a further expression and discovery through the ideal of poetry. Kubla Khan' Coleridge uses effective linguistic styles to convey the overwhelming unease of The Sublime. With the use of lines such as; “Enveloping sunny places with greenery” [3] and “Through caverns beyond measure for man/To a sunless sea” [4] Coleridge creates dwarven images and highlights the contradictory nature of the Sublime. By implementing both beautiful and ugly adjectives in the same line to describe the same Sublime environment, such as "wild" and "enchanted" [5], it successfully reflects how The Sublime makes one feel terror and horror simultaneously. joy. The phrase “As if this earth in thick and fast pants were breathing” [6] is an example of the personification of nature, which testifies to the connection between man and sublime nature. When exploring the Sublime, it is common to find an absence. rather than something tangible. The Sublime itself is a limitation [7], the, 2015]