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The composition is obviously symbolic and allegorical, with the pairing of light and dark and the flat rendering of Elizabeth’s body. © National Portrait 10 INTRODUCTION Gallery, London IOLC01 10 23/5/06, 5:07 PM against monarchy, on the one hand, and in the name of the kingdom or commonwealth on the other. He shows how a conceptual divide between monarch and the idea of the nation arose in the 16th and 17th centuries, in part due to the production and dissemination of the map. Maps of the kingdom showed how the nation-state had a geographical existence in its own right, independent of that of the monarch.

The Spectator ascends a little platform, and sees mountains, lakes, glaciers, rivers, woods, waterfalls, and valleys, with their cottages, and every other object contained in them, lying at his feet . . It may easily be conceived that this exhibition affords an exquisite delight to the imagination, tempting it to wander at will from valley to valley, from mountain to mountain, through the deepest recesses of the Alps. But it supplies also a more substantial pleasure: for the sublime and beautiful region, with all its hidden treasures, and their bearings and relations to each other, is thereby comprehended and understood at once.

According to De Quincey, those Wordsworth considered outside “the sacred and privileged pale” of thinking like himself “he did not even 28 IOLC02 LONELY AS A CLOUD 28 23/5/06, 5:08 PM appear to listen [to]; but as if what they said on such a theme might be childish prattle, turned away with an air of perfect indifference” (Wright 1970:326). Such criticisms of Wordsworth and the Romantic tradition generally are not new. De Quincey rolled up many of them into a pithy and satirical critique of the Wordsworth poem “The Lonely Cottage,” in which the solitary figure of Wordsworth contemplates the sad and picturesque ruin of a cottage; he is told the story of its hapless inmates by a passing traveller, who recalls talking to the woman who lived there.

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Ancient Iranian and Zoroastrian Morals by Dhunbijoy Jamsetjee Medhora

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