...brilliant picnic of Angloforeign society; but Dorothea had no such defense against deep impressions. Ruins and basilicas, palaces and colossi, set in the midst of a sordid present, where all that living and warm-blooded seemed sunk in the deep degeneracy of a superstition divorced from reverence;...

...defenses against the density of "impressions" imparted to her by this landscape. Honeymooning amid ruins and basilicas, palaces and colossi, set in the midst...eager Titanic life gazing and struggling on walls and ceiling; the long vistas of white forms whose marble eyes seemed to hold the monotonous light of an...

...passing, before her of the sights of the city of Rome with its "ruins and basilicas, palaces and collossi, set in the midst of a sordid present, where all that was living and warm blooded seemed sunk in the deep degeneracy of a superstition divorced from reverence" (p. 225)....

...present — and uses them to describe the impression Rome first makes on Dorothea. She sees it as "ruins and basilicas, palaces and colossi, set in the midst...degeneracy of a superstition divorced from reverence" (2. 20. 143). 45 This sentence 45. QD Leavis's reading of this moment in Middlemarch suggests that...

...disillusion with the ideals of her marriage as she confronts the visible decay of Rome, seeing "ruins and basilicas, palaces and colossi, set in the midst...degeneracy of a superstition divorced from reverence." The city itself is a "vast wreck of ambitious ideals, sensuous and spiritual," an image of ideals smashed...

...brilliant picnic of Angloforeign society; but Dorothea had no such defence against deep impressions. Ruins and basilicas, palaces and colossi, set in the midst...a superstition divorced from reverence; the dimmer yet eager Titanic life gazing and struggling on walls and ceilings; the long vistas of white forms...

...brilliant picnic of Angloforeign society; but Dorothea had no such defence against deep impressions. Ruins and basilicas, palaces and colossi, set in the midst...divorced from reverence; the dimmer but yet eager Titanic life1 gazing and struggling on walls and ceilings; the long vistas of white forms whose marble eyes...

...precursor text: George Eliot's Middle-march. Blood and photographs, Baedekers and 'yaller dog[s]' Ruins and basilicas, palaces and colossi, set in the midst...superstition divorced from reverence; the dimmer but eager Titanic life gazing and struggling on walls and ceilings; the long vistas of white forms whose...

...Archer in The Portrait of a Lady.) There she sees, with confusion and dismay, the ruins of ancient Rome "set in the midst of a sordid present, where all that...degeneracy of a superstition divorced from reverence." Seemed is implausible. George Eliot is doing Dorothea's feeling for her and giving her words that she...