"It is not on the resoundingly obvious fact of Romantic melancholy that I wish to focus, but on the meaning, in hemisphere terms, of the condition. [...] – the difference between wanting and longing.
[...] The first is unidirectional; the second bidirectional – there is a ‘betweenness’" p. 367
"Through his special use of language, particularly linguistic connectors, prepositions and conjunctions, to convey the experience of ‘betweenness’ [...] Wordsworth brings about poetic formulations" p. 375
"Romanticism in fact demonstrates, in a multitude of ways, its affinity for everything we know from the neuropsychological literature about the workings of the right hemisphere.
[...] in its accent on involvement rather than disinterested impartiality; in its preference for the betweenness which is felt across a three-dimensional world, rather than for seeing what is distant as alien, lying in another plane;" p. 380
"If one had to sum up these features of modernism they could probably be reduced to these: an excess of consciousness and an over-explicitness in relation to what needs to remain intuitive and implicit; depersonalisation and alienation from the body and empathic feeling; disruption of context; fragmentation of experience; and the loss of ‘betweenness’." p. 397-9
"the beautiful [is not] confined to art
[...] Our relationship with what is beautiful is different [from desire]. It is more like longing, or love, a betweenness, a reverberative process between the beautiful and our selves, which has no ulterior purpose, no aim in view, and is nonacquisitive
" p. 445
"The Aesthetes’ creed of ‘art for art’s sake’ [...] marginalises its relationship with life. In other words it sacrifices the betweenness of art with life" p. 409