The English Romantics and the Theme of Nature. C.M. Bowra applies the term Romanticism to a phase of English poetry which began in 1768 with Blakes Songs of Innocence and ended with the death of Keats and Shelley:
UNIVERSITATEA PROFIL: SOCIO-PSIHOPEDAGOGIE SPECIALIZARE: INSTITUTORI-LIMBA STRAINA Lucrare de licenta Coordonator stiintific, Absolvent, Prof. Dr. Drobeta Turnu Severin 2003 The English Romantics and the Theme of Nature "Every reform, however necessary, will by weak minds be carried to an excess, that itself will need reforming" (from Biographia Literaria, 1817) CONTENTS Chapter I Introduction to Romanticism. The Romantic Movement in England.. .......................................................................................................................4 Literary Sources........................................................................................7 Aesthetic Theories Elements Of Romantic Poetry 8 A. Poetry and the Poet 9 B. Romantic Imagination 10 C. Insights of Childhood 12 D. Romantic Typology 13 E. Romantic Escapism 14 F. Mythology and Symbolism 15 G. Romanticism and Form 17 Chapter II The First Generation of Romantic Poets - The Image of Nature 19 William Wordsworth 20 The Shorter Poems of the Middle Period 32 The Longer Poems 36 Samuel Taylor Coleridge 38 Chapter III The Second Generation of Romantic Poets - Views on Nature 50 Percy Bysshe Shelly 50 George Gordon Byron 56 John Keats 58 CONCLUSION 62 BIBLIOGRAPHY 66 CHAPTER I INTRODUCTION TO ROMANTICISM. THE ROMANTIC MOVEMENT IN
NATURE, natural, and the group of words derived from them, or allied to them in etymology, have at all times filled a great pl
NATURE, natural, and the group of words derived from them, or allied to them in etymology, have at all times filled a great place in the thoughts and taken a strong hold on the feelings of mankind. That they should have done so is not surprising, when we consider what the words, in their primitive and most obvious signification, represent; but it is unfortunate that a set of terms which play so great a part in moral and metaphysical speculation, should have acquired many meanings different from the primary one, yet sufficiently allied to it to admit of confusion. The words have thus become entangled in so many foreign associations, mostly of a very powerful and tenacious character, that they have come to excite, and to be the symbols of, feelings which their original meaning will by no means justify; and which have made them one of the most copious sources of false taste, false philosophy, false morality, and even bad law. The most important application of the Socratic Elenchus, as exhibited and improved by Plato, consists in dissecting large abstractions of this description; fixing down. to a precise definition the meaning which as popularly used they merely shadow forth, and questioning and testing the common maxims and opinions in which they bear a part. It is to be regretted that among the instructive specimens of this kind of investigation which Plato has left, and to
Coleridge, Samuel Taylor (1772-1834), English poet, critic, and philosopher, who was a leader of the Romantic movement.
Coleridge, Samuel Taylor (1772-1834), English poet, critic, and philosopher, who was a leader of the Romantic movement. I II DEVELOPMENT Coleridge was born in Ottery St Mary, Devon, on October 21, 1772, the son of a vicar. From 1791 until 1794 he studied classics at Jesus College, Cambridge University, and became interested in French revolutionary politics. His heavy drinking and debauchery incurred massive debts which he attempted to clear by entering the army for a brief period. Eventually, his brother paid for him to be discharged on a plea of insanity. At university he absorbed political and theological ideas then considered radical, especially those of Unitarianism. He left Cambridge without a degree and joined his university friend, the poet Robert Southey in a plan, soon abandoned, to found a Utopian society in Pennsylvania. Based on the ideas of William Godwin, this new society was dubbed "Pantisocracy". In 1795 the two friends married sisters, Sara and Edith Fricker. Not only did Coleridge's marriage to Sara proved extremely unhappy, but he also became estranged from Southey, who departed for Portugal that same year. Coleridge remained in England to write and lecture, editing a radical Christian journal, The Watchman, from his new home in Clevedon. In 1796 he published Poems on Various Subjects, which included "The Eolian Harp" and his "Monody on the Death of
Compare and Contrast The Concept of Nature in the Works of Karl Marx and Ralph Waldo Emerson
Compare and Contrast The Concept of Nature in the Works of Karl Marx and Ralph Waldo Emerson Introduction Given the salience of current debates in the philosophy of social theory concerning the necessity or impossibility of grand narratives, or universalising theory, and the utility or dis-utility of the post-structural, relativist approach, I find it surprising that no one has yet stumbled upon the idea of comparing the works of Karl Marx and Ralph Waldo Emerson, the former the producer of the most influential grand-narrative in recent world political and economic history, and the later one of the more forceful exponents of experiential truth as elaborated upon by Nietzsche, and of historical relativism as practised by Foucault. A comparison of the work of these two individuals is justifiable on more grounds than their respective contributions to the development of contemporary sociological thought. Both witnessed the modern age, what appears to many "as the culminating point of human development... announc[ing] the secret of human history, hitherto concealed from the eyes of its participants," (Kumar, 81) but both witnessed it from very different perspectives. Both men were also deeply concerned to "capture" the concept of nature: Marx wrote his PhD thesis on the concept ( entitled "The Difference between Democritus' and Epicurus' Philosophy of Nature") , and one of
The Project Paper - The short story.
The Project Paper (A) The short story . Define short story A short story is a form more realistic than the tale and is of modern origin. The writer usually presents the main events in greater fullness. Fine writers of short stories are skilled in rendering a scene (which is a vivid or dramatic moment described in enough detail to create the illusion that the reader is practically there. The writers try to show rather than simply to tell. A short story is more than just a sequence of happenings. A finely wrought short story has the richness and conciseness of an excellent lyric poem. Spontaneous and natural as the finished story may seem, the writer has written it so artfully that there is meaning in even seemingly casual speeches and apparently trivial details. Some literary short story tell of an epiphany. Other short stories tell of a character initiated into experience or maturity. The short story is of more recent origin. According to the Dictionary Literary Terms written by Dr Rosli Talif, a short story is a brief functional NARRATIVE in PROSE that has a more formal structure than the TALE< from which it originates. Although short stories possess all the attributes of Fiction, such as PLOT, SETTING, CHARACTERIZATION, THEME, TONE, and POINT OF VIEW, what distinguishes it from the other forms of fiction i.e. NOVEL and NOVELLAA is that it is shorter in length
Precarious Magic
?????????????? Nikki R. Quintanar Romanticism to Modernism Neil Arditi ~ Summer 2002 The Romantic Age was roughly defined by the years 1798-1832. In England, those writers generally categorized as Romantic were; William Blake, William Wordsworth, Samuel Taylor Coleridge, Percy Bysshe Shelley, John Keats, and Lord Byron. The ideals embraced by Romanticism rebelled against the prevalent ideas of neo-classicism. These Romantic ideals "contained a new awareness of nature and the natural world, emphasized the need for spontaneity in thought and action, and attached considerable importance to natural genius exhibited through imagination." 1 Imagination, to The Romantics was man's capability to both perceive and create. They "embodied a more liberated and subjective expression of passion, pathos, and personal feelings in their work."2 In this liberated awareness, "there existed an occult relationship between man and nature, man and man, and man and beast, and any combination thereof. This relationship was a spirit of oneness and beauty manifest in the many yet emanating from the One."3 The Romantics sought a profound spiritual grasp of the truth. They embraced the belief that the ultimate nature of Reality resides within each and every sentient being. In this paper I will focus on the widespread use of opium in England during the Romantic Age. Opium use was
Explain how Blake uses imagery, form and language in these poems to express his beliefs and what their content reveals about the time in which they were written.
Songs of Innocence and Experience appears to be very simplistic on first reading. Explain how Blake uses imagery, form and language in these poems to express his beliefs and what their content reveals about the time in which they were written. William Blake uses imagery, form and language to express his beliefs on religion and how life has changed since the industrial revolution. He lived in 18th century London and was influenced by his visions he experienced in his life and was often described as a romantic poet. He lived in relative poverty for most of his life and this affected his poetry which can be seen in his companion poem pairs of Songs of Innocence and Experience. William Blake had two sets of companion poems called the Songs of Innocence and the Songs of Experience. In his Songs of Innocence poems which feature 'The Lamb', 'Holy Thursday' and 'The Chimney Sweeper' he uses imagery and language which differ to the Songs of Experience, which contain the poems 'The Tyger', 'Holy Thursday' and 'The Chimney Sweeper'. The poet also uses imagery to reinforce the effect of innocence created by the lamb, the child narrator and the tone. Pastoral and white imagery such as "Stream & o'er the mead" and "Bright" help define Blake's view on innocence. Pastoral imagery was often sued by romantics to represent the natural world and its complete purity. William Blake idealised
Amine Werther's attitudes to nature. Is any development discernible? You may also wish to refer to Goethe's poetry of the same period.
Examine Werther's attitudes to nature. Is any development discernible? You may also wish to refer to Goethe's poetry of the same period. Goethe wrote his novel "Die Leiden des jungen Werther" in the spring of 1774 and a revised edition was published in 1787. The period in which the novel was written is one in of high sensitivity or "Empfindsamkeit" and there was an emphasis on the self, or the ego. The form of the novel, not just its content, illustrates these trends in 18th Century thinking as we get a close insight into Werther's emotions and attitudes through his letters to Wilhelm. Werther, the protagonist, is a highly sensitive young man who is led by his heart rather than rational judgement. He is a slave to his moods and we can see that nature is one element that greatly affects how he feels. Werther's changing attitudes towards nature reflect his emotional state - sometimes we see nature as a source of joy, peace and relaxation, at other times one of torment and hatred. There exists, therefore, strong connections between Werther's emotional state, his attitude to nature and his beliefs, specifically his perception and worshipping of God. Werther's takes a pantheist outlook on religion. This belief, which was also held to some extent by the author, is the theory that God is manifested in all living things, making a close link between God and His creation. It is a
Smith, Charlotte (Turner) 4 May 1749 - 28 October 1806.
Smith, Charlotte (Turner) 4 May 1749 - 28 October 1806 British poet and novelist who never wrote a "Gothic" work. So what's she doing here? Simple: she helped invent the Gothic, in large part due to the influence of her works on Ann Radcliffe. (She also helped invent Romanticism and William Wordsworth, and never gets much credit for that, either.) She did this by bringing to the sentimental novel-extremely popular in her day-a sophisticated aesthetic sense (informed by her deep interest in landscape and painting) that included a thorough knowledge of the sublime and the picturesque. Setting important episodes and characters in both sublime and picturesque landscapes, Smith heightened the emotional and aesthetic register of her works, thus bringing them in line with-and/or helping to create, actually-the emerging intellectual and cultural currents of Romanticism. There are "Gothic" elements in only a few of Smith's early works, for by her own admission she was uninterested in literary sensationalism and in the supernatural; adverse financial circumstances (a profligate and irresponsible husband, largely) led her to novel-writing in the first place (she preferred poetry), and the success of her first novel, Emmeline (1788), showed her that sales could be positively affected by the inclusion of the sorts of dramatic scenes she was writing. But her own interest in political
Summary of "The Blessed Damozel".
Summary of "The Blessed Damozel" Dante Gabriel Rossetti was only 18 when he wrote "The Blessed Damozel." Although Rossetti was still young, the images and themes in his poem have caught the attention of many critics throughout the years. "The Blessed Damozel" is a beautiful story of how two lovers are separated by the death of the Damozel and how she wishes to enter paradise, but only if she can do so in the company of her beloved. "The Blessed Damozel" is one of Rossetti's most famous poems and has been dissected and explicated many times by many different people. Even so, they all revolve around the same ideas and themes. The theme of Rossetti's poem is said to have been taken from Vita Nuova, separated lovers are to be rejoined in heaven, by Dante. Many people say his young vision of idealized love was very picturesque and that the heavens Rossetti so often painted and those which were in his poems were much like Dante. The heaven that Rossetti painted in "The Blessed Damozel" was warm with physical bodies and beautiful angels full of love. This kind of description of heaven was said to have been taken from Dante's ideas. Others said that Rossetti's heaven was described so in "The Blessed Damozel" because he was still young and immature about such matters. In other words, he had not yet seen the ugliness and despair that love can bring, which he experienced later in his