Tekst- og litteraturhistorie i de engelsksprogede lande Session Two: Idealism – British Romanticism

Agenda Summary of Session One Summary of Session One Idealism and Romanticism Idealism and Romanticism British Romanticism – an outline British Romanticism – an outline Group work: ”Tintern Abbey” Group work: ”Tintern Abbey”

Summary of Session One Romanticism and Neo-Classicism as Wordsworth’s contexts Romanticism and Neo-Classicism as Wordsworth’s contexts Contexts: The dominant, the emergent, and the residual Contexts: The dominant, the emergent, and the residual

Raymond Williams, Marxism and Literature (1979) The dominant: the genders are equal The dominant: the genders are equal The emergent: the genders are different The emergent: the genders are different The residual: men are inherrently smarter than women. The residual: men are inherrently smarter than women.

Raymond Williams The dominant: People The dominant: People The emergent: Media The emergent: Media The residual: Monarchy The residual: Monarchy

Idealism and Romanticism The Kantian turn in epistmology (Kant’s Copernican turn): The Kantian turn in epistmology (Kant’s Copernican turn): World Mind World Mind Difference: The mind shapes the world (space, time) Difference: The mind shapes the world (space, time) Rupture: Things as they appear to the mind, mental impressions, phenomena - (things in themselves) Rupture: Things as they appear to the mind, mental impressions, phenomena - (things in themselves)

Idealism and Romanticism With Kant With Kant Against pure reason Against pure reason Beyond Kant Beyond Kant The (right) mind shapes and is shaped by the world The (right) mind shapes and is shaped by the world Phenomena and things in themselves Phenomena and things in themselves

Wordsworth, ”Expostulation and Reply” […] […] "The eye--it cannot choose but see; "The eye--it cannot choose but see; We cannot bid the ear be still; We cannot bid the ear be still; Our bodies feel, where'er they be, Our bodies feel, where'er they be, Against or with our will. Against or with our will. "Nor less I deem that there are Powers "Nor less I deem that there are Powers Which of themselves our minds impress; Which of themselves our minds impress; That we can feed this mind of ours That we can feed this mind of ours In a wise passiveness. In a wise passiveness. […] […]

Wordsworth, ”The Tables Turned” […] […] Books! 'tis a dull and endless strife: Come, hear the woodland linnet, How sweet his music! on my life, There's more of wisdom in it. Books! 'tis a dull and endless strife: Come, hear the woodland linnet, How sweet his music! on my life, There's more of wisdom in it. And hark! how blithe the throstle sings! He, too, is no mean preacher: Come forth into the light of things, Let Nature be your Teacher. And hark! how blithe the throstle sings! He, too, is no mean preacher: Come forth into the light of things, Let Nature be your Teacher. […] […] Sweet is the lore which Nature brings; Our meddling intellect Mis-shapes the beauteous form of things: - We murder to dissect. Sweet is the lore which Nature brings; Our meddling intellect Mis-shapes the beauteous form of things: - We murder to dissect. […] […]

British Romanticism – an Outline Key authors, key publications (Norton) Key authors, key publications (Norton) Man, society, nature, and language Man, society, nature, and language The texts: poetry, drama, narrative, painting, music, sculpture. The texts: poetry, drama, narrative, painting, music, sculpture.

British Romanticism – an Outline Man, society, nature, and language Man, society, nature, and language Against conventions: revolutions in life and letters Against conventions: revolutions in life and letters Reason and rationality rather than tradition Reason and rationality rather than tradition Emotion, imagination, feeling rather than traditional form Emotion, imagination, feeling rather than traditional form

British Romanticism – an Outline The Poet: Genius - a man of extraordinary feeling, but also a prophet, a visionary, a sage, a seer. The Poem: the lyric - an expression of the poet’s feelings, rather than a mirror of other people’s actions. But also a mode of knowledge, supplementing science.

British Romanticism – an Outline Poetry and the literary genres Literature and the arts (painting, music)

Caspar David Friedrich, Wanderer above the Sea of Fog (1818)

J.M.W. Turner, Rain, Steam and Speed - The Great Western Railway (painted 1844).

Contrast: Thomas Gainsborough, Mr and Mrs Andrews ( )

Romantic Music (19th Century) Beethoven Beethoven Franz Schubert Franz Schubert Muzio Clementi Muzio Clementi Edward Elgar Edward Elgar John Field – the Irish Romantic John Field – the Irish Romantic

Wordsworth’s ”Preface” A manifesto of Romanticism A manifesto of Romanticism

The Preface The principal object, then, proposed in these Poems was to choose incidents and situations from common life, and to relate or describe them, throughout, as far as was possible in a selection of language really used by men, and, at the same time, to throw over them a certain colouring of imagination, whereby ordinary things should be presented to the mind in an unusual aspect; and, further, and above all, to make these incidents and situations interesting by tracing in them, truly though not ostentatiously, the primary laws of our nature: chiefly, as far as regards the manner in which we associate ideas in a state of excitement. The principal object, then, proposed in these Poems was to choose incidents and situations from common life, and to relate or describe them, throughout, as far as was possible in a selection of language really used by men, and, at the same time, to throw over them a certain colouring of imagination, whereby ordinary things should be presented to the mind in an unusual aspect; and, further, and above all, to make these incidents and situations interesting by tracing in them, truly though not ostentatiously, the primary laws of our nature: chiefly, as far as regards the manner in which we associate ideas in a state of excitement.

The Preface Humble and rustic life was generally chosen, because, in that condition, the essential passions of the heart find a better soil in which they can attain their maturity, are less under restraint, and speak a plainer and more emphatic language; because in that condition of life our elementary feelings coexist in a state of greater simplicity, and, consequently, may be more accurately contemplated, and more forcibly communicated; because the manners of rural life germinate from those elementary feelings, and, from the necessary character of rural occupations, are more easily comprehended, and are more durable; and, lastly, because in that condition the passions of men are incorporated with the beautiful and permanent forms of nature. Humble and rustic life was generally chosen, because, in that condition, the essential passions of the heart find a better soil in which they can attain their maturity, are less under restraint, and speak a plainer and more emphatic language; because in that condition of life our elementary feelings coexist in a state of greater simplicity, and, consequently, may be more accurately contemplated, and more forcibly communicated; because the manners of rural life germinate from those elementary feelings, and, from the necessary character of rural occupations, are more easily comprehended, and are more durable; and, lastly, because in that condition the passions of men are incorporated with the beautiful and permanent forms of nature.

The Preface The language, too, of these men has been adopted (purified indeed from what appear to be its real defects, from all lasting and rational causes of dislike or disgust) because such men hourly communicate with the best objects from which the best part of language is originally derived; and because, from their rank in society and the sameness and narrow circle of their intercourse, being less under the influence of social vanity, they convey their feelings and notions in simple and unelaborated expressions. Accordingly, such a language, arising out of repeated experience and regular feelings, is a more permanent, and a far more philosophical language, than that which is frequently substituted for it by Poets, who think that they are conferring honour upon themselves and their art, in proportion as they separate themselves from the sympathies of men, and indulge in arbitrary and capricious habits of expression, in order to furnish food for fickle tastes, and fickle appetites, of their own creation. The language, too, of these men has been adopted (purified indeed from what appear to be its real defects, from all lasting and rational causes of dislike or disgust) because such men hourly communicate with the best objects from which the best part of language is originally derived; and because, from their rank in society and the sameness and narrow circle of their intercourse, being less under the influence of social vanity, they convey their feelings and notions in simple and unelaborated expressions. Accordingly, such a language, arising out of repeated experience and regular feelings, is a more permanent, and a far more philosophical language, than that which is frequently substituted for it by Poets, who think that they are conferring honour upon themselves and their art, in proportion as they separate themselves from the sympathies of men, and indulge in arbitrary and capricious habits of expression, in order to furnish food for fickle tastes, and fickle appetites, of their own creation.

The Preface I have said that poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquillity: the emotion is contemplated till, by a species of reaction, the tranquillity gradually disappears, and an emotion, kindred to that which was before the subject of contemplation, is gradually produced, and does itself actually exist in the mind. In this mood successful composition generally begins, and in a mood similar to this it is carried on; but the emotion, of whatever kind, and in whatever degree, from various causes, is qualified by various pleasures, so that in describing any passions whatsoever, which are voluntarily described, the mind will, upon the whole, be in a state of enjoyment. If Nature be thus cautious to preserve in a state of enjoyment a being so employed, the Poet ought to profit by the lesson held forth to him, and ought especially to take care, that, whatever passions he communicates to his Reader, those passions, if his Reader’s mind be sound and vigorous, should always be accompanied with an overbalance of pleasure. I have said that poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquillity: the emotion is contemplated till, by a species of reaction, the tranquillity gradually disappears, and an emotion, kindred to that which was before the subject of contemplation, is gradually produced, and does itself actually exist in the mind. In this mood successful composition generally begins, and in a mood similar to this it is carried on; but the emotion, of whatever kind, and in whatever degree, from various causes, is qualified by various pleasures, so that in describing any passions whatsoever, which are voluntarily described, the mind will, upon the whole, be in a state of enjoyment. If Nature be thus cautious to preserve in a state of enjoyment a being so employed, the Poet ought to profit by the lesson held forth to him, and ought especially to take care, that, whatever passions he communicates to his Reader, those passions, if his Reader’s mind be sound and vigorous, should always be accompanied with an overbalance of pleasure.

Romanticism and ”I Wandered Lonely as a Cloud” I wandered lonely as a cloud That floats on high o'er vales and hills, When all at once I saw a crowd, A host of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the breeze. I wandered lonely as a cloud That floats on high o'er vales and hills, When all at once I saw a crowd, A host of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the breeze. Continuous as the stars that shine and twinkle on the Milky Way, They stretched in never-ending line along the margin of a bay: Ten thousand saw I at a glance, tossing their heads in sprightly dance. The waves beside them danced; but they Out-did the sparkling waves in glee: A poet could not but be gay, in such a jocund company: I gazed - and gazed - but little thought what wealth the show to me had brought: Continuous as the stars that shine and twinkle on the Milky Way, They stretched in never-ending line along the margin of a bay: Ten thousand saw I at a glance, tossing their heads in sprightly dance. The waves beside them danced; but they Out-did the sparkling waves in glee: A poet could not but be gay, in such a jocund company: I gazed - and gazed - but little thought what wealth the show to me had brought: For oft, when on my couch I lie In vacant or in pensive mood, They flash upon that inward eye Which is the bliss of solitude; And then my heart with pleasure fills, And dances with the daffodils. For oft, when on my couch I lie In vacant or in pensive mood, They flash upon that inward eye Which is the bliss of solitude; And then my heart with pleasure fills, And dances with the daffodils.

Group Work: ”Tintern Abbey” What is the poem about? What is the poem about? How is Wordsworth’s poem a romantic poem? How is Wordsworth’s poem a romantic poem? How does it figure the relationships between How does it figure the relationships between Men? Men? Natural entities (organic – inorganic)? Natural entities (organic – inorganic)? Man and nature? Man and nature?