ROMANTICS 1798 – 1837
Romantic Age Age of Poetry Romantic Revolution Romantic Age Age of Poetry
Romantic Revolution Romantic Age Age of Poetry begins with the French Revolution (Storming of the Bastille – 1789)
Romantic Revolution Romantic Age Age of Poetry In its first phase nearly all Romantic poets were in favour of it
Romantic Revolution Romantic Age Age of Poetry William Blake – William Wordsworth – Samuel Taylor Coleridge were enthusiastic supporters.
Romantic Age Age of Poetry Romantic Revolution Romantic Age Age of Poetry The bloody excesses of the “Reign of Terror” + imperialist tendencies of Napoleon cooled down their enthusiasm, but the belief in the values expressed by the French Revolution remained.
REVOLUTIONARY SPIRIT
REVOLUTIONARY SPIRIT Sense that a new era had begun:
Connection between Poetry & Revolution REVOLUTIONARY SPIRIT Sense that a new era had begun: Connection between Poetry & Revolution
REVOLUTIONARY SPIRIT Sense that a new era had begun: Connection between Poetry & Revolution Democratic poems on simple people using simple language (no poetic diction)
Revolutionary Spirit It took various forms:
Revolutionary Spirit It took various forms: Political social revolution in America & France
Revolutionary Spirit It took various forms: Ideological revolution against all forms of authority neglecting human dignity & free choice Criticism of the social results of the Industrial Revolution
Revolt against traditional Churches Revolutionary Spirit It took various forms: Revolt against traditional Churches
Revolt against classical restraints (liberation of the subconscious) Revolutionary Spirit It took various forms: Revolt against classical restraints (liberation of the subconscious)
Revolutionary Spirit It took various forms: Artistic revolution against neo-classical rules free expression of personal feelings
Neo-classical vs. Romantic Static vision Dynamic vision
Neo-classical vs. Romantic Static vision Conservatism Dynamic vision Revolution
Neo-classical vs. Romantic Static vision Conservatism Uniformity Dynamic vision Revolution Diversity
Neo-classical vs. Romantic Static vision Conservatism Uniformity Rationality Dynamic vision Revolution Diversity Feeling
Neo-classical vs. Romantic Static vision Conservatism Uniformity Rationality Dynamic vision Revolution Diversity Sentiment God is in Nature – not above Nature Pantheistic view
Augustan vs Romantic writers:
Augustan vs Romantic writers: Stressed man’s rational side (reason) Emphasized imagination & emotion (heart)
Augustan vs Romantic writers: Were concerned with the general / universal in experience (objectivity) Were concerned with the subjective and particular (subjectivity)
Augustan vs Romantic writers: Asserted the values of society (Conservatism - static vision) Championed the value of the individual Strove for freedom (Revolutionarism - dynamic vision)
Augustan vs Romantic writers: Took inspiration from classical Greek/Romans Took interest in medieval subjects + contemporary issues
Augustan vs Romantic writers: Used artificial language (poetic diction) Used ordinary language
Reason vs. Heart
Reason vs. Heart Emotions Sensibility Supremacy of reason Rationalism /Enlightenment Emotions Sensibility
Reason vs. Heart Emotions Sensibility Supremacy of reason Rationalism /Enlightenment Balance with nature Suppression of feelings – self-control Emotions Sensibility Introspection – “Spontaneous overflow of powerful feelings”
Reason vs. Heart Supremacy of reason Rationalism /Enlightenment Balance with nature Suppression of feelings – self-control Belief in Knowledge & Progress Objectivity - Realism Emotions Sensibility Introspection Growing interest in humble & everyday life Escape - Countryside vs. City Subjectivity - Imagination
Emphasis on Feelings versus Intellect Romanticism Emphasis on Feelings versus Intellect
Feelings versus Intellect Romanticism Feelings versus Intellect Feelings such as loneliness & melancholy capable of stirring man’s best emotions
Sturm und Drang (Goethe – Schiller) German Origins Sturm und Drang (Goethe – Schiller)
Sturm und Drang (Goethe – Schiller) Open revolt against Classicism German Origins Sturm und Drang (Goethe – Schiller) Open revolt against Classicism
Two Generations of Romantics 1st Generation 2nd Generation
Two Generations of Romantics 1st Generation William Blake 2nd Generation
Two Generations of Romantics 1st Generation William Blake William Wordsworth 2nd Generation
Two Generations of Romantics 1st Generation William Blake William Wordsworth Samuel Taylor Coleridge 2nd Generation
Two Generations of Romantics 1st Generation William Blake William Wordsworth Samuel Taylor Coleridge 2nd Generation George Gordon Byron
Two Generations of Romantics 1st Generation William Blake William Wordsworth Samuel Taylor Coleridge 2nd Generation George Gordon Byron Percy Bysshe Shelley
Two Generations of Romantics 1st Generation William Blake William Wordsworth Samuel Taylor Coleridge 2nd Generation George Gordon Byron Percy Bysshe Shelley John Keats
Poetic Form Poetry to express personal feelings Introspection
Poetic Form Poetry to express personal feelings Introspection Romantics discovered reality/truth to be subjective
Poetic Form Poetry to express personal feelings Introspection Romantics discovered reality/truth to be subjective 1st-person lyric (formerly reguarded as a minor genre)
Poetic Form Poetry to express personal feelings Introspection Romantics discovered reality/truth to be subjective 1st-person lyric (formerly reguarded as a minor genre) Individualism in the I-form
Romantics failed in social / political / economic life They felt isolated from the rest of society and chose:
Romantics failed in social / political / economic life They felt isolated from the rest of society and chose: RETIREMENT in nature (Wordsworth – Coleridge “The Lake Poets”)
Romantics failed in social / political / economic life They felt isolated from the rest of society and chose: EXILE Byron was banished because of sexual scandals; Shelley for atheism & socialism RETIREMENT in nature (Wordsworth – Coleridge “The Lake Poets”)
Romantics failed in social / political / economic life They felt isolated from the rest of society and chose: REVOLT against the establishment (Blake suffered imprisonment) EXILE Byron was banished because of sexual scandals; Shelley for atheism & socialism RETIREMENT in nature (Wordsworth – Coleridge “The Lake Poets”)
Romantics looked for escape
Romantics looked for escape in Nature
Romantics looked for escape in Nature in exotic lands
Romantics looked for escape in Nature in exotic lands In history & folklore (Middle Ages – Scotland)
Romantics looked for escape in Nature in exotic lands In history & folklore (Middle Ages – Scotland) Beyond reality (supernatural – magic – hallucinated states of mind induced by drugs)
Desire to reach for the infinitive Romantic myths Desire to reach for the infinitive
Desire to reach for the infinitive To exceed human limits Romantic myths Desire to reach for the infinitive To exceed human limits
Satan, Cain, Prometheus, Faustus, Romantic myths Desire to reach for the infinitive To exceed human limits The Myth of the Outlaw: Satan, Cain, Prometheus, Faustus, Napoleon as a tyrant
Poet as a Prophet
Poet as a Prophet Romantic poets felt they were striving for something unattainable
Poet as a Prophet They knew they were destined to fail Romantic poets felt they were striving for something unattainable They knew they were destined to fail
Poet as a Prophet Romantic poets felt they were striving for something unattainable They were destined to fail Their task was to talk to other men about what they could see
Poet as a Prophet Romantic poets felt they were striving for something unattainable They were destined to fail Their task was to talk to other men about what they could see To awaken the common man from his death-like existence
Poet as a Prophet Romantic poets felt they were striving for something unattainable They were destined to fail Their task was to talk to other men about what they could see To awaken the common man from his death-like existence To help realize the potential of human mind through the healing qualities of Nature
Role of Imagination as opposed to fantasy/fancy Connected to the universe
Role of Imagination as opposed to fantasy/fancy Connected to the universe Central point of the creating process
Role of Imagination as opposed to fantasy/fancy Connected to the universe Central point of the creating process Interaction between physical world & human mind
Role of Imagination as opposed to fantasy/fancy Connected to the universe Central point of the creating process Interaction between physical world & human mind Human/divine – mortality/eternity
Role of Imagination as opposed to fantasy/fancy Connected to the universe Central point of the creating process Interaction between physical world & human mind Human/divine – mortality/eternity Emotions felt Poetry written
“Whole Nature is Imagination” William Blake
Man should learn to see: “A World in a Grain of Sand, a Heaven in a Wild Flower Hold Infinity in the palm of his hand Eternity in an Hour” William Blake
Romantic Themes:
Romantic Themes: Love for Nature
Feeling higher than reason Romantic Themes: Love for Nature Feeling higher than reason
Romantic Themes: Love for Nature Feeling higher than reason Glorification of commonplace
Romantic Themes: Love for Nature Feeling higher than reason Glorification of commonplace Interest in the supernatural / magic
Romantic Themes: Love for Nature Feeling higher than reason Glorification of commonplace Interest in the supernatural / magic “Dark” satanic hero
Concept of NATURE
NATURE Not simply a description of physical nature
NATURE Not simply a description of physical nature Nature is endowed with life, passion
NATURE Not simply a description of physical nature Nature is endowed with life, passion Nature is talked of as if God were a dearest friend
NATURE Not simply a description of physical nature Nature is endowed with life, passion Nature is talked of as if God were a dearest friend Romantic description of places thoughts about man & universe
Love for the countryside The desolate, ruins, graveyards, ancient castles, abbeys NATURE as opposed to industrial towns
Love for the countryside The desolate, ruins, graveyards, ancient castles, abbeys NATURE as opposed to industrial towns Ideal place for meditation MELANCHOLY associated with MEDITATION on the suffering of the POOR and DEATH
COMMONPLACE
COMMONPLACE Simple scenes to reveal the “ordinary” in its splendour
COMMONPLACE Simple scenes to reveal the “ordinary” in its splendour To make us see familiar things as they are
COMMONPLACE Simple scenes to reveal the “ordinary” in its splendour To make us see familiar things as they are To see with the eyes of a child
COMMONPLACE Simple scenes to reveal the “ordinary” in its splendour To make us see familiar things as they are To see with the eyes of a child Use of simple language
New aesthetic theory
New aesthetic theory Nature is perceived as a real living being
New aesthetic theory Nature is perceived as a real living being Value of sensibility
New aesthetic theory Nature is perceived as a real living being Value of sensibility Variety of individual RESPONSES to SENSATIONS
New aesthetic theory Nature is perceived as a real living being Value of sensibility Variety of individual RESPONSES to SENSATIONS Individual consciousness SUBJECTIVITY (David Hume: Subjective Beauty – Edmund Burke: Supremacy of the SUBLIME over the BEAUTIFUL
CONCEPT of the SUBLIME Edmund Burke What is beauty?
CONCEPT of the SUBLIME E. Burke What is sublime?
CONCEPT of the SUBLIME E. Burke Flowerbeds are beautiful…
CONCEPT of the SUBLIME E. Burke Daylight is beautiful …
CONCEPT of the SUBLIME E. Burke Daylight is beautiful because it can be contemplated
CONCEPT of the SUBLIME E. Burke The eruption of a volcano is sublime
CONCEPT of the SUBLIME E. Burke The eruption of a volcano is sublime A storm is sublime
CONCEPT of the SUBLIME E. Burke The eruption of a volcano is sublime A storm at sea is sublime An abyss is sublime
CONCEPT of the SUBLIME E. Burke The eruption of a volcano is sublime A storm at sea is sublime An abyss is sublime The obscurity of the night is sublime because…
CONCEPT of the SUBLIME E. Burke the sublime arouses emotions such as: Uncertainty Anxiety Anguish Astonishment Admiration, reverence, respect
BURKE’s conclusion is that…
BURKE’s conclusion is that… the great and the sublime are more effective than beauty in art because they arouse:
BURKE’s conclusion is that… the great and the sublime are more effective than beauty in art because they arouse: HORROR & FEAR ….by suspending man’s faculty of reason
SUPERNATURAL - MAGIC
SUPERNATURAL - MAGIC Universe could reveal itself to man in apparent (nature) or invisible (supernatural)
SUPERNATURAL - MAGIC Universe could reveal itself to man in apparent (nature) or invisible (supernatural) Dreams – nightmares – visions – the occult were cultivated by the Romantics
SUPERNATURAL - MAGIC Universe could reveal itself to man in apparent (nature) or invisible (supernatural) Dreams – nightmares – visions – the occult were cultivated by the Romantics Coleridge explored distorted states of consciousness brought on by drugs such as opium (Kubla Khan)
SATANIC HERO Fascination for the negative / the forbidden Glorious failure haunted by remorse (Faustus) Solitary heroes / exiles as if they had committed crimes (Byron)
Thank you for your attention.