1. Neoclassicism: The dominant literary movement in England during the late seventeenth century and the eighteenth century. It sought to revive the artistic ideals of classical Greece and Rome. Characterized by emotional restraint, order, logic,, sublimity of diction, an emphasis of form over content, clarity, dignity. Its appeals to the intellect rather than to the emotions. and it prized wit over imagination. As a result, satire and didactic literature flourished. Writers: John Dryden, Jonathan Swift, and Samuel Johnson.

2. Romanticism: A movement in art and literature in the eighteenth and nineteenth centuries in revolt against the Neoclassicism of the previous centuries. "literature depicting emotional matter in an imaginative form." Imagination, emotion, and freedom are certainly the focal points of romanticism. subjectivity and an emphasis on individualism; spontaneity; freedom from rules; solitary life rather than life in society. the beliefs that imagination is superior to reason and devotion to beauty; love of and worship of nature; and fascination with the past, especially the myths and mysticism of the middle ages. English poets: William Wordsworth, Samuel Taylor Coleridge, Lord Byron, Percy Bysshe Shelley, and John Keats

3. Factors of emergence Oriental mysticism French Revolution Pre-romantic period William Wordsworth Jane Jacques Rousseau Isaac Newton John Locke Samuel Coleridge

4. Definition of Poetry “ A spontaneous overflow of powerful feelings recollected in tranquility. ” William Wordsworth Recollection of Ideas in Tranquility Major function of poetry is to quicken and soften readers sensibilities and sympathy. It aims at cultivating the effective elements of human nature.

7. Subtle Sense of Mystery A complex sense of awe in the presence of the unknown and wonder at the presence of the known. An exquisite response to the manifestations of beauty. It can be termed as Rapture. They preferred mysticism in philosophy and Medievalism.

8. Elemental simplicities of life

10. Going back to nature Idealizing childhood They found inspiration in simple elements of life like: - An ordinary sunset - A walk over hills - A cluster of spring flowers - A rain-bearing west wend - A song of a nightingale

11. Subjectivity and individualism Youth is full of pleasance, Age is full of care; Youth like summer morn, Age like winter weather; Youth like summer brave, Age like winter bare. William Shakespeare When I was young? — Ah, woful When! Ah! for the change ’ twixt Now and Then! This breathing house not built with hands, Ere I was old? Ah woful Ere, Which tells me, Youth ’ s no longer here. Samuel Coleridge

12. Unlike the neoclassical literature, Romantic poetry is subjective subjectivity of nature Subjectivity of beauty

13. Glorification of common man and place They rejected the city life. Clean ideal people Symbol of innocence and simplicity Unlike the neoclassical, they became the subject matter of poetry.

14. Supernatural strangeness Romantics accepted the supernatural images as : - products of imagination - Because of their fascination with mystery - Because of their appreciation of beauty even in strangeness. - Samuel Coleridge

15. Romantic Poet A man talks to men but of greater sensibility that makes him feel more than others, sees more than others and expresses himself deeply.

16. Romantic Nature First source of inspiration. It is dynamic not static It was not everything to them, but they would be nothing without it. Nature was subjective ; romantics used objects of nature to reflect their own moods over them. They didn ’ t use it as a background in their poetry but as a basic element of it

17. Romantic Imagination It ’ s fundamental and poetry is impossible without it. It is part of their belief in individuality Unlike fancy, Romantics believed that imagination conveys the truth. By imagination they can see what the ordinary eye can see

18. Romantic Imagination Imagination works on the senses and gives them visionary insights. Coleridge “ It is the union of deep feeling and profound thought ” - Primary imagination - Secondary imagination

19. BEHOLD her, single in the field, Yon solitary Highland Lass! Reaping and singing by herself; Stop here, or gently pass! Alone she cuts and binds the grain, And sings a melancholy strain; O listen! for the Vale profound Is overflowing with the sound. No Nightingale did ever chant More welcome notes to weary bands Of travelers in some shady haunt, Among Arabian sands: A voice so thrilling ne'er was heard In spring-time from the Cuckoo-bird, Breaking the silence of the seas Among the farthest Hebrides. The Solitary Reaper William Wordsworth

20. Will no one tell me what she sings? Perhaps the plaintive numbers flow For old, unhappy, far-off things, And battles long ago: Or is it some more humble lay, Familiar matter of to-day? Some natural sorrow, loss, or pain, That has been, and may be again? Whate'er the theme, the Maiden sang As if her song could have no ending; I saw her singing at her work, And o'er the sickle bending; I listen'd, motionless and still; And, as I mounted up the hill, The music in my heart I bore, Long after it was heard no more.