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ROMANTICS 1798 – 1837.

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Presentation on theme: "ROMANTICS 1798 – 1837."— Presentation transcript:

1 ROMANTICS 1798 – 1837

2 Romantic Age  Age of Poetry
Romantic Revolution Romantic Age  Age of Poetry

3 Romantic Revolution Romantic Age  Age of Poetry
begins with the French Revolution (Storming of the Bastille – 1789)

4 Romantic Revolution Romantic Age  Age of Poetry In its first phase
nearly all Romantic poets were in favour of it

5 Romantic Revolution Romantic Age  Age of Poetry
William Blake – William Wordsworth – Samuel Taylor Coleridge were enthusiastic supporters.

6 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.

7 REVOLUTIONARY SPIRIT

8 REVOLUTIONARY SPIRIT Sense that a new era had begun:

9 Connection between Poetry & Revolution
REVOLUTIONARY SPIRIT Sense that a new era had begun: Connection between Poetry & Revolution

10 REVOLUTIONARY SPIRIT Sense that a new era had begun:
Connection between Poetry & Revolution Democratic poems on simple people using simple language (no poetic diction)

11 Revolutionary Spirit It took various forms:

12 Revolutionary Spirit It took various forms:
Political social revolution in America & France

13 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

14 Revolt against traditional Churches
Revolutionary Spirit It took various forms: Revolt against traditional Churches

15 Revolt against classical restraints (liberation of the subconscious)
Revolutionary Spirit It took various forms: Revolt against classical restraints (liberation of the subconscious)

16 Revolutionary Spirit It took various forms: Artistic revolution against neo-classical rules  free expression of personal feelings

17 Neo-classical vs. Romantic
Static vision Dynamic vision

18 Neo-classical vs. Romantic
Static vision Conservatism Dynamic vision Revolution

19 Neo-classical vs. Romantic
Static vision Conservatism Uniformity Dynamic vision Revolution Diversity

20 Neo-classical vs. Romantic
Static vision Conservatism Uniformity Rationality Dynamic vision Revolution Diversity Feeling

21 Neo-classical vs. Romantic
Static vision Conservatism Uniformity Rationality Dynamic vision Revolution Diversity Sentiment God is in Nature – not above Nature Pantheistic view

22 Augustan vs Romantic writers:

23 Augustan vs Romantic writers:
Stressed man’s rational side (reason) Emphasized imagination & emotion (heart)

24 Augustan vs Romantic writers:
Were concerned with the general / universal in experience (objectivity) Were concerned with the subjective and particular (subjectivity)

25 Augustan vs Romantic writers:
Asserted the values of society (Conservatism - static vision) Championed the value of the individual Strove for freedom (Revolutionarism - dynamic vision)

26 Augustan vs Romantic writers:
Took inspiration from classical Greek/Romans Took interest in medieval subjects + contemporary issues

27 Augustan vs Romantic writers:
Used artificial language (poetic diction) Used ordinary language

28 Reason vs. Heart

29 Reason vs. Heart Emotions Sensibility Supremacy of reason
Rationalism /Enlightenment Emotions Sensibility

30 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”

31 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

32 Emphasis on Feelings versus Intellect
Romanticism Emphasis on Feelings versus Intellect

33 Feelings versus Intellect
Romanticism Feelings versus Intellect Feelings such as loneliness & melancholy capable of stirring man’s best emotions

34 Sturm und Drang (Goethe – Schiller)
German Origins Sturm und Drang (Goethe – Schiller)

35 Sturm und Drang (Goethe – Schiller) Open revolt against Classicism
German Origins Sturm und Drang (Goethe – Schiller) Open revolt against Classicism

36 Two Generations of Romantics
1st Generation 2nd Generation

37 Two Generations of Romantics
1st Generation William Blake 2nd Generation

38 Two Generations of Romantics
1st Generation William Blake William Wordsworth 2nd Generation

39 Two Generations of Romantics
1st Generation William Blake William Wordsworth Samuel Taylor Coleridge 2nd Generation

40 Two Generations of Romantics
1st Generation William Blake William Wordsworth Samuel Taylor Coleridge 2nd Generation George Gordon Byron

41 Two Generations of Romantics
1st Generation William Blake William Wordsworth Samuel Taylor Coleridge 2nd Generation George Gordon Byron Percy Bysshe Shelley

42 Two Generations of Romantics
1st Generation William Blake William Wordsworth Samuel Taylor Coleridge 2nd Generation George Gordon Byron Percy Bysshe Shelley John Keats

43 Poetic Form Poetry to express personal feelings  Introspection

44 Poetic Form Poetry to express personal feelings  Introspection
Romantics discovered reality/truth to be subjective

45 Poetic Form Poetry to express personal feelings  Introspection
Romantics discovered reality/truth to be subjective 1st-person lyric (formerly reguarded as a minor genre)

46 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

47 Romantics failed in social / political / economic life
They felt isolated from the rest of society and chose:

48 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”)

49 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”)

50 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”)

51 Romantics looked for escape

52 Romantics looked for escape
in Nature

53 Romantics looked for escape
in Nature in exotic lands

54 Romantics looked for escape
in Nature in exotic lands In history & folklore (Middle Ages – Scotland)

55 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)

56  Desire to reach for the infinitive
Romantic myths  Desire to reach for the infinitive

57  Desire to reach for the infinitive To exceed human limits
Romantic myths  Desire to reach for the infinitive To exceed human limits

58 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

59 Poet as a Prophet

60 Poet as a Prophet Romantic poets felt they were striving for something unattainable

61 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

62 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

63 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

64 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

65 Role of Imagination as opposed to fantasy/fancy
Connected to the universe

66 Role of Imagination as opposed to fantasy/fancy
Connected to the universe Central point of the creating process

67 Role of Imagination as opposed to fantasy/fancy
Connected to the universe Central point of the creating process Interaction between physical world & human mind

68 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

69 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

70 “Whole Nature is Imagination”
William Blake

71 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

72 Romantic Themes:

73 Romantic Themes: Love for Nature

74 Feeling higher than reason
Romantic Themes: Love for Nature Feeling higher than reason

75 Romantic Themes: Love for Nature Feeling higher than reason
Glorification of commonplace

76 Romantic Themes: Love for Nature Feeling higher than reason
Glorification of commonplace Interest in the supernatural / magic

77 Romantic Themes: Love for Nature Feeling higher than reason
Glorification of commonplace Interest in the supernatural / magic “Dark” satanic hero

78 Concept of NATURE

79 NATURE Not simply a description of physical nature

80 NATURE Not simply a description of physical nature
Nature is endowed with life, passion

81 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

82 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

83 Love for the countryside
The desolate, ruins, graveyards, ancient castles, abbeys NATURE as opposed to industrial towns

84 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

85 COMMONPLACE

86 COMMONPLACE Simple scenes to reveal the “ordinary” in its splendour

87 COMMONPLACE Simple scenes to reveal the “ordinary” in its splendour
To make us see familiar things as they are

88 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

89 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

90 New aesthetic theory

91 New aesthetic theory Nature is perceived as a real living being

92 New aesthetic theory Nature is perceived as a real living being
Value of sensibility

93 New aesthetic theory Nature is perceived as a real living being
Value of sensibility Variety of individual RESPONSES to SENSATIONS

94 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

95 CONCEPT of the SUBLIME Edmund Burke
What is beauty?

96 CONCEPT of the SUBLIME E. Burke
What is sublime?

97 CONCEPT of the SUBLIME E. Burke
Flowerbeds are beautiful…

98 CONCEPT of the SUBLIME E. Burke
Daylight is beautiful …

99 CONCEPT of the SUBLIME E. Burke
Daylight is beautiful because it can be contemplated

100 CONCEPT of the SUBLIME E. Burke
The eruption of a volcano is sublime

101 CONCEPT of the SUBLIME E. Burke
The eruption of a volcano is sublime A storm is sublime

102 CONCEPT of the SUBLIME E. Burke
The eruption of a volcano is sublime A storm at sea is sublime An abyss is sublime

103 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…

104 CONCEPT of the SUBLIME E. Burke
the sublime arouses emotions such as: Uncertainty Anxiety Anguish Astonishment Admiration, reverence, respect

105 BURKE’s conclusion is that…

106 BURKE’s conclusion is that…
the great and the sublime are more effective than beauty in art because they arouse:

107 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

108 SUPERNATURAL - MAGIC

109 SUPERNATURAL - MAGIC Universe could reveal itself to man in apparent (nature) or invisible (supernatural)

110 SUPERNATURAL - MAGIC Universe could reveal itself to man in apparent (nature) or invisible (supernatural) Dreams – nightmares – visions – the occult were cultivated by the Romantics

111 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)

112 SATANIC HERO Fascination for the negative / the forbidden
Glorious failure haunted by remorse (Faustus) Solitary heroes / exiles as if they had committed crimes (Byron)

113 Thank you for your attention.

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