...Themes During the Romantic Age The Romantic Age consists of many different authors that come from many different backgrounds. The authors that make up this era never group themselves together. The focuses of various ideas throughout their works are why Victorian critics first identified this group of authors as “the Romantics” (Greenbalt 1418). Hays says the writers of this time period “were joined by shared ideals” and they “were, in many respects divided, but were also united by their oppositional politics, by the depth of their convictions, and by their youth” (xix). Another reason many critics group these particular authors together is the reoccurring themes they use throughout their stories and poems. Three main themes these romantic authors use are nature, imagination, and individualism. The Romantic Age writers focus on the theme of nature throughout many works. Keats directly compares writing and nature together by saying, “if poetry comes not as naturally as the Leaves to a tree it had better not come at all” (qtd. in Coombs 41). Romantic writers “were interested primarily in universals, in looking at nature as the mirror of universal truth seen not in its particulars, that is, in celandines, daisies, birds, one man’s life, or remote regions of the past, but rather in the ordered harmony of sun, moons, stars, and seasons, and in the lives of men in general” (Coleridge in his Time 31). Coombs also states nature “offers a completely new set of spiritual values” (40)...
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...The Romantic poetry was limited to a few poets, still, those few altered the aspect of literature forevermore. In a group of such prominent poets were George Crabbe and Thomas Moore who gave vivacious renderings of natural scenes with Romantic emotionality. George Crabbe was one of the first poets whose works provided the link between Pre- Romanticism and Romanticism. He was a great bard of nature who portrayed it as strange being and arresting as no other Romantic poet did and therefore was named by Byron as “Nature’s sternest painter”. Throughout the age, Crabbe persisted in his precise, realistic portraits of rural life and landscape, writing mainly in the heroic couplets of the neoclassical age. His poems described village manners without...
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...His preference for short literary works shows it’s obvious he did not “gamble” like the rest of his fellow writers, such as his innovation of connecting art and environment. Recent critics have focused on his literary method; Poe has tackled the problem of a pieces of work relying so heavily on risque elements. Poe is known as “The Father of the Macabre,” as he is a “skilled craftsman of grotesque tales and romantic fantasies,” (shaping many into one). However, Poe was more than a horror story and poem writer, in fact his oeuvre includes editor, literary critic, satirist, hoaxer, mystery writer, pioneer in the Sci-Fi (science-fiction) genre, poet, and playwright. Poe created an “aesthetic theory, setting the basis to American scepticism through the first person narrative, “ (shaping many into one). Poes’ had a connection to the American culture and improved upon American literature through his philosophy of composition, celebrating a liaison between artistic autonomy and productivity, mainly prose fiction. he also believes that “the power of words expresses the concept of endless productivity,” (poe...
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...every country of Europe, the United States, and Latin America that lasted from about 1750 to about 1870, characterized by reliance on the imagination and subjectivity of approach, freedom of thought and expression, and an idealization of nature. The term romantic first appeared in 18th-century English and originally meant “romancelike”—that is, resembling the fanciful character of medieval romances. II ORIGINS AND INSPIRATION By the late 18th century in France and Germany, literary taste began to turn from classical and neoclassical conventions (see Classic, Classical, and Classicism). Inspiration for the romantic approach initially came from two great shapers of thought, French philosopher Jean Jacques Rousseau and German writer Johann Wolfgang von Goethe. A The Romantic Spirit Rousseau established the cult of the individual and championed the freedom of the human spirit; his famous announcement was “I felt before I thought.” Goethe and his compatriots, philosopher and critic Johann Gottfried von Herder and historian Justus Möser, provided more formal precepts and collaborated on a group of essays entitled Von deutscher Art und Kunst (Of German Style and Art, 1773). In this work the authors extolled the romantic spirit as manifested in German folk songs, Gothic architecture, and the plays of English playwright William Shakespeare. Goethe sought to imitate Shakespeare's free and untrammeled style in his Götz von Berlichingen (1773; translated 1799), a historical drama...
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...have just finished, it would be odd indeed if you did not begin swapping opinions. It is inevitable that people will ponder, discuss, and analyze the works of art that interest them. The informal criticism of friends talking about literature tends to be casual, unorganized, and subjective. Since Aristotle, Plato and other prominent literary critics, philosophers, scholars, and writers have tried to create more precise and disciplined ways of discussing literature. This day, literary criticism provides some general guidelines to help us analyze, deconstruct, interpret and evaluate different literary works. Literary critics have borrowed concepts from other disciplines, like linguistics, psychology, and anthropology, to analyze imaginative literature more perceptively. Mass media critics, such as newspaper reviewers, usually spend their time evaluating works—telling us which books are worth reading, which movies not to bother seeing. We usually see literary criticism in a book review or critical essay; however, nowadays the Internet has made all forms of criticism readily available in everything from personal blogs to social media. In this discussion, we will take a look at the different Perspectives and Techniques in Literary Criticism and how they influenced literary works. CLASSICISM Classicism is a specific genre of philosophy, expressing itself in literature, architecture, art, and music.Classicism both as an art style and as the first theory of art was defined...
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...PREFACE This major project examines the indispensable desiderata of Transcendentalism in comparison to the Dark Romantics background and how these technicalities prepare this work of art as an influential synthesis of human imagination incorporated with mystic facts. Transcendentalism and Dark Romanticism were two literary movements that occurred in America during roughly the same time period (1840—1860). Although the two had surface similarities, such as their reverence for Nature, their founding beliefs were quite different, enough to make one seem almost the antithesis of each other. Moreover one’s genesis is ventured out from other; i.e. Dark Romanticism from the roots of Transcendentalism or precisely the lacunae are best determined for raising up the term called Dark Romanticism. Contents S. No. Page no. Chapter 1.........................................................................................................4-14 Chapter 2.........................................................................................................15-23. Chapter 3..........................................................................................................24-27 Resolution.........................................................................................................28-29 Work Cited................................................................
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...Women, Romance Novels and Shame Mac H English Composition 111 22 March 2013 Introduction “Bodice-ripper”, “trashy books”, “porn for women”, these are just some of the derogatory terms used to describe romance novels. The romance genre has maintained a steady popularity among women for many decades. Afraid of women gaining power in any form, they were labeled sub par literature by a male dominated social and literary culture. This anthology will attempt to answer the question of why women who read romance novels are ashamed of their choice or reading material and why these books are vilified in the literary world. Previous generations established a woman’s place as a mother and homemaker no matter her social status. This fear of women wielding more knowledge and power through reading was born because the women depicted in romance novels were independent and free of the sexual, social, and financial constraints that a patriarchal society placed on them. Although romance novels do not come to mind when literature is discussed, if you listen carefully you will realize they are actually the subtle battle cry of the feminist movement. Romance novels fly high the flag of feminism; they are the drumbeat swelling the dynamic purposefulness of women who read them. Nevertheless, the genre is covered in a layer of disdain and scorn and women are made to feel ashamed of reading such literature. The stigma attached to these books suggest that anyone who reads them...
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...presented her sister Emily as an unconscious artist who “did not know what she had done”. Unlike what Charlotte thought of her sister, some literary critics agree on the fact that it is a very carefully constructed novel. The main problem of critical response was that critics could not work out its moral standpoint. Both lovers deliberately marry other partners. As Catherine Earnshaw dies halfway through the novel, which pair of lovers is meant to carry our approval, Catherine and Heathcliff or young Catherine and Hareton? Moreover their voices reach us through a medley of others: Mr Lockwood, Nelly, Isabella, who are often ignored by readers. A parable of a natural equilibrium disturbed by an external force and eventually somehow restored. The theory that a principle of calm and storm informs the novel provided a comprehensive interpretation. The two aspects (calm and storm) are not necessarily conflicting and will ultimately lead to a state of equilibrium. The world described by the novel is pre-moral, and the drives of the main characters seem to reach beyond their death and strive for transcendence. (Early Victorian Novelists, Lord David Cecil, 1934) A restless force, represented by C and H, which continually pushes against a framework of religion, propriety, social expectations. The novel represents a clash of social classes and economic interests where the respectable farming class (the Earnshaws) is progressively destroyed by the newly wealthy capitalists (H)...
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...1. Literature of the 17th century. John Milton. “Paradise Lost”. John Bunyan. “Pilgrim’s Progress”. The peculiarities of the English literature of the 17th century are determined by the events of the Engl. Bourgeois Revolution, which took place in 1640-60. King Charles I was beheaded in 1649& General Oliver Cromwell became the leader of the new government. In 1660, shortly after Cro-ll’s death, the dynasty of the Stuarts was restored. The establishment of new social&eco-ic relations, the change from feudal to bourgeois ownership, escalating class-struggle, liberation movement and contradictions of the bourgeois society found their reflection in lit-re. The main representatives of this period is: John Milton: was born in London&educated at Christ’s College. He lived a pure life believing that he had a great purpose to complete. At college he was known as the The Lady of Christ’s. he Got master’s degree at Cambridge. It’s convenient to consider his works in 3 divisions. At first he wrote his short poems at Horton. (The Passion, Song on May Morning, L’Allegro). Then he wrote mainly prose. His 3 greatest poems belong to his last group. At the age of 23 he had still done little in life&he admits this in one of his sonnets. (On his 23d B-day) In his another sonnet he wrote on his own blindness. (On his Blindness) Milton wrote diff. kinds of works. His prose works were mainly concerned with church, affairs, divorce & freedom. The English civil war between Charles...
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... | | | |Influences[show] | |Nikolai Karamzin, Lord Byron | | | |Influenced[show] | |Fyodor Dostoevsky, Vladimir Nabokov, Henry James | Alexander Sergeevich Pushkin (Russian: Алекса́ндр Серге́евич Пу́шкин, pronounced [ɐlʲɪˈksandr sʲɪˈrgʲevʲɪtɕ ˈpuʂkʲɪn], [pic]listen (help·info)) (June 6 [O.S. May 26] 1799–February 10 [O.S. January 29] 1837) was a Russian author of the Romantic era[1] who is considered to be the greatest Russian poet[2][3][4][5] and the founder of modern Russian literature.[6][7] Pushkin pioneered the use of vernacular speech in his poems and plays, creating a style of storytelling—mixing drama, romance, and satire—associated with Russian literature ever since and greatly influencing later...
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...objects of the Poet's thoughts are every where; though the eyes and senses of man are, it is true, his favorite guides, yet he will follow wheresoever he can find an atmosphere of sensation in which to move his wings. Poetry is the first and last of all knowledge--it is as immortal as the heart of man" (William Wordsworth, 1798). Romanticism poets developed independence, love for the native universe, vision, physical and passionate energy. Romanticism artists set themselves in resistance to the request and discernment of traditional and neoclassical masterful statutes to embrace liberty and transformation in their craft and politics. The Romantic period produced a significant number of the stereotypes of writers and poetry that exist right up 'til the present time that is the poet as an exceptionally tortured and despairing visionary. Romantic artist ideals never particular ceased to exist in poetry, but were impressively understood into the principals of numerous different developments. Remnants of romanticism existed on in the French symbolism and surrealism and in the works of outstanding poets. The history of ballet goes back about 600 years and it has been an expedition of alteration, growth and new ages. It is intriguing to uncover every differentiating times in ballets choreography, so you should identify the seven remote eras in dance history. Ballet has always been developing and progressing with time, fashion and society. Yet now, ballet is carrying on pushing ahead...
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...Give a critical account of the approach taken by any one or two Modern writers depiction of urban life ‘Why do I dramatise London so perpetually’ Woolf wondered in the final months of her life. This essay will seek to examine Woolf’s Mrs Dalloway and Eliot’s The Waste Land to observe their perpetual fascination with expressing metropolis as a vision of modernity. It will attempt to scrutinize the overwhelming nature of urban life, urban life’s effect on humanity, metropolis being the forefront of society, and also the depiction of a single urban consciousness. Through examining these depictions of urban life, this essay aims to observe the effects rapid urbanisation had on the modern movement and its respective authors. Woolf presents Mrs Dalloway’s consciousness as a vessel to voice the overwhelming nature of urban life and the problem of anxiety experienced in modern metropolis. Immediately in the first paragraph Clarissa’s anxieties are voiced as she embarks to the city to prepare for her party. Clarissa’s consciousness jumps to her memory of a ‘girl of eighteen’ and the solemn and ‘feeling that something awful was about to happen’. The contrast to her feeling of excitement to a feeling of anxiety is stark. The protagonist begins by exclaiming ‘how fresh how calm’ and then to experiencing feeling threatened as her attention reverts from the natural to the ‘uproar of the carriages, motor cars, omnibuses, vans… she loved; life; London’. Woolf plunges the reader into...
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...gender. The pervasiveness of male discourse is a particular target for post-structuralist feminism. What I hope to achieve is an analysis of the theory in relation to the character of Catherine Barkley and her romantic relationship with the novel’s narrator and protagonist Frederick Henry. For poststructuralist theory the common factor in the analysis of social organization, social meanings, power and individual consciousness is language. Language is the place where actual and possible forms of social organization and their likely social and political consequences are defined and contested. Weedon in Storey, ed. (555) However, within Hemingway’s novels language is used to different effect, or rather the omission of it is. Hemingway’s aversion to theory is discussed in Owens-Murphy’s essay on pragmatism. She quotes Scott Donaldson as saying both Hemingway and his characters show, “a disinclination to philosophize, much”(87). Hemingway’s own theory of omission is based on the knowledge of the writer and their ability to get the point across in the simplest way. By including omissions within the writing Hemingway felt the reader was able to see things from their own perspective. Hemingway’s Theory of Omission states that if a writer has enough knowledge on a...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...14 March 2012 ENH 242 The British American Conversion American writer William Carlos Williams widely recognized for a frugal use of lexicon stands apart as one of the most significant forces of twentieth-century poetry. A myriad of ingredients, including people, experiences, and circumstances, combined to influence Williams’ poetry and prose. Williams’ writing, along with that of many of the emerging American Modernist poets, is also considered to be a reaction to the verbose poetry and prose he had been exposed to growing up. “The ‘New Poetry,’ as it was called, was largely a revolt against the Romanticism of the previous decades” (Scott 18). In addition, Williams’ poetry was inspired by societal and cultural changes occurring during the early twentieth century. William Carlos Williams led the way into an Americanized style of poetry, diverging from the grandiloquent manner of European writers, to create a form of modernist poetry that remains as relevant today as it did when it was written. The essence of William Carlos Williams’ innovative style of writing derives from his remarkably plebian upbringing. Born in 1883 to an English father and Puerto Rican mother in Rutherford, New Jersey, Williams was exposed to art, literature, and the Bible by his family. His father and mother instilled in him a sense of idealism and moral perfectionism that terrified Williams. In 1904 Williams wrote “I never did and never will do a premeditated bad deed in my life,” (Williams Carlo...
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