scholarly journals The Napoleon mystique and British poets

2019 ◽  
Vol 17 (26) ◽  
pp. 359-377
Author(s):  
Mary Anne Mc Danel de García
Keyword(s):  
William Wordsworth ◽  
British Literature ◽  
Samuel Taylor Coleridge ◽  
Lord Byron ◽  
Precise Definition ◽  
Romantic Era ◽  
At Home

This reflection on the influence of Napoleon and the consequences of the wars on the major British poets of the Romantic era is meant to illustrate how the reactions of both nobility and commoners are recorded in literature and media. The dual perception of Napoleon as both hero and tyrant and the atrocious suffering of those at home and bloody battles are manifest in the works of the major poets, William Wordsworth, Samuel Taylor Coleridge, Percy Bysshe Shelly, and especially George Gordon, Lord Byron. Even today, Napoleon transcends precise definition and he has inspired some of the greatest poets in British literature

Madness Writing Poetry/ Poetry Writing Madness

2017 ◽  
Author(s):  
James Whitehead
Keyword(s):  
William Wordsworth ◽  
Samuel Taylor Coleridge ◽  
English Literature ◽  
Percy Bysshe Shelley ◽  
John Keats ◽  
William Blake ◽  
Lord Byron ◽  
The Public ◽  
John Clare ◽  
Romantic Poetry

The final chapter returns to the scene of Romantic poetry, looking at poetry by William Blake, William Wordsworth, Samuel Taylor Coleridge, John Keats, Lord Byron, Percy Bysshe Shelley, and John Clare. It reads these Romantic texts as poised articulations of the idea of poetic madness, and discusses generally how these writers contributed to, or interwove with their own lives and works, new and rediscovered mythologies of madness, sometimes anticipating or resisting the public images created by journalism, criticism, or biography, previously described. Finally, the Romantic mad poet is considered in relation to criticism and the canonical role of Romanticism in English literature.

scholarly journals Discursive Constructions of the Self in British Romanticism

2008 ◽  
pp. 0
Author(s):  
Christoph Bode
Keyword(s):  
William Wordsworth ◽  
Samuel Taylor Coleridge ◽  
John Keats ◽  
William Blake ◽  
Lord Byron ◽  
Wallace Stevens ◽  
Robert Frost ◽  
British Romanticism ◽  
Charlotte Smith ◽  
Discursive Constructions

Abstract This essay examines how subjective identities are discursively constructed in William Blake and P.B. Shelley, making brief references to William Wordsworth, Samuel Taylor Coleridge, Lord Byron, John Keats, and Charlotte Smith. It is argued that, although the poets come up with strikingly divergent solutions to the challenge of self-modelling, they face the same fundamental problems of self-grounding, working as they do within the paradox-prone paradigm of a Romantic self that tries to constitute itself out of itself. Comparing these Romantic poets with twentieth-century poetic models of selfhood and identity in Robert Frost and Wallace Stevens, this essay provides a tentative answer to the question of whether we continue to operate within the Romantic framework of discursive self-construction or whether in fact we have moved beyond this mode of self-construction.

Romanticism: Characteristics, Themes and Poets

2021 ◽  
Vol 9 (5) ◽  
pp. 66-74
Author(s):  
Mr Amit
Keyword(s):  
William Wordsworth ◽  
English Literature ◽  
Lord Byron ◽  
The United States ◽  
Second Phase ◽  
Ludwig Tieck ◽  
Creative Mind ◽  
Jean Paul ◽  
Romantic Era ◽  
Lyrical Ballads

This paper examines about Romanticism or Romantic era, themes and some famous writers, poets and poems of romantic era. Romanticism is one of the repetitive topics that are connected to either creative mind, vision, motivation, instinct, or independence. The subject frequently condemns the past, worries upon reasonableness, disconnection of the essayist and pays tribute to nature. Gone before by Enlightenment, Romanticism brought crisp verse as well as extraordinary books in English Literature. Begun from England and spread all through Europe including the United States, the Romantic development incorporates well known journalists, for example, William Wordsworth, Coleridge, Keats, Lord Byron, Shelley, Chatterton, and Hawthorne. ‘Romantic’ has been adjusted from the French word romaunt that implies a story of Chivalry. After two German scholars Schlegel siblings utilized this word for verse, it changed into a development like an epidemic and spread all through Europe. Romanticism in English writing started during the 1790s with the distribution of the Lyrical Ballads of William Wordsworth and Samuel Taylor Coleridge. Wordsworth's "Preface" to the subsequent version (1800) of Lyrical Ballads, in which he portrayed verse as the spontaneous overflow of powerful feelings", turned into the statement of the English Romantic development in verse. The first phase of the Romantic movement in Germany was set apart by advancements in both substance and artistic style and by a distraction with the mysterious, the intuitive and the heavenly. An abundance of abilities, including Friedrich Hölderlin, the early Johann Wolfgang von Goethe, Jean Paul, Novalis, Ludwig Tieck, A.W. what's more, Friedrich Schlegel, Wilhelm Heinrich Wackenroder, and Friedrich Schelling, have a place with this first phase. The second phase of Romanticism, involving the period from around 1805 to the 1830s, was set apart by a reviving of social patriotism and another regard for national roots, as bore witness to by the accumulation and impersonation of local old stories, people songs and verse, society move and music, and even recently disregarded medieval and Renaissance works. The resuscitated recorded  appreciation was converted into creative composition by Sir Walter Scott, who is frequently considered to have imagined the verifiable novel. At about this equivalent time English Romantic verse had arrived at its peak in progress of John Keats, Lord Byron, and Percy Bysshe Shelley.

Romantic Prayer

2021 ◽  
Author(s):  
Christopher Stokes
Keyword(s):  
Lived Experience ◽  
William Wordsworth ◽  
Percy Bysshe Shelley ◽  
John Keats ◽  
Lord Byron ◽  
Religious Traditions ◽  
William Cowper ◽  
Anna Letitia Barbauld ◽  
Romantic Era ◽  
Aesthetic Distance

Whilst religion and the secular have been continually debated contexts for literature of the Romantic era, the dominant scholarly focus has always been on doctrines and denominations. In analysing the motif of devotion, this book shifts attention to the quintessential articulation of religion as lived experience, as practice, and as a performative rather than descriptive phenomenon. In an era when the tenability and rationality of prayer were much contested, poetry—a form with its own interlinked history with prayer, especially via lyric—was a unique place to register what prayer meant in modernity. This study illustrates how the discourse of prayer continually intervened in the way that poetic practices evolved and responded to the religious and secular questions of the eighteenth- and nineteenth-century moment. After laying out the details of prayer’s historical position in the Romantic era across a spread of religious traditions, it turns to a range of writers, from the identifiably religious to the staunchly sceptical. William Cowper and Anna Letitia Barbauld are shown to use poetry to reflect and reinvent the ideals of prayer inherited from their own Dissenting denominational histories. Samuel Taylor Coleridge’s work is analysed as part of a long engagement with the rationality of prayer in modernity, culminating in an explicit ‘philosophy’ of prayer; William Wordsworth—by contrast—keeps prayer at an aesthetic distance, continually alluding to prayerful language but rarely committing to a devotional voice itself. John Keats, Percy Bysshe Shelley, and Lord Byron are treated in the context of departing from Christianity, under the influence of Enlightenment, materialist and atheist critique—what happens to prayer in poetry when prayer as a language is becoming impossible to maintain?

Romantic Italy and Restoration Politics: Romantic Poetry, Lady Morgan’s Italy and Mary Shelley’s Valperga

2019 ◽  
pp. 29-61
Author(s):  
Patricia Cove
Keyword(s):  
William Wordsworth ◽  
Historical Novel ◽  
Lord Byron ◽  
Status Quo ◽  
Cultural Appropriation ◽  
Felicia Hemans ◽  
Territorial Expansion ◽  
Romantic Poetry ◽  
Romantic Era

Chapter 1 analyses Romantic-era responses to the Congress of Vienna and 1820-1 Italian uprisings, with attention to Lady Morgan’s travelogue Italy (1821) and Mary Shelley’s historical novel Valperga (1823). Although the tropes of decay and rebirth that pervade British Romantic poetry about Italy by William Wordsworth, Felicia Hemans, Lord Byron and P. B. Shelley tend to elide contemporary Italy in favour of a distant, idealised past and imminent but imagined future, Morgan and Shelley historicise Italy to demonstrate that outside influence and occupation shaped the peninsula, while Italy mediated the major European powers’ views of themselves and each other. Morgan and Shelley place Italy, a cluster of minor states, within a broad, European context of cultural appropriation, imperialist territorial expansion and failed diplomacy, to interrogate the discourse of Italian decay and offer, instead, Italy as a potential site of concrete resistance to the post-Napoleonic status quo.

Creative Shipwrecks: Coleridge’s The Rime of the Ancient Mariner and Byron’s Don Juan

2007 ◽  
Author(s):  
L. Michelle Baker
Keyword(s):  
Literary Theory ◽  
William Wordsworth ◽  
Samuel Taylor Coleridge ◽  
Contemporary Literature ◽  
Lord Byron ◽  
Coherent System ◽  
Don Juan ◽  
Philosophical Work ◽  
William Hazlitt ◽  
As If

Abstract Contemporary discussions of English Romantic philosophers and their theories often include such names as William Wordsworth, Samuel Taylor Coleridge, William Hazlitt, Thomas DeQuincey, and Charles Lamb, but rarely do they treat of George Gordon, Lord Byron. While Byron’s reputation was not built upon complex philosophical explications of literary theory, the passion of his life did not preclude that of his mind. He has left us with no overtly philosophical work, and yet, many of the digressions in Don Juan are directed at the poets and philosophers of his time and some others seem to point us to a coherent system of thought about literature and how it works. Specifically, Juan’s voyage at sea contains several passages which parody Coleridge’s Rime of the Ancient Mariner. Some of these similarities have been explored, but are frequently treated as if Byron were simply creating a pastiche of contemporary literature. However, Coleridge had used the Rime to elucidate a portion of his understanding of how literature works. It seems possible that Byron is purposely answering Coleridge in the second canto of Don Juan. Thus, we may be able to use Byron’s natural imagery and poetic technique to piece together a philosophical statement from that most unphilosophical of Romantics, Lord Byron.

Introduction

2020 ◽  
pp. 1-15
Author(s):  
Simon Bainbridge
Keyword(s):  
Samuel Taylor Coleridge ◽  
John Keats ◽  
Lord Byron ◽  
Ann Radcliffe ◽  
Literary Authority ◽  
Romantic Period ◽  
Romantic Era ◽  
The Creation ◽  
Walter Scott ◽  
Dorothy Wordsworth

This ‘Introduction’ establishes the importance of the activity Samuel Taylor Coleridge christened ‘mountaineering’ for the literature of the Romantic period. It discusses the etymologies of the words ‘mountaineering’ and ‘mountaineer’, showing how they indicated the creation of a new activity and identity. The chapter outlines the mountaineering pursuits and writings of a number of the period’s authors, including William and Dorothy Wordsworth, Ann Radcliffe, Coleridge, Percy Shelley, Lord Byron, Walter Scott, John Keats, and Ellen Weeton, exploring the emerging link between ascent and literary authority. The introduction situates the overall study in terms of current research in the fields of mountaineering and Romantic-era literature.

Literature and Philosophy

2018 ◽  
Author(s):  
Tim Milnes
Keyword(s):  
Immanuel Kant ◽  
William Wordsworth ◽  
David Hume ◽  
Samuel Taylor Coleridge ◽  
William Blake ◽  
Philosophical Significance ◽  
Literature And Philosophy ◽  
William Hazlitt ◽  
Thomas Love Peacock ◽  
Romantic Era

This chapter proposes that our very notions of ‘literature’ and ‘philosophy’ are, to a great extent, forged in the Romantic era. The chapter surveys the eighteenth-century background to this issue in the sceptical empiricism of David Hume and the German transcendental idealism of Immanuel Kant, F. W. von Schelling, and J. G. Fichte. In examining the writings of William Blake, Edmund Burke, Samuel Taylor Coleridge, William Wordsworth, and William Hazlitt, it also charts the ways in which the revolutionary debates of the 1790s politicized the disciplines of philosophy and ‘theory’, leading to an anti-philosophical rhetoric in the work of writers such as Thomas Love Peacock, Charles Lamb, and Lord Byron. Finally, the chapter scrutinizes the boundaries between Romantic philosophy and the Scottish common-sense philosophy of Thomas Reid and Dugald Stewart, before examining the philosophical significance of the idea of ‘Literature’ in the work of Romantic writers, particularly Percy Shelley and John Keats.

The History of Missed Opportunities

2017 ◽  
Author(s):  
William H. Galperin
Keyword(s):  
Eighteenth Century ◽  
William Wordsworth ◽  
Jane Austen ◽  
Lord Byron ◽  
Missed Opportunities ◽  
Romantic Period ◽  
The Everyday ◽  
Everyday World ◽  
History Of ◽  
Multiple Levels

This study is about the emergence of the everyday as both a concept and a material event and about the practices of retrospection in which it came to awareness in the romantic period in “histories” of the missed, the unappreciated, the overlooked. Prior to this moment everyday life was both unchanging and paradoxically unpredictable. By the late eighteenth century, however, as life became more predictable and change on a technological and political scale more rapid, the present came into unprecedented focus, yielding a world answerable to neither precedent nor futurity. This alternative world soon appears in literature of the period: in the double takes by which the poet William Wordsworth disencumbers history of memory in demonstrating what subjective or “poetic” experience typically overlooks; in Jane Austen, whose practice of revision returns her to a milieu that time and progress have erased and that reemerges, by previous documentation, as something different. It is observable in Lord Byron, thanks to the “history” to which marriage and domesticity are consigned not only in the wake of his separation from Lady Byron but during their earlier epistolary courtship, where the conjugal present came to consciousness (and prestige) as foredoomed but an opportunity nonetheless. The everyday world that history focalizes in the romantic period and the conceptual void it exposes in so doing remains a recovery on multiple levels: the present is both “a retrospect of what might have been” (Austen) and a “sense,” as Wordsworth put it, “of something ever more about to be.”

scholarly journals Lord Byron’s Feminist Canon: Notes toward Its Construction

2006 ◽  
Author(s):  
Paul Douglass
Keyword(s):  
William Wordsworth ◽  
Lord Byron ◽  
Mary Robinson ◽  
Madame De Stael ◽  
Narrative Poetry ◽  
Male Characters ◽  
Female Authorship ◽  
Charlotte Dacre ◽  
Joanna Baillie ◽  
Hannah Cowley

Abstract Lord Byron took a highly ambivalent attitude toward female authorship, and yet his poetry, letters, and journals exhibit many proofs of the power of women’s language and perceptions. He responded to, borrowed from, and adapted parts of the works of Maria Edgeworth, Harriet Lee, Madame de Staël, Mary Shelley, Elizabeth Inchbald, Hannah Cowley, Joanna Baillie, Lady Caroline Lamb, Mary Robinson, and Charlotte Dacre. The influence of women writers on his career may also be seen in the development of the female (and male) characters in his narrative poetry and drama. This essay focuses on the influence upon Byron of Lee, Inchbald, Staël, Dacre, and Lamb, and secondarily on Byron’s response to intellectual women like Lady Oxford, Lady Melbourne, as well as the works of male writers, such as Thomas Moore, Percy Shelley, and William Wordsworth, who affected his portrayal of the genders.

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