At the same time, intellectuals criticized the tasteless and unreceptive philistine bourgeoisie. Ironically, they were criticizing the same class and the same mentality from which they themselves had emerged and which had supported them. In this respect, the Romantic age was similar to the age of Enlightenment. A free press and careers open to talent provided possibilities of competitive innovation. This led to new efforts to literally train audiences to be receptive to the productions of artists and intellectuals. Meanwhile, literary hacks and Grub Street writers produced popular pot boilers for the masses. All these characteristics placed limits upon the activities of the Romantics. These limits could not be ignored. In fact, these limits often exerted pressures that can be identified as causes of the Romantic movement itself.
There were direct, immediate and forceful events that many British and European Romantics experienced in their youth. The French Revolution was a universal phenomenon that affected them all. And the Napoleonic wars after 1799 also influenced an entire generation of European writers, composers and artists. Those who were in their youth in the 1790 s felt a chasm dividing them from an earlier, pre-revolutionary generation. Those who had seen Napoleon seemed different and felt different from those who were simply too young to understand. The difference lay in a great discrepancy in the quality of their experience. Great European events, such as the Revolution and Napoleon, gave identity to generations and made them feel as one - a shared experience. As a consequence, the qualities of thought and behavior in 1790 was drastically different from what it was in 1820. In the Romantic era, men and women felt these temporal and experiential differences consciously and intensely. It is obvious, I suppose, that only after Napoleon could the cults of the hero, of hero worship and of the genius take full form. And only after 1815 could youth complain that their time no longer offered opportunities for heroism or greatness -- only their predecessors had known these opportunities.
The intellectual historian or historian of ideas always faces problems. Questions of meaning, interpretation and an acceptance of a particular Zeitgeist, or climate of opinion or world view is serious but difficult stuff. Although we frequently use words like Enlightenment or Romanticism to describe intellectual or perhaps cultural events, these expressions sometimes cause more harm than good. There is, for instance, no 18th century document, no perfect exemplar or ideal type, to use Max Weber’s word, which can be called "enlightened." There is, unfortunately, no perfect document or ideal type of which we may pronounce, "this is Romantic."
We have seen that one way to define the Romantics is to distinguish them from the philosophies. But, for both the philosophies and the Romantics, Nature was accepted as a general standard. Nature was natural - and this supplied standards for beauty and for morality. The Enlightenment’s appreciation of Nature was, of course, derived wholly from Isaac Newton. The physical world was orderly, explicable, regular, logical. It was, as we are all now convinced, a Nature subject to laws which could be expressed with mathematical certainty. Universal truths - like natural rights -- were the object of science and of philosophy. And the uniformity of Nature permitted a knowledge which was rapidly accumulating as a consequence of man’s rational capacity and the use of science to penetrate the mysteries of nature. The Enlightenment defined knowledge in a Lockian manner-that is, a knowledge based on sense impressions. This was an environmentalist psychology, if you will, a psychology in which men know only what their sense impressions allowed their faculty of reason to understand.
The Enlightenment was rationalist - it glorified human reason. Reason illustrated the power of analysis - Reason was the power of associating like experiences in order to generalize about them inductively. Reason was a common human possession - it was held by all men. Even American "savages" were endowed with reason, hence the 18th century emphasis on "common sense," and the "noble savage." Common sense - revealed by reason - would admit a groundwork for a common morality. As nature was studied in order to discover its universal aspects, men began to accept that what was most worth knowing and what was therefore most valuable, was what they had in common with one another. Society, then, became an object of science. Society revealed self-evident truths about human nature - self-evident truths about natural rights.
Social and political thought was individualistic and atomistic. As the physical universe was ultimately machinelike, so social organization could be fashioned after the machine. Science pronounced what society ought to become in view of man’s natural needs. These needs were not being fulfilled by the past -- for this reason, the medieval matrix and the ancient regime inhibited man’s progress. The desire was to shape institutions, to change men and to produce a better society -- knowledge, morality and human happiness. The intention was at once cosmopolitan and humanitarian. The 18th century life of mind was incomplete. The Romantics opted for a life of the heart. Their relativism made them appreciative of diversity in man and in nature. There are no universal laws. There are certainly no laws which would explain man. The philosophy congratulated himself for helping to destroy the ancient regime. And today, we can perhaps say, "good job!" But after all the destruction, after the ancient idols fell, and after the dust had cleared, there remained nothing to take its place. In stepped the Romantics who sought to restore the organic quality of the past, especially the medieval past, the past so detested by the pompous, powdered-wig philosophy.
Truth and beauty were human attributes. A truth and beauty which emanated from the poet’s soul and the artist’s heart. If the poets are, as Shelley wrote in 1821, the "unacknowledged legislator’s of the world," it was world of fantasy, intuition, instinct and emotion. It was a human world.
3. 3 main trends in Romanticism
Romanticism was an artistic and intellectual movement that originated in the late 1700 s in Western Europe. Transcendentalism was a group of new ideas in literature, religion, culture, and philosophy that emerged in the United States of America in the 1800 s.
Romanticism emerged as a reaction to three important trends in the 1700s. One was the Age of Enlightenment, the idea that reason was all important. The Romantics believed that reason could only take you so far. To get a true understanding of life, you needed intuition and feeling.
The second was a reaction against classicism, which emphasized order, calm, harmony, balance, idealization, and rationality. The Romantics thought that life was wild and even messy. They thought that experience could not be squeezed into something orderly and calm.
The last was a reaction against materialism, which was the pursuit of money and wealth. Materialism increased with the Industrial Revolution. As factories were built in the cities to make wool get better grades into cloth, farmers were force off the land where they had lived and worked for generations. Work life in the factories was dirty and dangerous. Small children had to work twelve or more hours, six days a week. Many were killed on the job and the factory owners did not care.
The terrible condition of life in the cities was one of the main reasons that the Romantics appreciated nature so much.
Romanticism in England is most commonly connected at first with the poets William Blake, William Wordsworth and Samuel Coleridge. These three are known as the early Romantics. Later other great poets would come along. The most important of the later Romantics were John Keats, Percy Bysshe Shelley, and Lord George Byron.
Coleridge and Wordsworth, who wrote the book "Lyrical Ballads" together in 1798, said in the preface of the book,
"The majority of the following poems are to be considered as experiments. They were written chiefly with a view to ascertain how far the language of...
THE ROMANTIC MOVEMENT
It was a very important cultural phenomenon; an ideological orientation that characterized many aspects of life, all in fact. All kinds of cultural manifestations were influenced by it. It started in Germany and extended all over Europe. It took place over a very long period from the late 18th Century up to the first half of the 19th. Yet the Romantic influence can be perceived throughout the whole of the Victorian Period (19th C.).
Romanticism is a rejection of the Neo-classical principles: hierarchy, balance, decorum, scale nature, rationalism, etc. It is a reaction against physical materialism.
In spite of being opposites, Neo-classicism and Romanticism share many things. For instance, Benevolism, which was the seed of Romanticism, first appeared a bit before the first half of the 18th Century.
Romanticism emphasizes on individuals, the imaginative, the spontaneous, the spiritual. Among the most characteristic attitudes of Romanticism are the following:
Strong appreciation of the beautiful: search for beauty is their main aspiration. There is a strong appreciation of the beauties of nature, which is the projection of perfection, it is a healing agent, something necessary to enjoy life. This idea can also be found in the previous century.
Emotion is on top of reason: emotion is praised at the expense of reason. The exaltation of senses over intellect is a constant item in Romantic literature. Things apprehended by means of feeling were preferred to those acquired by reason.
Exaltation of childhood: because of the association with spontaneity, freshness, gaiety and innocence. Children should be our point of reference. (Rousseau: man is good by nature and corrupted by civilization).
Exaltation of individual differences: the different mental potentialities that individuals have are very worth being taken into account. They are a source of inspiration for them. National and ethnic differences also are very interesting. They defend the different individual realities: exotic places, other countries customs, etc.
Exaltation on the figure of the hero: an exceptional human being, a model to follow, a Byronic protagonist. They show a deep interest in the hero's personal evolution.
Attraction towards the unsophisticated: the simple, the humble, the naïve. This goes hand in hand with philanthropy, with Benevolism.
The continuous presence of opposites, of apparent opposites, is very significant of this period.
A new concept of the writer: the artist was an individual creator. His creative potential was more important than abiding the rules. Being original matters for the first time in history. Originality is the most important thing. This brings with it a new idea of the work of art as well. Poetry or literature in general was no longer a mere reproduction of reality (Neo-classical literature was a mirror over nature). External reality does matter, but it is the way it is reproduced, the author's personal interpretation, not the content, what is important.
Imagination is the gateway to reach the spiritual sphere. Experience is important too, but imagination is superior. It is the supreme mental faculty par excellence. It allows the individual to go beyond the world of experience in order to catch a glimpse of the divine.
There is also an obsessive interest in folk culture: something picturesque is something attractive because it is old and unspoiled. The past was something idealized because it would never come back. They found tight connections between their thinking and the 'agricultural past'. They were also very much interested in previous periods such as the Renaissance or the Middle Ages, which for them were not so dark.
We can also find a predilection for the mysterious: the awkward, the occult, all in all, a predilection for the sublime. The sublime is something very close to beauty, but they make you feel differently. Beauty infers peace, attraction… and the sublime, like a storm for example, makes you feel fear, which can also be very attractive. The sublime is the juxtaposition of both things: attraction and fear. According to the Romantics, the sublime allows you to reach a vertical axis, to realize that we cannot control the Universe. Another fantastic source for metaphor, for figurative language, for excessive feelings, etc.
Romanticism can be divided into two different faces:
The first face corresponds to the early Romantic period which was mainly concerned with establishing the theoretical foundations of the movement. Poetry and Philosophical treatises are the main literary forms used for defining Romanticism and its concepts.
The second face develops from the 1830' s onwards and is concerned with the spread of cultural nationalisms. As a consequence of this a renewed interest in the past, in origins sees the light. The past is idealized and recreated. A new genre emerged: the historical Romance which makes an emphasis on the imaginative component. The past is recreated with a touch of imagination, a good example of this kind of literature is Sir Walter Scott's Waverly Novels ('Ivanhoe').
The Romantic Movement had its own peculiarities in each country but we can distinguish two main branches: the German Romanticism which influences the whole of Europe except England, and the English Romanticism.
A third main influence upon Kant was exerted by Rousseau. He was a very different kind of thinker, a counter influence to the Rationalists, to the empiricists, to Hume. He rejected the predominance of reason over emotions (Emile). 'Man is good by nature, consequently, children should be brought up in the country, surrounded by nature and learn from experience. Nature purifies and civilization corrupts. Nature is a model to imitate'.
These three philosophical trends are completely opposite to each other but Kant uses the main ideas of each and innovates philosophical thinking. Like Rousseau Kant believed that, although human reason cannot justify the existence of a spiritual world, the spiritual world existed because we feel that God exists. Consequently Kant distinguishes two kinds of reason: theoretical or pure reason and practical reason.
4. The difference between “Songs of Innocence” and “Songs of Experience”
William Blake was the son of a London hosier. He was born in 1757 in London. When he was fourteen, he apprenticed to the engraver James Basire. This is where he developed his skills. He worked as an engraver, illustrator, and drawing teacher. During this time, he also wrote poems. His Songs of Innocence was published in 1789 and Songs of Experience was published in 1793. In 1794 an edition that combined both of the two, Songs of Innocence and Experience, was published. In 1809, Blake had financial problems and became depressed, he shut himself out from the rest of the world for the remainder of his live (Sparknotes).
The Lamb is one of the first of the poems in Blake’s Songs of Innocence. In this poem, I take it as the Lamb symbolizing Jesus Christ. Jesus is the Lamb of God. The Lamb seems to be from a child’s perspective also. When I picture Jesus, I see him as interacting with children and having a special fondness for them. There are many stories in the Bible about Jesus and children. A child in the poem is asking a question. He is asking who made him. In the second stanza, he attempts to answer the question. He says that he who made him also calls himself a Lamb and we are called by his name.
The Songs from Experience starts out with Earth’s Answer. This is a sorrowful poem, full of dread. It can see no joy in the world. Even through the most light-filled times here on earth, he seems to find something dark and dreary with it. He seems to think that the father of men is selfish and vain. Why would He create sorrow and sadness, when it would be much easier for everyone to be happy?
Little Black Boy is the next poem. This poem is about a little black child and his mother. The mother teaches her child about God and how he loves everyone. He created everyone the way they are and loves them the way he made them. He doesn’t care if you are black or white, when he comes to take you up to heaven with him it makes no difference. As long as you live according to his ways, he pays no attention to something such as skin color.
Holy Thursday is about many young orphans that are marching through the town to the church. They are going to church to pay respects and acknowledge the holiday of Holy Thursday. Holy Thursday is the day that Jesus Christ died for all of our sins. It is the day that we were forgiven and given the chance to have eternal life. They sang with great energy and loudness. This was a day that they got all of their troubles and hardships and put that energy into their praising God.
Many of these poems are hard to read because they are sad and not many are uplifting at all.
5. The thing unites authors in Lake School