The painting Liberty Leading the People by an artist named Ferdinand Delacroix, born April 26, 1798. This painting shows a woman named Marianne who is a leader of French peasant people, aristocrats, and bourgeois classes against for freedom from King Charles X (Pioche, 2002)
Instead the story uses fantasy, the supernatural intervening into a natural setting along with high imagination that is unlike any previous period works. The play is about a devious inventor named Coppelius that created a mechanical doll that was life sized (Romano, 2011)
Romanticism exalted individualism, subjectivism, irrationalism, imagination, emotions and nature - emotion over reason and senses over intellect." Romanticism get its influential start from the philosophical works of Jean Jacques Roesseau, who proclaimed God was present in nature, and led the Romantics to find a new found interest in nature and in human existence (Martilli, 2010)
Says Poe in to My Mother: My mother-my own mother, who died early, Was but the mother of myself; but you Are the Mother of the one I loved so dearly, And thus are dearer than the mother I knew By that infinity with which my wife Was dearer to my soul than its soul-life. (Poe, 1173) In 1838, Poe published the Narrative of Gordon Arthur Pym of Nantucket, and wrote William Wilson and the Fall of the House of Usher as acting editor for Burton's Gentleman's Magazine
The dramatic way in which he rose to the head of France in the chaotic wake of its bloody revolution, led his army to a series of triumphs in Europe to build a brief but influential Empire, and created new styles, tastes, and even laws with disregard for public opinion fascinated the people of the time." (Brians, 2000) In the Romantic verse and paintings of him, Napoleon is a great leader despite his humble birth
His "father" rejected him from the outset, declaring him a failure. "The beauty of the dream vanquished, and breathless horror and disgust filled my heart" (Shelley 99)
As one critic notes, "The brilliance of movement of colour in Delacroix's work is connected to the excitement and movement of his romantic subject." (Delacroix considered himself to be a 'pure classicist'
One of the most insidious responses to the popularity of the novel comes from Anna Letitia Barbauld, because her essay "On the Origin and Progress of Novel-Writing" purports to laud novels while actually serving to neuter them of any critical or ideological power. Barbauld begins by discussing what is arguably the most important role of novels, and fiction more generally: "if the end and object of this species of writing be asked, many no doubt will be ready to tell us that its object is, -- to call in fancy to the aid of reason, to deceive the mind into embracing the truth under the guise of fiction" (Barbauld 119)
One can, however, note that the mere fact the authors under discussion here found publication for their work demonstrates that they were a part of "the hierarchical nature of a world where higher learning and the upper classes had a naturally harmonious relationship" ("Towards a romantic literary professionalism" 628). Before moving on to the analysis, it is necessary to define one more crucial concept; the public sphere, which was first described by Jurgen Habermas in 1962, connotes a "an overtly commercial 'high' or 'polite' culture," and John Brewer convincingly argues that the emergence of a public sphere in England occurred during the Romantic period, with the waning of the royal court and ecclesiastical power and the emergence of a popular literary fascination with the novel (Brewer 341, 342)
While the specific details of these responses are clearly rooted in their own specific historical era, they also constitute specific iterations of a more general tendency to disparage, disregard, and divide any new forms of media and expression that threaten the oligarchical control, and to see how this is the case, one may consider Guy Debord's 1968 book The Society of the Spectacle. While Debord's book has since become a mainstay of twentieth-century Marxist criticism, and does include a number of useful insights, his criticisms of the supposed "decline of being into having, and having into merely appearing" is ultimately a criticism of the newly emerging media that allowed for more widespread dissemination of information and culture (namely television) (Debord 11)
D'Israeli is literally mourning the loss of a literary oligarchy, to the point that he actually decries the technological innovation that made ubiquitous publications possible. After listing all of the wonderful honors paid to authors in past empires, he remarks that "it is to be recollected, that before the art of printing existed, great Authors were like their works, very rare; learning was then only obtained by the devotion of a life," in contrast to his contemporary era, when, "with incessant industry, volumes have been multiplied, and their prices rendered them accessible to the lowest artisans, the Literary Character has gradually fallen into disrepute" (D'Israeli 111)
The first of these responses was written in 1788 by Viscesimus Knox, and is a discussion "Of Reading Novels and Trifling Books Without Discrimination." As the title suggests, Knox is critical of what he perceives as an "idle curiosity" that seeks "its own gratification independently of all desire of increasing the store of knowledge, improving the taste, or confirming the principles" (Knox 107)
It is a nature poem in that the bird's song inspires the poet to think on things not of this world. His heart "aches" (Keats 1) and his senses are drowsy and numb (1) by the experience
His style, structure, and attitude toward poetry propelled him into the literary world at a fast pace. His poem, "Ode to a Nightingale," demonstrates some of the most popular criteria of Romantic poetry, which are a "persistent reference to nature and natural objects, inanimate self-revelation of the poet, and direct expression of strong, personal emotion" (Perkins 8)
According to Charles Baudelaire: "Romanticism is precisely situated neither in choice of subject, nor exact truth, but in a way of feeling." (Baudelaire, Charles
The philosophic rationalism of the eighteenth century was the product of a highly civilized and privileged society which was swept away by the catastrophe of the ancient regime." (Spector, Jack the State of Psychoanalytic Research in Art History
"This style provided so satisfactory a means for achieving the musical goals of the time that almost every composer wrote in some variation of it." (Longyear, Rey M
) the Romantics tended to define and to present the imagination as our ultimate "shaping" or creative power, the approximate human equivalent of the creative powers of nature or even deity." (Enscoe, Gerald E
"Wordsworth's Tintern Abbey takes you on a series of emotional states by trying to sway readers and himself, that the loss of innocence and intensity over time is compensated by an accumulation of knowledge and insight." (Eilenberg, Susan
The central idea of his poetical creation is: "I must create a system or be enslaved by another man's." (Abrams, M