Tuesday 27 November 2018

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πŸ‘‰πŸΌWhat are the main characteristics of Romanticism?
Some of the main characteristics of Romantic literature include a focus on the writer or narrator's emotions and inner world; celebration of nature, beauty, and imagination; rejection of industrialization, organized  religion, rationalism, and social convention; idealization of women, children, and rural life; inclusion ...

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πŸ‘‰πŸΌCharacteristics of the Romantic Age & Romantic Literature

1. Individuality/Democracy/Personal Freedom

2. Spiritual/Supernatural Elements

3. Nature as a Teacher

4. Interest in Past History/Ancient Greek and Roman Elements

5. Celebration of the Simple Life

6. Interest in the Rustic/Pastoral Life

7. Interest in Folk Traditions

8. Use of Common Language

9. Use of Common Subjects

10. One Sided/Opinionated

11. Idealized Women

12. Frequent Use of Personification

13. Examination of the Poet's Inner Feelings

πŸ‘‰πŸΌSome of the main characteristics of Romantic literature include a focus on the writer or narrator’s emotions and inner world; celebration of nature, beauty, and imagination; rejection of industrialization, organized religion, rationalism, and social convention; idealization of women, children, and rural life; inclusion of supernatural or mythological elements; interest in the past; frequent use of personification; experimental use of language and verse forms, including blank verse; and emphasis on individual experience of the "sublime."..


πŸ‘‰πŸΌOne of the most significant aspects of Romanticism was its emphasis on the strange and the mysterious. To a large extent, Romanticism was a reaction against the rationalism of the Enlightenment, which had privileged reason as a source of knowledge about ourselves and the world around us. Most Romantics welcomed the progress that the Enlightenment had made in getting rid of some of the fanaticism, superstition, and obscurantism—the deliberate withholding of knowledge from people—associated with various pre-modern authorities, most notably the Catholic Church.

Yet there was also a widespread consensus among Romantics that the Enlightenment had gone too far in its project of disenchanting the world. Even with all the huge strides that had been made in natural science, Romantics insisted that there was a still a lot about the world that we could not know and indeed never would.

The world was full of mystery, and Romantic art, in all its various forms, sought to explore this mystery in considerable depth. Whether it was through Gothic novels such as Mary Shelley's Frankenstein, the poems of Wordsworth (which presented nature as deeply infused with a sublime, almost supernatural force), or the spiritual landscapes of the German painter Caspar David Friedrich, Romantics wanted to draw our attention to a world of mystery, a world which stubbornly defied all attempts at categorization by the thinkers of the Enlightenment.


πŸ‘‰πŸΌFirst, we must separate “drama” from theatre – there was plenty of theatrical activity between, let us say, 1800 and 1850, but the plays of that era appealed to the crowds as entertainment, not art, and many were in the “Melodrama” category.  The Romantic literary spirit lent itself more to the "one narrator" form of verse, rather than the “no narrator” dramatic form, since it dealt with a personal response to natural events.  However, there were several products of Coleridge, Byron, Shelley, Wordsworth, etc. that were “dramatic” according to Aristotle’s definition; Coleridge’s Osorio or The Borderers, for example, and Prometheus Unbound  (Shelley).  Sometimes called “closet dramas,”  these pieces were not meant to be performed primarily, but to be read (sometimes aloud by amateurs in their parlors). Byron called it “mental theatre.”    They were written often based on the political unrest of the Revolutionary times in Ameri

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