I fell in love with the British Romantic poets when I took a course about them, and I fixated like a chick on the first one we studied, William Blake. He seemed very different from me, and in touch with something tremendous: I wanted to know about it. Ten years later I wrote my doctoral dissertation on Blake, and then published quite a bit about him. Meanwhile there were other poets, poets in other countries, and painters and musicians: besides being accomplished at their art, I find their ideas about nature, the self, art, and society still resonate with me.
In this book I explore Romanticism during the period of its incubation, birth, and growth, covering the years from 1760 to 1860. It incorporates not only the English but the Continental movements, and not only literature but music, art, religion, and philosophy. It sheds light on such subjects as the "Sensibility" movement, which preceded Romanticism; the rising prestige of the poet as inspired prophet; the rather different figure of the "poetess"; Romanticism as a religious trend; Romantic philosophy and science; and Romantic responses to the French Revolution, the Orient, and the condition of women. Some two hundred people are cited or quoted, many at length, including Blake, Wordsworth, Coleridge, Byron, Shelley, Keats, Emerson, Hugo, Goethe, Pushkin, Beethoven, Berlioz, Chopin, and Delacroix.
When I was a student I found this book an inspiration. Beautifully written, it brings out deep affinities between the poetry and ideas of Wordsworth, Shelley, and other poets in England and the idealist philosophers in Germany, and the ways both groups rewrote the cosmic ideas of Christianity and ancient esoteric systems. It continually sets off sparks with its surprising comparisons. In the fifty years since it appeared, scholars have complained about how many writers the book leaves out, but given that its theme is “The High Romantic Argument” and not all of Romanticism, I am still impressed by how much it takes in.
In this remarkable new book, M. H. Abrams definitively studies the Romantic Age (1789-1835)-the age in which Shelley claimed that "the literature of England has arisen as it were from a new birth." Abrams shows that the major poets of the age had in common important themes, modes of expression, and ways of feeling and imagining; that the writings of these poets were an integral part of a comprehensive intellectual tendency which manifested itself in philosophy as well as poetry, in England and in Germany; and that this tendency was causally related to drastic political and social changes of the…
Though he declines to define it, Berlin says “The importance of romanticism is that it is the largest recent movement to transform the lives and the thought of the Western world.” In this brief set of lectures he dwells mainly on German writers, since Germany was arguably the homeland of romanticism. Berlin seems to know everything, but his erudition does not interfere with his lively style. What the book lacks in thoroughness it more than makes up with sharp and provocative ideas.
In The Roots of Romanticism, one of the twentieth century's most influential philosophers dissects and assesses a movement that changed the course of history. Brilliant, fresh, immediate, and eloquent, these celebrated Mellon Lectures are a bravura intellectual performance. Isaiah Berlin surveys the many attempts to define romanticism, distills its essence, traces its developments from its first stirrings to its apotheosis, and shows how it still permeates our outlook. He ranges over a cast of some of the greatest thinkers and artists of the eighteenth and nineteenth centuries, including Kant, Rousseau, Diderot, Schiller, the Schlegels, Novalis, Goethe, Blake, Byron, and Beethoven.…
This is much more interesting than its dull subtitle would suggest. In fewer than 200 pages Butler gives a surprisingly thorough account of the major British writers of the time, not only their works but their lives, their connections with each other, and their opinions about politics as well as literature. She deals with many more writers than Abrams does, though unlike him she does not explore themes at much length. The “background” in the subtitle includes the French Revolution and the industrial revolution, the two greatest events of the modern world, not over yet.
The Age of Revolutions and its aftermath is unparalleled in English literature. Its poets include Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats; its novelists, Jane Austen and Scott. But how is it that some of these writers were apparently swept up in Romanticism, and others not? Studies of Romanticism have tended to adopt the Romantic viewpoint. They value creativity, imagination and originality - ideas which nineteenth-century writers themselves used to promote a new image of their calling. Romantics, Rebels and Reactionaries puts the movement in to its historical setting and provides a new insight in Romanticism itself, showing that one…
France also had a rich Romantic movement (Chateaubriand, Madame de Staël, Victor Hugo, Alfred de Musset, to name a few writers, not to mention Delacroix and Berlioz), though it flowered later than those in Germany and England, probably because of the distraction of the Revolution. Bénichou’s book traces the origin of the “consecration” of the poet and creative genius, an idea fundamental to romanticism and still with us in our skeptical times. It is the first of four volumes on French romanticism, and it is a pity that the other three have yet to be translated.
The Consecration of the Writer is the definitive study of the first stages of a phenomenon that has profoundly affected world literature: the process by which modern writers ceased to speak as representatives of some religious or political power and instead seized the mantle of spiritual authority in their own right, speaking directly to and in the name of humanity. Paul Benichou identifies three great moments in this process: the advent of the Enlightenment faith in philosophy and the rise of its literary concomitant, the man of letters; the literary creations of the counterrevolution and their surprising involvement in the…
Art history also knows a Romantic movement, as does music history. Brown’s book has 250 color plates, mostly of painting from Constable, Turner, Blake, Friedrich, Delacroix, Goya, and many others, but also of some architectural wonders. Brown makes continual connections to the poetry and philosophy of the time, and to political events, as he organizes his chapters by theme: the cult of the artist, the religion of nature, the sense of the past, orientalism, and the exotic, and so on. There are several fine books on Romantic painting, but this is probably the best place to begin.
Romanticism was a way of feeling rather than a style in art. In the period c.1775-1830 - against the background of the French Revolution and the Napoleonic Wars - European artists, poets and composers initiated their own rebellion against the dominant political, religious and social ethos of the day. Their quest was for personal expression and individual liberation and, in the process, the Romantics transformed the idea of art, seeing it as an instrument of social and psychological change.
In this comprehensive volume, David Blayney Brown takes a thematic approach to Romanticism, relating it to the concurrent, more stylistic movements…
When Miranda’s fiancé, Russ, is being vetted for his dream job in the U.S. attorney’s office, the couple joke that Miranda’s parents’ history as antiwar activists in the Sixties might jeopardize Russ’s security clearance. In fact, the real threat emerges when Russ’s future employer discovers that Miranda was arrested for felony kidnapping seven years earlier—an arrest she’d never bothered to tell Russ about.
Miranda tries to explain that she was only helping her best friend, in the midst of a nasty custody battle, take her daughter to visit her parents in Israel. As Miranda struggles to prove that she’s not a criminal, she stumbles into other secrets that will challenge what she thought she knew about her own family, her friend, Russ—and herself.
When Miranda’s fiancé, Russ, is being vetted for his dream job in the U.S. attorney’s office, the couple joke that Miranda’s parents’ history as antiwar activists in the Sixties might jeopardize Russ’s security clearance. In fact, the real threat emerges when Russ’s future employer discovers that Miranda was arrested for felony kidnapping seven years earlier—an arrest she’d never bothered to tell Russ about.
Miranda tries to explain that she was only helping her best friend, in the midst of a nasty custody battle, take her daughter to visit her parents in Israel. As Miranda struggles to prove that she’s not…
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