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Political philosophy of marx
The chimney sweeper william blake essay
The chimney sweeper william blake essay
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Returning to the Chimney Sweeper Like William Blake 's return to the Chimney Sweeper after five years of experience passed him by, this too is the second incantation of this analysis. After further delving into the parallel stories it seems another approach could be similarly effective. The more one contemplates on the juxtaposition of the two sides perspectives of the story, the more one realizes that it could be seen as a struggle between two opposing views of separate class ideologies. The prior incantation of this analysis took the form of a Traditional Literary Critique. Such a critique is the most felicitous fashion for forming an informed opinion of a literary piece. However, that is only to shed innocence of the time period, and to gather more experience as to what it was like for those occupying that space in time. That said, it was absolutely integral to put oneself into the mindset of someone in the Romantic Period to understand what higher purpose drove them. The major events and ideologies of the period cannot be …show more content…
The dystopian future portrayed, featured a spy state that also exploited their workers (a common theme of Marxism). This exaggerated version of capitalism separated the population into three classes. The inner circle, the outer circle, and the proles. The inner circle was the Bourgeois, the outer circle and proles were more like the labor force and impressionable (if not ignorant) malleable population (though both together made up the proletariat class) respectively. Within the book, Marx 's purported demise of capitalism is hinted at. " 'If there is hope, ' wrote Winston, 'it lies in the proles '" (Orwell 1949). This is an allusion to the work of Marx, who said that the only way to end capitalism was by the proletariats banding together and over throwing their
...ls of the romantic revolution, the nobility of spirit and individuality must be preserved, and intellect, whether you had it or not, was part of this, because part of being individual was coming up with some of your own ideas, possessing uniqueness of thought. Once again, this evokes a certain emotional response from the person who interprets this pseudo intellectualism, and the feeling the reader has about it is an integral part in the establishment of an identity with the characters.
In the late eighteenth century arose in literature a period of social, political and religious confusion, the Romantic Movement, a movement that emphasized the emotional and the personal in reaction to classical values of order and objectivity. English poets like William Blake or Percy Bysshe Shelley seen themselves with the capacity of not only write about usual life, but also of man’s ultimate fate in an uncertain world. Furthermore, they all declared their belief in the natural goodness of man and his future. Mary Shelley is a good example, since she questioned the redemption through the union of the human consciousness with the supernatural. Even though this movement was well known, none of the British writers in fact acknowledged belonging to it; “.”1 But the main theme of assignment is the narrative voice in this Romantic works. The narrator is the person chosen by the author to tell the story to the readers. Traditionally, the person who narrated the tale was the author. But this was changing; the concept of unreliable narrator was starting to get used to provide the story with an atmosphere of suspense.
Murray, Christopher John (2004). Encyclopedia of the Romantic Era, 1760-1850. Taylor & Francis. p. 319. ISBN 1-57958-422-5
Children are now welcomed to earth as presents bundled in pinks and blues. In the 1800’s children were treated as workers straight from the womb. Children trained early in age to perform unbearable tasks (Ward 3). Imagine how it felt to be unwanted by a parent and sold to a master who also cared nothing about them. Many children earned a few pennies by becoming chimney sweeps or working in the streets running errands, calling cabs, sweeping roads, selling toys or flowers and helping the market porters (Ward 3). The young children did not have much choice on which job (life) they wanted, but by far sweeping chimneys was the most dangerous. The children were forced into confined areas filled with comb webs, where they sacrificed their lives to clean. William Blake does a great job depicting hardship of children in the 1800’s in “The Chimney Sweeper” through the use of diction and imagery.
The Romantic period at its height extended over just a bit more than a century, from the latter half of the eighteenth century through to nearly the end of the nineteenth century. During this period, a new school of poetry was forged, and with it, a new moral philosophy. But, as the nineteenth century wound down, the Romantic movement seemed to be proving itself far more dependent on the specific cultural events it spanned than many believed; that is, the movement was beginning to wind down in time with the ebbing of the industrial and urban boom in much the same way that the movement grew out of the initial period of industrial and urban growth. Thus, it would be easy to classify the Romantic movement as inherently tied to its cultural context. The difficulty, then, comes when poets and authors outside of this time period-and indeed in contexts quite different then those of the original Romantic poets-begin to label themselves as Romantics.
"Romanticism -- Britannica Online Encyclopedia." Encyclopedia - Britannica Online Encyclopedia. Web. 3 Dec. 2010. .
Romanticism has been described as a “‘Protestantism in the arts and letters’, an ideological shift on the grand scale from conservative to liberal ideas”. (Keenan, 2005) It was a movement into the era of imagination and feelings instead of objective reasoning.
Kreis, Steven. "Lecture 16: The Romantic Era." The History Guide. Web. 18 Aug. 2010. .
Interestingly enough, the Romanticism movement was not what the regular person would think as “romantic”. Delacroix's Death of Sarandapalus (27-15) was inspired by one of Lord Byron's poems. What the textbook did not mention was that many of Byron's poems reflected his wild living, that is, Byron chose scandalous moments throughout history to write about. The Romantic era was one of art picturing tumult and imagery, not one of normal “romantic” attributes.
Hi future American Literature taker, I am Davon Key a former student that has taken this horrific class. I am here today to tell you about the American Romanticism Period. While in this class you will spend a long few weeks exploring the ideas of romanticism. In this period many authors wrote to tell about the love of nature, focuses of individuals, and the emphasis on emotion. As you continue to read this you will began to get a clear understanding of the American Romanticism Period.
Romanticism was a movement in art and literature in the eighteenth and nineteenth centuries in revolt against the Neoclassicism of the previous centuries. The romanticism movement in literature consists of a few of the following characteristics: intuition over fact, imagination over fact, and the stretch and alteration of the truth. The death of a protagonist may be prolonged and/or exaggerated, but the main point was to signify the struggle of the individual trying to break free, which was shown in “The Fall of the House Usher” (Prentice Hall Literature 322).
this time period, great change was occurring around the world as it was experiencing enlightenment. The Romantic era was fueled by the incid...
In the late eighteenth century, a movement spread throughout the world that was known as the Romantic Era. The works of authors, artists, and musicians were influenced by emotions and imagination. Characters in literature during that time period heavily relied on impulses to guide them in their decisions. Whether it is the logical choice or not, they followed their hearts instead. The image that Romanticism created was one of a perfect, unrealistic lifestyle because of the worship to the beauty of nature and human emotions. Although some romantic plays ended in a tragedy, it was due to the emotions that we are capable of feeling. Romanticism promoted the idea that people should follow their hearts. This, however, gradually came to an end in the mid-19th-century.
Sociological criticism analyzes the political, economic, and cultural aspects of literature. To examine literature from the perspective of Marxist social theory is a quintessential form of sociological criticism, as Marxism primarily deals with political and economic ideas of communism and social inequality. William Blake, a Romantic poet, frequently wrote on the topic of class oppression and his opposition to the exploitation of the proletariat by the capitalists. Blake’s ideology and preference towards an equalitarian society quite closely mirror the theories of Karl Marx. Analyzing Blake’s poetry from a Marxist perspective paints a clearer picture of the motives behind Blake’s anger towards social inequality. Poems such as “The Chimney Sweeper” and “London” from his poetry collections Songs of Innocence and Songs of Experience illustrate Blake’s despair regarding the unjust and unequal society of 18th century England. In “The Chimney Sweeper,” Blake expresses his anger at the late 18th and 19th century's use of child labor in urban England. In “London,” Blake illustrates the depressing class oppression prevalent in the streets of the city.
The Romantic Period was from 1784 until 1832, it brought a more brave, individual, and imaginative approach to both literature and life. During this time the individual became more important than society. Individualism became the center of the Romantic vision (Pfordresher, 423). The Romantic Age in England was a movement that affected all the countries of Western Europe. Romanticism represents an attempt to rediscover the mystery and wonder of the world (Pfordresher, 424). The French Revolution, 1793-1815, gave life and breath to the dreams of many Romantic writers; they wanted liberty and equality for all individuals (Pfordresher, 423).