It is also important when reading to consider the nature of Pope’s work, being written in two parts with the second portion following the Treaty of Utrecht, which tailor to a pro-British agenda (The Symbolic 1938). The major differences in Pope’s and Leapor’s works exist in the invocation of a muse, the use of language to generate emotion, and the use of symbolism to impose some bigger picture. There is irony between the two as Pope uses negatively to embellish beauty and Leapor uses beauty and imagination to mask slavery. In Pope’s Windsor-Forest, following traditional heroic, the speaker invokes a muse: “Granville commands; your aid O Muses bring! / What Muse for Granville can refuse?” (Windsor-Forest 5-6).
In the “Black Cat” Poe’s use of self-reliance is unique as he challenges it through the narrator’s rational explanation of irrational events. Emerson’s “Self Reliance” is extremely indicative of its title as it emphasizes the reliance in one’s self as essential in the transcendentalist journey to find truth. The romantic literary principle, self-reliance, is present in both works, however, the authors’ representation and use of it differs in both texts according to style, subject matter, and genre. Ralph Waldo Emerson’s essay, “Self Reliance” is a rational argument attempting to persuade readers to rely on oneself for guidance rather than external influences such as religion, philosophy, books and society. Due to Emerson’s belief that God created everyone unique and with a specific purpose, Emerson argues by trusting in one’s intuition, individuals will be rightfully serving God and developing a closer spiritual relationship with him.
They strongly opposed the classical and neoclassical artistic precepts to embrace freedom in their art and politics. Such poets included German's Johann Wolfgang van Goethe and Fredrich Schiller, Britain's Samuel Taylor Coleridge, William Wordsworth, Percy Shelley, and John Keats, who were instrumental in propelling the romanticism movement in England. Others included Victor Hugo and Edgar Allan Poe just to mention a few. As opposed to the poems themselves, the poets' discourses and manifestos on humans' nature, achieved through creative expression, perhaps stand out as the most profound writings of the period of Romanticism. Such include Wordsworth and Coleridge's Lyrical Ballads and Shelley's A Defence of Poetry.
Thus, melodramas entertain the audience with exciting action while still conforming to a traditional sense of justice. From the realists’ perspective, Meyer adds that melodramas were merely escape fantasies that distorted life by refusing to examine the real world closely and objectively. Also, problem play popularized by Henrik Ibsen is a type of drama that deals with contentious social issues in order to awaken the audience to it. Related to realism is another movement, called naturalism. Naturalism derives its name from the idea that human beings are part of nature and subject to its laws.
Both seem to adhere to U. R. Anantha Murthy’s understanding of Indian culture as a mosaic pattern of tradition and modernity. He writes of a heterodox reality where the intellectual self is in conflict with the emotional, the rational individual experiences the sad nostalgia of the exile from his traditional roots and in fluctuating between belief and non-belief he works out his dilemmas. This paper attempts a reading of the transgression of “Love Laws” in Arundhati Roy’s The God of Small Things as not only the representation of this heterodox modernity in the personal domain as a reflection of the larger national conflict but also a postcolonial writer’s dilemmas in search for an identity and their troubles in expressing it. Roy’s The God of Small Things illustrates history as “a dominating, oppressive force that saturates virtually all social and cultural spaces, including the familial, intimate, and affective relationships.” (Needham 372). Roy herself writes that the book “connects the very smallest things to the very biggest…... ... middle of paper ... ...mprobable.
Dystopian literature highlights social flaws perceived by the composer and questions the basis for contemporary social practice. Unlike utopian fiction, which is rarely more than speculation regarding a self-perceived ideal, dystopian works call upon their audience to consider inadequacies present in their own society. Works such as Ursula LeGuin’s short story The Ones Who Walk Away from Omelas, Eoin Colfer’s children’s novel The Supernaturalist and the 2006 film V for Vendetta directed by James McTeigue address such issues as human rights abuse, totalitarianism and mass consumerism through the medium of the dystopian genre, and in doing so embody the principal components of dystopian literature: The enforced acceptance of an imperfection as an ideal, the questioning of social practice, and the revelation of the imperfection and the consequences thereof. The first distinguishing characteristic of dystopian literature is the enforced acceptance of an imperfect or flawed state as an ideal by the population of the state in question. James McTeigue’s 2006 film V for Vendetta (based upon a series of graphic novels by the same title) is the prime example of this trait.
The Importance of Romanticism in Literature In Wordsworth’s “The World is Too Much With Us” can be seen all the classic signs of the Romantic movement of the late eighteenth and early nineteenth century well embodied, complete with a near-worship of nature (“Little we see in Nature that is ours…for this, for everything, we are out of tune”) that was perhaps an understandable reaction to not only the classicism of the prior era, but the sociopolitical realities of the day (such as the French Revolution), a sort of intellectualized version of the hippie movement of 1960s America. Clearly, Wordsworth here is taking a typically Romantic view of the social order and what remained acceptable norms even in religious view (“I’d rather be a Pagan…so might I…have glimpses that would make me less forlorn…”), and a kind of individual, internal, take on the acquisition of truth that echoed the ultra-romanticism of Wordsworth’s fellow Briton, William Blake, in his insistence that he create his own “systems” lest he “be ruled by another man’s.” Much of these ideas would appeal, at least in their simplest forms, to much of modern consciousness, rebelling as it does not only against conformity and convention, but the apparent subjugation of the individual by the increasingly dizzying swirl of corporate culture and technological globalization. It is interesting to read Emily Dickinson’s take, as it were, on Romanticism from some five decades after Wordsworth. Dickinson wrote in the wake of the industrial revolution (or at least its initial stages) and fell only somewhat short of Thoreau’s radical view of the railroad as emblematic of technology devouring the human person (“We do not ride upon the railroad,” Thoreau famously asserted, “but t... ... middle of paper ... ...hey seen as an outgrowth of Divine effort or merely an existent truth defiant of explanation. In other words, Romantic ideals may manifest themselves where Romanticism is not thought to be hiding in part because, quite simply, many Romantic ideals are common to human existence.
Thus, the main theme of the works of Gibson is the genre, and some would say the defining characteristic, of postcapitalist sexual identity. Baudrillard uses the term 'the cultural paradigm of expression' to denote a self-supporting paradox. But the example of neoconstructivist objectivism intrinsic to Gibson's Virtual Light is also evident in Idoru. Debord uses the term 'socialist realism' to denote the common ground between society and consciousness. However, Humphrey implies that the works of Gibson are empowering.
The Romantic Movement was largely a response to the emergence of The Enlightenment in Europe, which had prized objectivity and rationality in the human endeavor. However, as the revolutions to topple the aristocracy in Europe gained traction, the Romantic Movement began to turn to emotions more than reason as the true essence of man. The Romantics looked back to the medieval concept of the sublime, the feeling of awe and fear at something transcendent. Thus, the Romantic Movement prioritized feelings and emotions over reason or intellect. This paper will discuss William Wordsworth's "I Wandered Lonely as a Cloud," Percy Bysshe Shelley's "Ozymandias," and John Keats "Ode to a Grecian Urn" as poems that exemplify the primacy of the emotion over reason, as they are all products of the Romantic Movement.
Sensuality, Sexuality, and Fertility in “Kubla Khan” In “Kubla Khan,” Coleridge imagines a land where sensuality, sexuality, and fertility abound and share inextricable links. Any threats to the fecundity of the land exist outside of its magnificent walls. Coleridge uses this image of an impenetrable fortress of sexual creativity in considering his own mind, desiring the same productivity in his poetic imagination. By creating this connection, Coleridge finds both a source of inspiration and blurs the lines between the poet and the poem. Coleridge describes Xanadu as a land where pleasure is a virtue, by both direct statement and appealing to the senses.