Speak about the main characteristics of romanticism in England according to the plan: the forms of romanticism.
In English literature, the key figures of the Romantic movement are considered William Wordsworth, Samuel Taylor Coleridge, John Keats, Lord Byron, Percy Bysshe Shelley, and the much older William Blake, followed later by the isolated figure of John Clare; also such novelists as Walter Scott from Scotland and Mary Shelley, and the essayists William Hazlitt and Charles Lamb. Lord Byron and Walter Scott achieved enormous fame and influence throughout Europe with works exploiting the violence and drama of their exotic and historical settings; Goethe called Byron "undoubtedly the greatest genius of our century". Scott achieved immediate success with his long narrative poem The Lay of the Last Minstrel in 1805, followed by the full epic poem Marmion in 1808.
Romanticism in English literature had little connection with nationalism, and the Romantics were often regarded with suspicion for the sympathy many felt for the ideals of the French Revolution, whose collapse and replacement with the dictatorship of Napoleon was, as elsewhere in Europe, a shock to the movement.
The most significant novelist in English during the peak Romantic period, other than Walter Scott, was Jane Austen, whose essentially conservative world-view had little in common with her Romantic contemporaries, retaining a strong belief in decorum and social rules, though critics have detected tremors under the surface of some works, especially Mansfield Park (1814) and Persuasion (1817).[49] But around the mid-century the undoubtedly Romantic novels of the Yorkshire-based Brontë family appeared. Most notably Charlotte's Jane Eyre and Emily's Wuthering Heights, both published in 1847, which also introduced more gothic themes. While these two novels were written and published after the Romantic period is said to have ended, their novels were heavily influenced by Romantic literature they'd read as children.
Byron, Keats and Shelley all wrote for the stage, but with little success in England, with Shelley's The Cenci perhaps the best work produced, though that was not played in a public theatre in England until a century after his death. Byron's plays, along with dramatizations of his poems and Scott's novels, were much more popular on the Continent, and especially in France, and through these versions several were turned into operas, many still performed today.
Speak about the main characteristics of romanticism in England according to the plan: the forms of romanticism. (есть 2 ответа. Потом, когда буду уже итог делать, я выберу)
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As a term to cover the most distinctive writers who flourished in the last years of the 18th century and the first decades of the 19th, “Romantic” is indispensable but also a little misleading: there was no self-styled “Romantic movement” at the time, and the great writers of the period did not call themselves Romantics. Not until August Wilhelm von Schlegel’s Vienna lectures of 1808–09 was a clear distinction established between the “organic,” “plastic” qualities of Romantic art and the “mechanical” character of Classicism. The most notable feature of the poetry of the time is the new role of individual thought and personal feeling. Where the main trend of 18th-century poetics had been to praise the general, to see the poet as a spokesman of society addressing a cultivated and homogeneous audience and having as his end the conveyance of “truth,” the Romantics found the source of poetry in the particular, unique experience. Useful as it is to trace the common elements in Romantic poetry, there was little conformity among the poets themselves. It is misleading to read the poetry of the first Romantics as if it had been written primarily to express their feelings. Their concern was rather to change the intellectual climate of the age. William Blake had been dissatisfied since boyhood with the current state of poetry and what he considered the irreligious drabness of contemporary thought. His early development of a protective shield of mocking humour with which to face a world in which science had become trifling and art inconsequential is visible in the satirical An Island in the Moon (written c. 1784–85); he then took the bolder step of setting aside sophistication in the visionary Songs of Innocence (1789).
The romance was a tale or ballad of chivalric adventure whose emphasis on individual heroism and on the exotic and the mysterious was in clear contrast to the elegant formality and artificiality of prevailing Classical forms of literature, such as the French Neoclassical tragedy or the English heroic couplet in poetry. This new interest in relatively unsophisticated but overtly emotional literary expressions of the past was to be a dominant note in Romanticism. Romanticism in English literature began in the 1790s with the publication of the Lyrical Ballads of William Wordsworth and Samuel Taylor Coleridge. Wordsworth’s “Preface” to the second edition (1800) of Lyrical Ballads, in which he described poetry as “the spontaneous overflow of powerful feelings,” became the manifesto of the English Romantic movement in poetry. William Blake was the third principal poet of the movement’s early phase in England.
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The first phase of the Romantic movement in Germany was marked by innovations in both content and literary style and by a preoccupation with the mystical, the subconscious, and the supernatural. A wealth of talents, including Friedrich Hölderlin, the early Johann Wolfgang von Goethe, Jean Paul, Novalis, Ludwig Tieck, A.W. and Friedrich Schlegel, Wilhelm Heinrich Wackenroder, and Friedrich Schelling, belong to this first phase. In Revolutionary France, the vicomte de Chateaubriand and Mme de Staëlwere the chief initiators of Romanticism, by virtue of their influential historical and theoretical writings.
The second phase of Romanticism, comprising the period from about 1805 to the 1830s, was marked by a quickening of cultural nationalismand a new attention to national origins, as attested by the collection and imitation of native folklore, folk ballads and poetry, folk dance and music, and even previously ignored medieval and Renaissance works. The revived historical appreciation was translated into imaginative writing by Sir Walter Scott, who is often considered to have invented the historical novel. At about this same time English Romantic poetry had reached its zenith in the works of John Keats, Lord Byron, and Percy Bysshe Shelley.
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