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Reading Romance Novels With White Protagonists as a Person of Color to Escape Racism

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Era in English-language literature

Romanticism was an artistic, literary, and intellectual movement that originated in Europe toward the end of the 18th century. Scholars regard the publishing of William Wordsworth'south and Samuel Coleridge'southward Lyrical Ballads in 1798 as probably the showtime of the movement, and the crowning of Queen Victoria in 1837 equally its cease.[1] Romanticism arrived in other parts of the English-speaking world afterward; in America, information technology arrived around 1820.

The Romantic period was ane of major social alter in England, due to depopulation of the countryside and rapid development of overcrowded industrial cities that took place roughly between 1798 and 1832. The motion of so many people in England was the consequence of 2 forces: the Agronomical Revolution, which involved enclosures that drove workers and their families off the land, and the Industrial Revolution which provided them employment, "in the factories and mills, operated by machines driven by steam-power".[ii] Indeed, Romanticism may be seen in part every bit a reaction to the Industrial Revolution,[3] though information technology was also a revolt confronting aristocratic social and political norms of the Historic period of Enlightenment, also as a reaction against the scientific rationalization of nature.[4] The French Revolution was an peculiarly important influence on the political thinking of many notable Romantic figures at this fourth dimension too.[5]

England [edit]

18th-century precursors [edit]

The Romantic move in English language literature of the early 19th century has its roots in 18th-century poetry, the Gothic novel and the novel of sensibility.[6] [7] This includes the graveyard poets, who were a number of pre-Romantic English language poets writing in the 1740s and afterwards, whose works are characterized past their gloomy meditations on bloodshed, "skulls and coffins, epitaphs and worms" in the context of the graveyard.[8] To this was added by afterwards practitioners, a feeling for the "sublime" and uncanny, and an involvement in ancient English poetic forms and folk poetry. These concepts are frequently considered precursors of the Gothic genre.[9] Some major Gothic poets include Thomas Gray (1716–71), whose Elegy Written in a Country Churchyard (1751) is "the best known product of this kind of sensibility";[10] William Cowper (1731–1800); Christopher Smart (1722–71); Thomas Chatterton (1752–seventy); Robert Blair (1699–1746), author of The Grave (1743), "which celebrates the horror of decease";[xi] and Edward Young (1683–1765), whose The Complaint, or Night-Thoughts on Life, Death and Immortality (1742–45) is another "noted instance of the graveyard genre".[12] Other precursors of Romanticism are the poets James Thomson (1700–48) and James Macpherson (1736–96).[six]

The sentimental novel or "novel of sensibility" is a genre which developed during the second half of the 18th century. It celebrates the emotional and intellectual concepts of sentiment, sentimentalism and sensibility. Sentimentalism, which is to be distinguished from sensibility, was a fashion in both poetry and prose fiction which began in reaction to the rationalism of the Augustan Age. Sentimental novels relied on emotional response both from their readers and characters. Scenes of distress and tenderness are common, and the plot is arranged to accelerate emotions rather than action. The consequence is a valorization of "fine feeling", displaying the characters as models for refined, sensitive emotional result. The ability to display feelings was thought to show graphic symbol and experience, and to shape social life and relations.[13] Amidst the most famous sentimental novels in English are Samuel Richardson's Pamela, or Virtue Rewarded (1740), Oliver Goldsmith's The Vicar of Wakefield (1766), Laurence Sterne's Tristram Shandy (1759–67) and A Sentimental Journey (1768), Henry Brooke's The Fool of Quality (1765–70), Henry Mackenzie's The Man of Feeling (1771) and Maria Edgeworth'southward Castle Rackrent (1800).[14]

Meaning foreign influences were the Germans Goethe, Schiller and August Wilhelm Schlegel, and French philosopher and writer Jean-Jacques Rousseau (1712–78).[15] Edmund Shush'south A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757) is another important influence.[xvi] The changing landscape, brought about by the Industrial and agricultural revolutions with the expansion of the city and depopulation of the countryside, was another influence on the growth of the Romantic motility in Britain. The poor condition of workers, the new form conflicts and the pollution of the environment led to a reaction against urbanism and industrialization, and a new emphasis on the beauty and value of nature.

In the late 18th century, Horace Walpole's 1764 novel The Castle of Otranto created the Gothic fiction genre, that combines elements of horror and romance. The pioneering gothic novelist Ann Radcliffe introduced the heart-searching effigy of the gothic villain which adult into the Byronic hero. Her near popular and influential work, The Mysteries of Udolpho (1795), is oft cited as the archetypal Gothic novel. Vathek (1786) by William Beckford and The Monk (1796) by Matthew Lewis were further notable early works in both the gothic and horror literary genres. The first curt stories in the United Kingdom were gothic tales like Richard Cumberland's "remarkable narrative" The Poisoner of Montremos (1791).[17]

Romantic poetry [edit]

The physical mural is prominent in the poetry of this period. The Romantics, and especially Wordsworth, are often described as "nature poets". However, these "nature poems" reveal wider concerns in that they are ofttimes meditations on "an emotional problem or personal crisis".[18]

The poet, painter and printmaker William Blake (1757–1827) was an early writer of his kind. Largely disconnected from the major streams of the literature of his time, Blake was generally unrecognized during his lifetime merely is now considered a seminal figure in the history of both the poetry and visual arts of the Romantic Age. Considered mad by contemporaries for his idiosyncratic views, Blake is held in high regard by afterward critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his piece of work. Among his about important works are Songs of Innocence (1789) and Songs of Experience (1794), "and profound and difficult 'prophecies'" such as Visions of the Daughters of Albion (1793), The Volume of Urizen (1794), Milton (1804–1810) and Jerusalem The Emanation of the Giant Albion (1804–1820).[19]

After Blake, amid the earliest Romantics were the Lake Poets, a small group of friends, including William Wordsworth (1770–1850), Samuel Taylor Coleridge (1772–1834), Robert Southey (1774–1843) and journalist Thomas De Quincey (1785–1859). However, at the time, Walter Scott (1771–1832) was the most famous poet. Scott achieved immediate success with his long narrative poem The Lay of the Concluding Minstrel in 1805, followed past the full epic poem Marmion in 1808. Both were set in the afar Scottish by.[20] The early Romantic poets brought a new form of emotionalism and introspection, and their emergence is marked by the first romantic manifesto in English literature, the Preface to Lyrical Ballads (1798). In it Wordsworth discusses what he sees as the elements of a new type of poetry, i based on the "real language of men", and which avoids the poetic diction of much 18th-century verse. Here, Wordsworth gives his famous definition of poetry, as "the spontaneous overflow of powerful feelings" which "takes its origin from emotion recollected in tranquility". The poems in Lyrical Ballads were mostly past Wordsworth, though Coleridge contributed one of the smashing poems of English literature,[21] the long Rime of the Ancient Mariner, a tragic ballad about the survival of i sailor through a serial of supernatural events on his voyage through the South Seas, and involves the symbolically significant slaying of an albatross. Coleridge is likewise particularly remembered for Kubla Khan, Frost at Midnight, Blues: An Ode, Christabel , also as the major prose work, Biographia Literaria. His disquisitional piece of work, peculiarly on Shakespeare, was highly influential, and he helped introduce German idealist philosophy to English-speaking civilization.[22] Coleridge and Wordsworth, forth with Carlyle, were major influences through Emerson, on American transcendentalism.[23] Among Wordsworth's near important poems are Michael, Lines Written a Few Miles Above Tintern Abbey , Resolution and Independence, Ode: Intimations of Immortality and the long, autobiographical epic The Prelude. The Prelude was begun in 1799, but published posthumously in 1850. Wordsworth's poetry is noteworthy for how he "inverted the traditional hierarchy of poetic genres, subjects, and mode past elevating humble and rustic life and the plain [...] into the main field of study and medium of poetry in full general", and how, in Coleridge'south words, he awakens in the reader a "freshness of awareness" in his delineation of familiar, commonplace objects.[24]

Robert Southey (1774–1843) was another of the so-called "Lake Poets", and Poet Laureate for 30 years from 1813 to his death in 1843, although his fame has been long eclipsed by that of his contemporaries and friends William Wordsworth and Samuel Taylor Coleridge. Thomas De Quincey (1785–1859) was an English language essayist, best known for his Confessions of an English Opium-Eater (1821),[25] an autobiographical account of his laudanum use and its effect on his life. William Hazlitt (1778–1830), friend of both Coleridge and Wordsworth, is another important essayist at this time, though today he is all-time known for his literary criticism, especially Characters of Shakespear's Plays (1817–18).[26]

Second generation [edit]

The second generation of Romantic poets includes Lord Byron (1788–1824), Percy Bysshe Shelley (1792–1822) and John Keats (1795–1821). Byron, however, was still influenced by 18th-century satirists and was, mayhap the least "romantic" of the 3, preferring "the brilliant wit of Pope to what he called the 'incorrect poetical system' of his Romantic contemporaries".[27] Byron 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".[28] A trip to Europe resulted in the showtime two cantos of Childe Harold's Pilgrimage (1812), a mock-heroic epic of a young homo's adventures in Europe, simply also a abrupt satire against London club. The verse form contains elements thought to exist autobiographical, equally Byron generated some of the storyline from experience gained during his travels betwixt 1809 and 1811.[29] All the same, despite the success of Childe Harold and other works, Byron was forced to leave England for good in 1816 and seek asylum on the Continent, because, among other things, of his alleged incestuous affair with his half-sister Augusta Leigh.[thirty] Here he joined Percy Bysshe and Mary Shelley, with his secretary John William Polidori on the shores of Lake Geneva, during the "Twelvemonth Without a Summer".[30] Polidori's The Vampyre was published in 1819, creating the literary vampire genre. This short story was inspired past the life of Lord Byron and his poem The Giaour (1813).[31] Betwixt 1819 and 1824, Byron published his unfinished ballsy satire Don Juan, which, though initially condemned past the critics, "was much admired by Goethe who translated part of it".[32]

Shelley is perhaps best known for poems such equally Ozymandias, Ode to the W Wind, To a Skylark, Music, When Soft Voices Die, The Deject, The Masque of Anarchy and Adonais, an elegy written on the expiry of Keats. Shelley's early profession of atheism, in the tract The Necessity of Atheism, led to his expulsion from Oxford,[33] and branded him as a radical agitator and thinker, setting an early pattern of marginalization and ostracism from the intellectual and political circles of his fourth dimension. Similarly, Shelley'south 1851 essay A Defense of Poetry displayed a radical view of poetry, in which poets act as "the unacknowledged legislators of the world", because, of all of artists, they best perceive the undergirding structure of society.[34] His close circle of admirers, however, included the about progressive thinkers of the mean solar day, including his future father-in-police, philosopher William Godwin. Works like Queen Mab (1813) reveal Shelley "as the directly heir to the French and British revolutionary intellectuals of the 1790s."[35] Shelley became an idol of the next three or four generations of poets, including important Victorian and Pre-Raphaelite poets such every bit Robert Browning and Dante Gabriel Rossetti, also as later W. B. Yeats. Shelley's influential poem The Masque of Anarchy (1819) calls for nonviolence in protest and political action. It is mayhap the kickoff modern statement of the principle of nonviolent protest.[36] Mahatma Gandhi'southward passive resistance was influenced and inspired by Shelley'southward verse, and Gandhi would oftentimes quote the poem to vast audiences.[37]

Though John Keats shared Byron and Shelley'due south radical politics, "his best poetry is not political",[38] but is particularly noted for its sensuous music and imagery, along with a concern with fabric beauty and the transience of life.[39] [40] Among his well-nigh famous works are The Eve of St. Agnes, Ode to Psyche, La Belle Dame sans Merci, Ode to a Nightingale, Ode on a Grecian Urn, Ode on Melancholy, To Autumn and the incomplete Hyperion, a "philosophical" poem in blank verse, which was "conceived on the model of Milton's Paradise Lost".[41] Keats' letters "are amidst the finest in English" and important "for their word of his aesthetic ideas", including 'negative capability'".[42] Keats has always been regarded as a major Romantic, "and his stature equally a poet has grown steadily through all changes of mode".[43]

Other poets [edit]

Another important poet in this catamenia was John Clare (1793–1864). Clare was the son of a farm labourer, who came to be known for his celebratory representations of the English countryside and his lamentation for the changes taking place in rural England.[44] His poesy underwent a major re-evaluation in the tardily 20th century and he is frequently at present considered to be among the virtually important 19th-century poets.[45] His biographer Jonathan Bate states that Clare was "the greatest labouring-class poet that England has e'er produced. No one has e'er written more powerfully of nature, of a rural babyhood, and of the alienated and unstable self".[46]

George Crabbe (1754–1832) was an English poet who, during the Romantic period, wrote "closely observed, realistic portraits of rural life [...] in the heroic couplets of the Augustan age".[47] Lord Byron, who was an admirer of Crabbe'due south poetry, described him as "nature's sternest painter, nonetheless the best".[48] Modern critic Frank Whitehead has said that "Crabbe, in his poesy tales in particular, is an important – indeed, a major – poet whose work has been and still is seriously undervalued".[49] Crabbe's works include The Village (1783), Poems (1807), The Borough (1810), and his poesy collections Tales (1812) and Tales of the Hall (1819).

Female poets [edit]

Female writers were increasingly active in all genres throughout the 18th century, and by the 1790s women's poetry was flourishing. Notable poets after in the menstruation include, Anna Laetitia Barbauld, Joanna Baillie, Susanna Blamire and Hannah More than. Other women poets include, Mary Alcock (c.  1742 – 1798) and Mary Robinson (1758–1800), both of whom "highlighted the enormous discrepancy between life for the rich and the poor",[fifty] and Felicia Hemans (1793–1835), author of 19 private books during her lifetime and who continued to be republished widely afterward her expiry in 1835.[51]

More than involvement has been shown in recent years in Dorothy Wordsworth (1771–1855), William's sister, who "was modest almost her writing abilities, [only] she produced poems of her own; and her journals and travel narratives certainly provided inspiration for her brother".[52]

In the by decades, there has been substantial scholarly and critical work done on women poets of this flow, both to brand them bachelor in print or online, and second, to appraise them and position them within the literary tradition.[53] In particular, Felicia Hemans, although sticking to its forms, began a process of undermining the Romantic tradition, a deconstruction that was continued past Letitia Elizabeth Landon (1802–1838).[54] [55] Landon's novel forms of metrical romance and dramatic monologue was much copied and had a long and lasting influence on Victorian poetry.[56] Her work is now frequently classified equally post-romantic.[57] [58] She also produced three completed novels, a tragedy, and numerous brusk stories.

Romantic novel [edit]

Mary Shelley (1797–1851) is remembered as the author of Frankenstein (1818). The plot of this is said to have come up from a waking dream she had, in the company of Percy Shelley, Lord Byron, and John Polidori, following a chat almost galvanism and the feasibility of returning a corpse or assembled body parts to life, and on the experiments of the 18th-century natural philosopher and poet Erasmus Darwin, who was said to take animated dead matter.[59] Sitting around a log burn down at Byron'due south villa, the company also amused themselves by reading German ghost stories, prompting Byron to suggest they each write their own supernatural tale.

Jane Austen's works critique the novels of sensibility of the 2nd half of the 18th century and are part of the transition to 19th-century realism.[60] Her plots, though fundamentally comic, highlight the dependence of women on marriage to secure social standing and economic security.[61] Austen brings to low-cal the hardships women faced, since they usually did non inherit money, could not piece of work and were largely dependent on their husbands. She reveals not only the difficulties women faced in her day, only too what was expected of men and of the careers they had to follow. This she does with wit and humour and with endings where all characters, good or bad, receive exactly what they deserve. Her work brought her little personal fame and only a few positive reviews during her lifetime, merely the publication in 1869 of her nephew's A Memoir of Jane Austen introduced her to a wider public, and by the 1940s she had get accustomed every bit a major writer. The second one-half of the 20th century saw a proliferation of Austen scholarship and the emergence of a Janeite fan culture. Austen'southward works include Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814), Emma (1815), Northanger Abbey (1817) and Persuasion (1817).

Drama [edit]

Byron, Keats and Percy Shelley all wrote for the stage, but with petty success in England, with Shelley's The Cenci perhaps the best work produced, though that was non played in a public theatre in England until a century after his death. Byron'southward plays, along with dramatizations of his poems and Scott's novels, were much more popular on the Continent, and specially in France, and through these versions, several were turned into operas, many still performed today. If contemporary poets had little success on the stage, the menses was a legendary ane for performances of Shakespeare, and went some mode to restoring his original texts and removing the Augustan "improvements" to them. The greatest actor of the menstruum, Edmund Kean, restored the tragic ending to King Lear;[62] Coleridge said that, "Seeing him human action was similar reading Shakespeare by flashes of lightning."[63]

Wales [edit]

Wales had its ain Romantic movement, particularly in Welsh literature (which was rarely translated or known outside Wales).[64] The countryside and history of Wales exerted an influence on the Romantic imagination of Britons, especially in travel writings, and the poetry of Wordsworth.[65]

The "poetry and bardic vision" of Edward Williams (1747–1826), meliorate known by his bardic proper name Iolo Morganwg, bear the hallmarks of Romanticism. "His Romantic image of Wales and its past had a far-reaching effect on the mode in which the Welsh envisaged their own national identity during the nineteenth century."[66] [65] [67] [68]

Scotland [edit]

James Macpherson was the first Scottish poet to gain an international reputation. Claiming to have constitute verse written by the ancient bard Ossian, he published "translations" that acquired international popularity, being proclaimed as a Celtic equivalent of the Classical epics. Fingal, written in 1762, was speedily translated into many European languages, and its appreciation of natural beauty and treatment of the aboriginal legend accept been credited, more than whatsoever single work, with bringing about the Romantic movement in European, and especially in German literature, through its influence on Johann Gottfried von Herder and Johann Wolfgang von Goethe.[69] It was also popularised in France by figures that included Napoleon.[seventy] Eventually information technology became articulate that the poems were not direct translations from the Gaelic, but flowery adaptations made to suit the artful expectations of his audience.[71] Both Robert Burns (1759–96) and Walter Scott (1771–1832) were highly influenced by the Ossian bike. Robert Burns (1759–1796) was a pioneer of the Romantic movement, and later on his death he became a cultural icon in Scotland. Besides every bit writing poems, Burns too collected folk songs from across Scotland, often revising or adapting them. His Poems, importantly in the Scottish Dialect was published in 1786. Among poems and songs of Burns that remain well known across the world are, Auld Lang Syne; A Ruby, Red Rose; A Man'southward A Human being for A' That; To a Louse; To a Mouse; The Boxing of Sherramuir; Tam o' Shanter and Ae Fond Kiss.

The nearly important British novelist at the outset of the early 19th century was Sir Walter Scott, who was not only a highly successful novelist, merely "the greatest unmarried influence on fiction in the 19th century [...] [and] a European figure".[72] Scott's novel writing career was launched in 1814 with Waverley, oftentimes called the showtime historical novel, and was followed by Ivanhoe. The Waverley Novels, including The Antiquary, Onetime Mortality, The Eye of Midlothian, and whose subject is Scottish history, are now generally regarded as Scott'south masterpieces.[73] He was ane of the well-nigh popular novelists of the era, and his historical romances inspired a generation of painters, composers, and writers throughout Europe, including Franz Schubert, Felix Mendelssohn and J. K. W. Turner. His novels besides inspired many operas, of which the almost famous are Lucia di Lammermoor (1835) by Donizetti, and Bizet'south La jolie fille de Perth, The Fair Maid of Perth (1867).[74] [73] Nevertheless, today his contemporary, Jane Austen, is widely read and the source for films and idiot box series, while Scott is neglected. He too inspired French authors such every bit Flaubert with Madame Bovary and Hugo in The Hunchback of Notre-Dame.[ commendation needed ]

America [edit]

The European Romantic movement reached America in the early 19th century. American Romanticism was just as multifaceted and individualistic equally it was in Europe. Like the Europeans, the American Romantics demonstrated a high level of moral enthusiasm, commitment to individualism and the unfolding of the self, an emphasis on intuitive perception, and the supposition that the natural world was inherently skillful, while human society was filled with corruption.[75] Romanticism became popular in American politics, philosophy and fine art. The motion appealed to the revolutionary spirit of America equally well as to those longing to break free of the strict religious traditions of early on settlement. The Romantics rejected rationalism and religious intellect. It appealed to those in opposition of Calvinism, which includes the belief that the destiny of each individual is preordained.

Romantic Gothic literature made an early appearance with Washington Irving's The Legend of Sleepy Hollow (1820) and Rip Van Winkle (1819); there are picturesque "local color" elements in Washington Irving's essays and especially his travel books. From 1823, the prolific and pop novelist James Fenimore Cooper (1789–1851) began publishing his historical romances of frontier and Indian life, to create a unique form of American literature. Cooper is best remembered for his numerous sea-stories and the historical novels known equally the Leatherstocking Tales, with their emphasis on heroic simplicity and their fervent mural descriptions of an already-exotic mythicized frontier peopled by "noble savages", exemplified by Uncas, from The Last of the Mohicans (1826) bear witness the influence of Rousseau'due south (1712–78) philosophy. Edgar Allan Poe'south tales of the macabre that first appeared in the early 1830s, and his balladic poetry was more influential in France than at home.[76] [77]

By the mid-19th century, the pre-eminence of literature from the British Isles began to be challenged by writers from the former American colonies. This included i of the creators of the new genre of the short story, and inventor of the detective story Edgar Allan Poe (1809–49). A major influence on American writers at this time was Romanticism.

The Romantic movement gave ascension to New England Transcendentalism, which portrayed a less restrictive relationship between God and Universe. The publication of Ralph Waldo Emerson's 1836 essay Nature is usually considered the watershed moment at which transcendentalism became a major cultural move. The new philosophy presented the individual with a more personal relationship with God. Transcendentalism and Romanticism appealed to Americans in a similar fashion, for both privileged feeling over reason, private liberty of expression over the restraints of tradition and custom. It ofttimes involved a rapturous response to nature. Information technology encouraged the rejection of harsh, rigid Calvinism, and promised a new blossoming of American culture.[75] [78]

The romantic American novel adult fully with Nathaniel Hawthorne's (1804–1864) The Scarlet Letter (1850), a stark drama of a adult female bandage out of her community for committing adultery. Hawthorne's fiction had a profound impact on his friend Herman Melville (1819–1891). In Moby-Dick (1851), an audacious whaling voyage becomes the vehicle for examining such themes equally obsession, the nature of evil, and human struggle against the elements. By the 1880s, however, psychological and social realism were competing with Romanticism in the novel.

See also [edit]

  • Irish literature
  • Literature of Northern Republic of ireland
  • Post-romanticism

References [edit]

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  56. ^ Serena Baiesi (2010). Letitia Elizabeth Landon and Metrical Romance: The Adventures of a Literary Genius. Peter Lang. pp. 14ff. ISBN978-3-0343-0420-7.
  57. ^ Riess, Daniel (1996). "Laetitia Landon and the Dawn of English Post-Romanticism". SEL: Studies in English Literature 1500–1900. 36 (four): 807–827. doi:ten.2307/450977. JSTOR 450977.
  58. ^ Anne-Julia Zwierlein, Section 19: "Poetic Genres in the Victorian Age. I: Letitia Elizabeth Landon's and Alfred Lord Tennyson'southward Mail service-Romantic Poesy Narratives", in Baumbach and others, A History of British Poetry, Trier, WVT, ISBN 978-3-86821-578-vi.
  59. ^ Holmes, p. 328; encounter also Mary Shelley'due south introduction to the 1831 edition of Frankenstein.
  60. ^ Litz, pp. 3–14; Grundy, "Jane Austen and Literary Traditions", The Cambridge Companion to Jane Austen, pp. 192–193; Waldron, "Critical Responses, Early", Jane Austen in Context, pp. 83, 89–ninety; Duffy, "Criticism, 1814–1870", The Jane Austen Companion, pp. 93–94.
  61. ^ A. Walton Litz, Jane Austen: A Study of Her Development. New York: Oxford University Press, 1965. p. 142; Oliver MacDonagh, Jane Austen: Real and Imagined Worlds. New Haven: Yale Academy Press, 1991. pp. 66–75; Collins, pp. 160–161.
  62. ^ Or at least he tried to; Kean played the tragic Lear for a few performances. They were not well received, and with regret, he reverted to Nahum Tate's version with a comic ending, which had been standard since 1689. Run into Stanley Wells, "Introduction" from Rex Lear Oxford Academy Press, 2000, p. 69.
  63. ^ Coleridge, Samuel Taylor, Table Talk, 27 April 1823 in Coleridge, Samuel Taylor; Morley, Henry (1884). Table Talk of Samuel Taylor Coleridge and The Rime of the Aboriginal Mariner, Christobel, &c. New York: Routledge. p. 38.
  64. ^ Gwyn A. Williams (1988) Romanticism in Wales. Cambridge Academy Printing.
  65. ^ a b Damian Walford Davies, Lynda Pratt, eds. (2007) Wales and the Romantic Imagination
  66. ^ Middle for Advanced Welsh & Celtic Studies, "Iolo Morganwg and the Romantic Tradition in Wales 1740–1918".
  67. ^ James Prothero (2013). Wordsworth and Welsh Romanticism. Cambridge: Cambridge Scholars Publishing.
  68. ^ Shawna Lichtenwalner (2008), Claiming Cambria: Invoking the Welsh in the Romantic Era. University of Delaware Press.
  69. ^ J. Buchan (2003) Crowded with Genius. London: Harper Collins. p. 163. ISBN 0-06-055888-1
  70. ^ H. Gaskill (2004) The Reception of Ossian in Europe Continuum. ISBN 0-8264-6135-2, p. 140.
  71. ^ D. Thomson (1952) The Gaelic Sources of Macpherson's "Ossian". Aberdeen: Oliver & Boyd.
  72. ^ Cuddon, p. 435.
  73. ^ a b Drabble, p. 890.
  74. ^ WALTER SCOTT AND MUSIC. musicweb-international
  75. ^ a b George L. McMichael; Frederick C. Crews (1997). Anthology of American Literature. Prentice Hall. p. 613. ISBN978-0-13-373283-two.
  76. ^ Harner, Gary Wayne (1990). "Edgar Allan Poe in France: Baudelaire'south Labor of Honey". In Fisher, Benjamin Franklin IV. Poe and His Times: The Artist and His Milieu. Baltimore: The Edgar Allan Poe Society. ISBN 978-0-9616449-2-5.
  77. ^ Ann Woodlief, "American Romanticism (or the American Renaissance): Introduction". English Department, Virginia Republic University
  78. ^ Ann Lee Morgan, ed. (2007). "Romanticism, American". The Oxford Dictionary of American Art and Artists. Oxford University Press.

Cited sources [edit]

  • Abrams, Thousand. H.; Greenblatt, S., eds. (2000). The Norton Anthology of English Literature. Vol. 2 (7th ed.). West Westward Norton. ISBN978-0393974904.
  • Cuddon, J.A. (1999). A Dictionary of Literary Terms and Literary Theory. Penguin Books. ISBN978-0140512274.
  • Drabble, Margaret (1996). The Curtailed Oxford Companion to English language Literature. Oxford University Press. ISBN978-0-xix-280039-8.
  • Wynne-Davies, Marion (1990). The Bloomsbury Guide to English Literature. Bloomsbury. ISBN978-0747501695.

External links [edit]

  • British Women Romantic Poets, 1789 - 1832 [ane]
  • Romanticism via Discovering Literature: Romantics and Victorians at the British Library
  • The Romantics, In Our Time, BBC Radio 4 discussion with Jonathan Bate, Rosemary Ashton and Nicholas Roe (Oct. 12, 2000)
  • The Later on Romantics, In Our Time, BBC Radio four give-and-take with Jonathan Bate, Robert Woof & Jennifer Wallace (Apr, xv, 2004)

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Source: https://en.wikipedia.org/wiki/Romantic_literature_in_English

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