Fresh ideals came to the fore; in particular, the ideal of freedom, long cherished in Englandwas being extended to every range of human endeavour. As that ideal swept through Europeit became natural to believe that the age of tyrants might soon end. The most notable feature of the poetry of the time is the new role of individual thought and personal feeling.
It is in this state that the poet begins his composition, and in wording his passions finds his mind traverse happiness. The Romantics held the faculty of imagination in deep reverence.
By imagination was meant the ability to awaken memories so that they may be recollected, and thus recreated in the present. Kubla Khan tumbled out as a spontaneous overflow upon his encounter with Xanadu. The lyrics flow only up to the moment of clear recollection of that splendid scenery, and leave the poem incomplete so as to not dilute the faculty of imagination.
In the three stanzas that Coleridge did relive, he has captured the sublime. A striking characteristic of the poem is its deconstructed syntax that is eager in its wish to capture the scenery. It is a scene that Coleridge has experienced in a dream, and its recollection in reality must convey the resplendence of what he has felt.
It was the Romantic belief that poetry is composed beyond the realms of the real world, within the folds of the imaginary. However, not all imagination directs towards the sublime. Keats had great belief in the power of imagination. He recognized the ability of a poet to appreciate this beauty through his Negative Capability.
The concept of Negative Capability requires the poet to maintain an aesthetic distance from the object of consideration, and thus not give himself over to the object.
However, the ability to experience the Sublime requires the poet to have submitted his consciousness to the object of his adulation. This does not play an exception to the rule, but instead excuses itself from the very concept of the Sublime.
What Keats sought and experienced was beauty and not sublimity. The two ideas are entirely different and must not be confused. Beauty indulges in the aesthetic experience of harmony, balance and symmetry, while the Sublime assaults the senses with its sheer enormity.
The consonance of [l] Written for The Literary Yard in the description of these lush slopes gives an effect of smoothness and poise. The Sublime is primarily characterized by its ability to evoke powerful feelings. Wordsworth visits the idea of the power of the sublime to cause enigmatic feelings within its beholder in The Prelude.
The emotion is captured in the moment when the poet first sets his eyes upon Mount Snowdown. The Romantics are enraptured by this violent emotion of terror.
The fast pace Written for The Literary Yard of the poem along with the many enjambments show a wild confusion that borders hysteria.
The picture of absolute devastation brings forth the heinous degradation of humankind. In doing so, the tranquillity gradually disappears and the emotion that prevailed before the subject of contemplation takes shape. The Romantics paint infinity as an unimaginable emptiness that is most unsettling.
The disturbing quality should be reason enough for it to be a site of the sublime. The enthralling descriptions of Nature are shrouded by the air of solitude, desolateness and loneliness. The poet uses verbs devoid of any motion, and thus the landscape has a still, stagnant quality to it.
Although it paints the picture of one night, the silence suggests perenniality. Most poems are an unnerving account of the unchanging stillness in Nature, but Byron breaks away from this tradition in Solitude. He injects his own presence into the indolence of the Romantic landscape. He is not sorrowed by the daunting emptiness, but relishes being swallowed in it.
The mind loses self-awareness in pure contemplation of the might of the external power. The emotion itself actually exists in the mind and stirs up the sublime experience.
Immanuel Kant in his Critique of Judgement states that the sublime belongs properly to the mind, as it is the mental representation of the natural object that brings out the sublimity of the transformed subject.
As exemplified by Shelley in Mont Blanc, it is only the confluence of the mind and the object that brings about the realisation of the sublime.
These unimaginable dimensions coupled with passion elevate human emotions closer to the attainment of the Sublime, the overbalance of pleasure The sublime is a reflection of the inward greatness of the soul.
Kant further states that it involves the recognition that we have a power within us that transcends the limits of the world as given to us by our senses.Written for The Literary Yard The Romantic Sublime: An Analysis of Romantic Poetry ‘Poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquillity.’.
The Victorian Era is a reaction against the Romantic Period due to differences in terms of historical influences, effects of science, crises of faith, and women’s desire for change.
The Romantic Period’s history started in and ended less than thirty-five years later in The Romantic period The nature of Romanticism.
Another key quality of Romantic writing was its shift from the mimetic, or imitative, assumptions of the Neoclassical era to a new stress on imagination. Useful as it is to trace the common elements in Romantic poetry, there was little conformity among the poets themselves.
18 Nov Romantic era poetry analysis essay.
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The romantic era produced many of the stereotypes of poets and poetry that exist to this day (i.e., the poet as a tortured and melancholy visionary). Romantic ideals never died out in poetry, but were largely absorbed into the precepts of many other movements.
Romanticism Poems. Below are examples of romanticism poems. This list of poetry in the romanticism format or form is composed of the works from modern international poet members of PoetrySoup.
Romanticism is a type of poem that expresses a love for nature. .