Romanticism 2 by liamei12345

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									MAYO
 The Spirit of the Age (1790-1850)
 A sense of a shared vision among
  the Romantics.
 Early support of the French Revolution
 Rise of the individual.
 Affinity with nature.

 Radical poetics / politics – an obsession
  with violent change.
     The            Early
                     19c
                            Romanticism
Enlightenment                Civilization
 Society is good,            corrupts;
 curbing violent             institutions
 impulses!                   have rippling
                             effects!
       Romantic Movement

• Reaction (backlash) against some
  Enlightenment ideas
• Dramatic German poetry (Strum and
  Drang … storm and stress)
• Rationalism and reason are NOT enough
  to explain human nature
              Rousseau

• Emile – stressed differences between
  children and adults
• Stages of maturation
• Maximum individual freedom
• Physical differences of men and women
  have them in separate roles
• Nature superior to artificial society
• Uniqueness of each individual
           Immanuel Kant

• Knowledge rooted in sensory experience
  (Locke)
• KANT … subjective character of human
  knowledge … the mind actively imposes
  categories of understanding …
  presupposition
• Innate sense of moral duty
              Romantics

• Fancy, imagination, intuition … human
  mind had power beyond reason
• Poets, artists, possessed greater degree
  of the above
            Romanticism

• Emotions, Passion, Irrationality
• Individualism
• Power of Nature
• Nationalism
• Mysticism, Superstition
• Danger in Science and Technology
  (sometimes)
• Exotic lands, fantasy, the occult
Lady Macbeth - Henry Fuseli, 1794
Wandering Above
 the Sea of Fog

 Caspar David
   Friedrich,
      1818
       The Dreamer
Gaspar David Friedrich, 1835
       Solitary Tree
Caspar David Friedrich, 1823
    An Avalanche in the Alps
Philip James de Loutherbourg, 1803
Sunset After a Storm On the Coast of
  Sicily – Andreas Achenbach, 1853
    The Deluge
Francis Danby, 1840
       Tree of Crows
Caspar David Friedrich, 1822
The Wreck of the Hope (aka The Sea of Ice)
       Caspar David Friedrich, 1821
Shipwreck – Joseph Turner, 1805
The Raft of the Medusa
Théodore Géricault, 1819
The Eruption of Vesuvius - John Martin
Lion with the Rabbit - Eugène Delacroix
Isaac Newton – William Blake, 1795
      Rain, Steam, and Speed
Joseph Mallord William Turner, 1844
Man and Woman Contemplating the Moon
      Gaspar David Friedrich, 1825
    Moonrise by the Sea
Gaspar David Friedrich, 1821
Flatford Mill – John Constable, 1817
The Corn Field

John Constable,
     1826
A Mill at Gillingham in Dorset
     John Constable, 1826
   Coming From
  Evening Church

Samuel Palmer, 1830
Salisbury Cathedral from the Bishop’s Ground
            John Constable, 1825
Salisbury Cathedral from the Meadows
        John Constable, 1831
Hadleigh Castle - John Constable, 1829
       Eldena Ruin
Gaspar David Friedrich, 1825
Winter Landscape with Church
 Gaspar David Friedrich, 1811
 Cloister Cemetery in the Snow
Caspar David Friedrich, 1817-1819
     Abbey in an Oak Forest
Caspar David Friedrich, 1809-1810
Pity - William Blake, 1795
The Great Red
Dragon and the
Woman Clothed
 with the Sun

William Blake,
  1808-1810
Stonehenge - John Constable, 1836
Nightmare (The Incubus)
   Henry Fuseli, 1781
Manfred and the Witch of the Alps
       John Martin - 1837
   Witches
   Sabbath

Francisco Goya,
     1798
Procession of Flagellants on Good Friday
         Francisco Goya, 1793
  Hamlet and
   Horatio in
 the Graveyard

Eugène Delacroix,
     1839
Saturn Devours
   His Son

Francisco Goya,
   1819-1823
  Greece on the
    Ruins of
  Missolonghi

Eugène Delacroix,
     1827
Liberty Leading the People
  Eugène Delacroix, 1830
 Detail of the
 Musket Bearer

Delacoix, himself
The Burning of Parliament (1)
  Joseph Turner, 1834-1835
The Rise of the Cartheginian Empire
        Joseph Turner, 1815
   His Majesty’s Ship, “Victory”
(Trafalgar) - John Constable, 1806
      The Fighting Temeraire
Joseph Mallord William Turner, 1838
 An Officer of the
  Imperial Horse
     Guard

Théodore Géricault,
       1814
The Shooting of May 3, 1808
   Francisco Goya, 1815
Portrait of Frederick Chopin
  Eugène Delacroix, 1838
Pandemonium - John Martin, 1841
       Grand Canal, Venice
Joseph Mallord William Turner, 1835
Massacre of Chios - Eugène Delacroix, 1824
 The Fanatics of Tangiers
Eugène Delacroix, 1837-1838
The Sultan of Morocco and His Entourage
        Eugène Delacroix, 1845
Women of Algiers in Their Apartment
      Eugène Delacroix, 1834
The Bullfight - Francisco Goya
Charge of the Mamelukes, May 2nd, 1808
        Francisco Goya, 1814
God as the Architect - William Blake, 1794
Elohim Creating Abraham
  William Blake, 1805
Body of Abel Found by Adam and Eve
       William Blake, 1825
 Faust and Mephistopheles
Eugène Delacroix, 1826-1827
The Seventh Plague of Egypt
     John Martin, 1823
The Cathedral

Gaspar David
 Friedrich,
    1818
The Cathedral
  (details)

Gaspar David
 Friedrich,
    1818
      The Great Age of the Novel
   Gothic Novel:
     Jane Eyre - Charlotte Bronte
     Wuthering Heights - Emily Bronte
 Historical Novel:
     Ivanhoe - Sir Walter Scott
     Les Miserables - Victor Hugo
     The Three Musketeers - Alexander
                            Dumas
     The Great Age of the Novel

   Science Fiction Novel:
     Frankenstein - Mary Shelley
     Dracula – Bramm Stoker

 Novel of Purpose:
    The Road to Ruin - Thomas
                          Holcroft
 Other Romantic Writers
Jacob and Wilhelm Grimm
   - Grimm’s Fairy Tales


       Johann Wolfgang von Goethe
         - Faust
     The Romantic Poets
   Percy Byssche Shelley
 Lord Byron (George Gordon)

 Samuel Taylor Coleridge

 William Wordsworth
 John Keats

 William Blake
                 The Lamb
       Poem lyrics of The Lamb by William Blake

• Lamb, who made thee?
  Dost thou know who made thee?
  Gave thee life, and bid thee feed,
  By the stream and o'er the mead;
  Gave thee clothing of delight,
  Softest clothing, woolly, bright;
  Gave thee such a tender voice,
  Making all the vales rejoice?
  Little Lamb, who made thee?
  Dost thou know who made thee?
• Little Lamb, I'll tell thee,
  Little Lamb, I'll tell thee.
  He is called by thy name,
  For He calls Himself a Lamb.
  He is meek, and He is mild;
  He became a little child.
  I a child, and thou a lamb,
  We are called by His name.
  Little Lamb, God bless thee!
  Little Lamb, God bless thee!
                   William Blake
THE TYGER (from Songs Of
Experience)
Tyger! Tyger! burning bright
In the forests of the night,
What immortal hand or eye
Could frame thy fearful symmetry?

In what distant deeps or skies
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand dare sieze the fire?
And what shoulder, & what art.
Could twist the sinews of thy
heart?
And when thy heart began to beat,
What dread hand? & what dread
feet?
                                    When the stars threw down their
                                    spears,
What the hammer? what the
                                    And watered heaven with their
chain?
                                    tears,
In what furnace was thy brain?
                                    Did he smile his work to see?
What the anvil? what dread grasp
                                    Did he who made the Lamb make
Dare its deadly terrors clasp?
                                    thee?

                                    Tyger! Tyger! burning bright
                                    In the forests of the night,
                                    What immortal hand or eye
                                    Dare frame thy fearful symmetry?
             William Blake
• to live a good life does not necessarily
  mean one must deny natural creative
  energy. The energy that Blake describes,
  that humans are taught to curb or restrain,
  is what causes the sense of evil as defined
  by orthodox Christianity, when in reality, it
  is that energy that gives humans creative
  power and true individuality. While that
  energy should be tamed, it should never
  be constrained.
• Blake’s writing is more about universal balance
  – almost from an Eastern perspective as
  compared to Western religious teachings where
  everything is black and white. William Blake’s
  Proverbs of Hell endeavor to teach the value of
  experience beyond the five senses, to not deny
  natural desires, to resist prudence and see that
  active is preferred to passive living, to not resist
  the self and one’s accomplishments, and to
  recognize the hazards of religion and the herd
  mentality that it promotes.

								
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