A Concise Companion to the Romantic Age by Jon Klancher

February 23, 2017 | Gothic Romance | By admin | 0 Comments

By Jon Klancher

A Concise significant other to the Romantic Age presents new views at the relationships among literature and tradition in Britain from 1780 to 1830

  • Provides unique essays from numerous multi-disciplinary students at the Romantic period
  • Includes clean insights into such subject matters as spiritual controversy and politics, empire and nationalism, and the connection of Romanticism to modernist aesthetics
  • Ranges around the Romantic era's literary, visible, and non-fictional genres

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1957) Religious Trends in English Poetry, Vol. IV, 1830–1880. New York: Columbia University Press. Frei, H. W. (1974) The Eclipse of Biblical Narrative: A Study in Eighteenth and Nineteenth Century Hermeneutics. New Haven, CT: Yale University Press. Frye, Northrop. (1982) The Great Code: The Bible and Literature. New York: Harcourt Brace Jovanovich. Gill, F. C. (1937) The Romantic Movement and Methodism: A Study of English Romanticism and the Evangelical Revival. London: The Epworth Press. Hulme, T.

And even in its more mundane and less disconcerting versions, as when politicians invoke new political and social “visions,” echoing Shelley’s transformation of poets into the ultimate legislators, the Romantic imagination remains a hovering presence. The presence sheds its aura also upon the narrated or archetypal unconscious, which also is like the sea or the sky in that it is just there – a part of the mind that, despite psychology or neural surgery, remains unexplainable by any other part of the mind.

Accordingly some unfortunate man, in no respect more depraved than hundreds whose offences have been treated with lenity, is singled out as an expiatory sacrifice. At length our anger is satiated. Our victim is ruined and heart-broken. And our virtue goes quietly to sleep for seven years more. (Macaulay 1830/1907: 616) Although Macaulay defended Byron against this English hypocrisy, he nevertheless agreed that his poetry was marked by “incorrectness,” that is to say, by overblown sentiments and a lack of decorum.

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