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The Romantic Period of British Literature, 2003.
This paper discusses the Romantic period of British literature, from approximately 1785 until 1830, which was spurred in part by the French revolution and followed the Age of Enlightenment period of literature.
1,900 words (approx. 7.6 pages), 6 sources, MLA, $ 60.95
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Abstract
This paper explains that the Romantic period is about the ordinary and the outcast becoming glorified; romantic literature parallels romantic domestic life: Men spend their time talking of great ideals while women go unrecognized for meeting those same ideals as they get down and do the real work. The author points out that, after Wordsworth and Coleridge, Lord Byron is the next big name in the Romantic period of British Literature. The paper relates that the women writer of the Romantic period, such as Mary Robinson, Mary Wollstonecraft and
Anna Leticia Barbauld, also were predominantly members of the aristocracy, but, by the virtue of being women of their era, they were more down-to-earth.
From the Paper
"Wordsworth and Coleridge are essentially credited with starting the Romantic Era of British literature with the publication of the Lyrical Ballads. Wordsworth and Coleridge were heavily influenced by Milton and this shows the "Preface to Lyrical Ballads," in which Wordsworth defends his poetry, but not without making dozens of references to Milton throughout. The Lyrical Ballads themselves are very difficult reading, obviously intended for the elite. Then we have the "Rime of the Ancient Mariner" in which we have a tale set up much like the Odyssey in which the "Ancient Mariner" has an epic adventure in which he is taken to the South Pole by a storm an kills an albatross which causes bad luck and releases spirits, but fortunately for our narrator he is saved by the "grace of the Holy Mother" and is witness to such epic-style special effects as ghosts, miracles, and reincarnation. This certainly does not fall under the heading of "glorification of the ordinary." It is another epic."
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Romantic Period Literature, 2007.
This paper looks at "Pride and Prejudice" by Jane Austen and Karl Marx's Communist Manifesto as symbolic of the society of the Romantic Period.
1,390 words (approx. 5.6 pages), 6 sources, MLA, $ 46.95
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Abstract
The paper discusses how the Romantic Period of literature was marked by many representations of the reinforcement of tradition and propriety by industrialists who wanted to represent themselves as wealthy. The paper shows how this can be seen in the literary tradition of the era. The paper examines the novel "Pride and Prejudice" by Jane Austen that is populated by characters that meet the ideals of this period. The paper examines Marx's Communist Manifesto in conjunction with romantic literature and explores the ideals it supports.
From the Paper
"The Romantic Period of literature was marked by many representations of the reinforcement of tradition and propriety, as well as satire on the whole of the traditions and challenges. The romantic period being marked by a change of hands, with the rise of the "new" moneyed rich, who had been a part of the great industrial revolution, presumably as a part of the group who had walked upon the backs of others rather than been walked upon for another's gain. These newly rich characters were making every stride to live, as if they were members of an earlier and more foundational aristocracy. To do so they had to embark on building asset of rules and social demands that represented their desire for public acceptance."
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William Blake and the Romantic Period of Poetry, 2004.
Examines the life and times of poet William Blake and how his work influenced the Romantic period of poetry.
1,591 words (approx. 6.4 pages), 8 sources, MLA, $ 52.95
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Abstract
In addition to describing Blake's artistic and creative life, this paper reviews two of Blake's greatest poems, "Laughing Song" and "The Lamb". The paper explains the different approach to each poem that Blake took and analyzes his use of literary elements, such as metaphors, similes, alliterations, allusion, apostrophe, analogy, assonance, hyperbole, irony, paradox, and personification in both writings. The paper also attempts to explain how and why Blake used the style, themes, ideas, and topics that contributed to his work being associated to the Romantic period.
From the Paper
"William Blake?s life spanned from 1757 to 1827. In that period, Blake was known as a successful English poet and artist throughout London circles. ?In the visionary imagination of William Blake there is no birth and no death, no beginning and no end, only the perpetual pilgrimage within time toward eternity'' (Ackroyd) Blake was known to have had a great influence on the English romanticism period. But he went beyond any such school, movement, or period. Blake?s poetry was an insight into the realities of human condition of the time. William Blake was born in London November 28 and as was the custom of the time christened around the eleventh of December of the same year at a local church called St. James?s Church."
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The Romantic Period, 2006.
This paper examines the era of romantic literature and poetry as well as the common thread which binds various works of writing into a particular field of literature.
2,912 words (approx. 11.6 pages), 6 sources, MLA, $ 86.95
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Abstract
The writer of this paper contends that one of the most difficult questions to answer in the study of English literature is the method by which literary periods are defined. This paper attempts to define the romantic period in both literature and poetry as well as the metaphorical common thread which brought it all together. While the romantic period is a somewhat vague era, this paper presents a study of major poets over a particular period that describes how the evolution of one idea can came to define a period. This paper explores how two major leaders of the romantic movement, Wordsworth and Coleridge, were influenced by the events of French Revolution. When the course of the revolution soured and reality proved far different from the dream, so began an important school of writing. Their joint release of the "Lyrical Ballads" signaled this change. This paper also examines the writings of various poets and authors including Lucy Aikin, Percy Shelley and Anna Letitia Barbauld as well as the mitigating factors that influenced their writing.
From the Paper
"Shelley's poem "Ode to the West Wind" is a prime example of this shift in focus. In this poem, he hopes to sound the "trumpet of a prophecy." He believes that he has discovered the all-powerful force which exists in the universe. This "power", as he terms it, holds all in its sway. Power, like the West Wind, is an unchanging force in a changing universe. The wind holds dominion over the land, the sea, and the air. It disperses the leaves in the autumn, blows the clouds across the skies, and causes the waves to roll. The wind itself, however, is immutable. It has blown for all time, and will continue to do so. The point of Shelley's poem is that humans have attempted to usurp a power which they cannot. Humans believe they are the controlling force, and that is why society has degenerated. Only when submission to this higher power occurs, will real change be able to take place. Consequently, humans must learn to overcome their own egos in order to achieve a balance in the world."
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The Romantic Period: Nathaniel Hawthorne, 2002.
This paper examines three of Nathaniel Hawthorne's works that demonstrate his characterization as a Romantic writer.
1,140 words (approx. 4.6 pages), 5 sources, MLA, $ 39.95
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Abstract
This paper begins with a discussion of the Romantic Period, and then turns to Nathaniel Hawthorne, a writer of that time. Three of his works, "Young Goodman Brown", "The Minister?s Black Veil", and "The Scarlet Letter" are discussed as examples of writings of the Romantic Period.
From the Paper
"The Romantic Period can be characterized by four things, ?a return to nature and to belief in the goodness of humanity; the rediscovery of the artist as a supremely individual creator; the development of nationalistic pride; and the exaltation of the senses and emotions over reason and intellect? (Encyclopedia.com). Nathaniel Hawthorne is one writer whose work is generally classified as Romantic. By looking at three of his important works, we can see how Hawthorne meets the criteria of a Romantic and also how Hawthorne goes beyond this definition, not only making a comment on the place of humans, but actively encouraging all humans to reconsider their place in the world."
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Romantic Period Poetry, 2005.
This paper compares and contrasts Joanna Baillie's "A Mother to Her Waking Infant" and Samuel Taylor Coleridge's "Frost at Midnight."
1,125 words (approx. 4.5 pages), 5 sources, $ 44.95
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Abstract
The paper analyzes two poems; Joanna Baillie's "A Mother to Her Waking Infant" and Samuel Taylor Coleridge's "Frost at Midnight." The paper explains that they are both fine examples of Romantic period poetry, despite having different approaches to their shared topic and period. The paper illustrates how both poems show the narrator's thoughts at the sight of his or her child. The paper shows that how the authors approach this topic is what makes each poem unique and memorable. This paper is a discussion of the themes, structures and techniques of both poems. The diction, tone, imagery, sound effects, poetic genre and poetic tradition are all discussed in terms of their use to make the theme of the poem apparent.
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The Romantic Period in "La Belle Dame Sans Merci", 2000.
1,065 words (approx. 4.3 pages), 4 sources, $ 37.95
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Abstract
This paper looks at John Keats' poem "La Belle Dame Sans Merci" which was written in the Romantic era, analyzing the characteristics of romanticism it reflects, as well as how it differs from these notions.
From the Paper
"Keats "had a Renaissance responsiveness to the grandeur of man's intellectual exploration of the universe" (Abrams 309). He did not seek to resolve the great mysteries of the world in his poetry. He believed in the concept of 'art for the sake of art', not to come to some resolution of truth or moral end. He concurred with the opinions of Shelley and Wordsworth that poetry should have a "worthy purpose" with an ethical and social effect. In response to Wordsworth's decree that "every great Poet is a Teacher: I wish to be considered as a Teacher, or as nothing," Keats countered, "we hate poetry that has a palpable design upon us" (Abrams 328-329). Keats did not continuously ask 'why', as did his peers of the Romantic Period. In his own words, he ascertained that, "Beauty is truth, truth beauty--that is all/ Ye know on earth, and all ye need to know" (Untermeyer 150)."
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Poetry of The Romantic And Victorian Periods, 2002.
A comparison of different ideas of a poet's function in the poems of John Keats and Matthew Arnold.
2,475 words (approx. 9.9 pages), 10 sources, $ 87.95
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Abstract
Compares different ideas of a poet's function in the poems of John Keats and Matthew Arnold. Their concepts of the art of poetry and ideas of the poet's role in society. Keats' idealism and disinterest in political thought. Arnold's emphasis that poetry should discuss the moral needs and failures of society.
From the Paper
"Poets' conceptions of their roles in society can be fairly consistent for long periods of time or may change rapidly in a decade or two. The difference between the idea of a poet's function as conceived by the Romantic era and the Victorian period provides an example of significant change. Not all the supposed members of any school of poetry, of course, share every aspect of the predominant theory of poetry in their generation. Neither John Keats (1795-1821) nor Matthew Arnold (1822-88) is entirely typical of his era. But, especially because Arnold reacted against Keats--among others--in specific, articulated ways, a comparison of their ideas of their role as poets will demonstrate how such changes take place and the effect they have on the poetry that is written.
A brief discussion of the two poets' ideas about the art of..."
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Classical and Romantic Music, 2005.
A comparison between classical and romantic music periods.
900 words (approx. 3.6 pages), 4 sources, $ 35.95
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Abstract
This paper looks at the details which characterize the musical romantic and classical periods. It begins with a look at the classical styles and its composers, and then moves to address the romantic style and its composers. It concludes that distinct differences in purpose, emotion, form, function and fusion of musical genres are apparent in the two.
From the Paper
"Classical music ranged from about 1750 to 1820, at which point Romantic music became the current style, which itself lasted until around the year 1900. As one inevitably lead into the other, their characteristics perhaps can be best described when they are fully compared to one another. The classical style, as exemplified by its composers, was more fixated on form, design, balance and grace, while romantic style instead aimed at fusing together musical genres to capture the true, expressive spirit of the work, as likewise captured by the composers of this era. The classical period aimed backwards in history, attempting to recreate the classical period of the past in Grecian and Roman terms. Classical music, like many other periods, had variations of its styles. Beginning as a courtly style, which most likely was a remnant of the previous baroque period, it was intended to please the ..."
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Frankenstein and the Disenfranchised, 2007.
A comparison between Mary Wollstonecraft Shelley's character of Frankenstein, and women and criminals from the Romantic period.
1,315 words (approx. 5.3 pages), 4 sources, MLA, $ 44.95
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Abstract
The purpose of this paper is to introduce, discuss, and analyze the book "Frankenstein: Or the Modern Prometheus", by Mary Wollstonecraft Shelley. The paper addresses how Frankenstein's creature compares to or resembles women and criminals as members of the disenfranchised classes of the Romantic period. The paper concludes that Frankenstein is alone and lonely, with no hope for a "normal" life. In this, Frankenstein is like the women and criminals of the Romantic period that he represents.
From the Paper
"The novel is quite relevant to modern readers for a number of compelling reasons. First, society may have mellowed a bit, but overall, many of the societal judgments that were common in the Romantic period still exist. Women have a higher level on the social ladder, but they are still judged on their appearances rather than their abilities. Criminals are still an ostracized segment of society, in fact, they cannot vote in elections if they are felons. There are many aspects of modern society that have not truly modernized at all. In addition, the novel makes the reader look at how people judge others in society. The time period does not matter so much in this novel, because society is still incredibly judgmental and disapproving of anything out of the ordinary."
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Byron, Keats and Coleridge, 2002.
A look at the work of Byron, Keats and Coleridge, the poetic masters of the Romantic period.
988 words (approx. 4.0 pages), 5 sources, MLA, $ 35.95
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Abstract
This paper discusses how of all the English poets that comprise the Romantic period, Lord Byron (1788-1824), John Keats (1795-1821) and Samuel Taylor Coleridge (1772-1834) stand as the quintessential masters of Romantic poetry. It examines how their contributions to the aesthetics of versification are highly representative of the Romantic period by reviewing Byron's "She Walks in Beauty," Keats' major odes ("Ode to a Nightingale", "Ode on a Grecian Urn" and "Ode to Melancholy") and Coleridge's "Rime of the Ancient Mariner."
From the Paper
"The great symbolic voice of the true Romantic poet can best be heard in John Keats' romantic odes. In "Ode to a Nightingale," Keats relates that his "heart aches, and a drowsy numbness pains/My sense, as though of hemlock I had drunk" (1st stanza, lines 1-2), which shows that Keats longs for happiness and wishes to be free like the nightingale, a symbol of great importance to the Romantic poets, for it represents freedom of expression and flights of fancy into the sublime. Thus, this image conjures up the idea that the poet has drunk poison (hemlock) which illustrates his deep longings for a spirit free of pain and misery, a reflection of the often poverty-stricken lives led by a good number of Romantic poets."
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Paintings of the Romantic Age, 2003.
A summary of Romantic paintings, what makes them Romantic, what they depict, and how they reflect the culture of Europe and the world at the time.
1,090 words (approx. 4.4 pages), 2 sources, MLA, $ 38.95
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Abstract
The Romantic Age was an age in which artists employed many different techniques to create certain effects and feelings in their paintings. This paper focuses on some of the key pieces of art from the Romantic Age and analyzes each painting to reveal its true meaning and explain what aspects of each painting make it a Romantic work of art. It also examines how each painting reflects a certain aspect of both European and world culture at the time. This includes social, economical, and political aspects of life. The paintings include "The Raft of Medusa" by Theodore Gericault and "Hunting in the Pontine Marshes" by Florace Vernet.
From the Paper
"One painting, The Raft of Medusa, by Theodore Gericault, is a painting of a small raft that is afloat in the sea which is covered with people sprawled out over the raft. There is a wide range of emotions shown by the people floating on the raft, as some are waving a white flag trying to catch the attention of a passing ship in the far distance, to the dead bodies of those not fortunate enough to make the journey on board the raft. In fact the range of emotions seems to follow a pattern from the top right to the bottom left. In the top right a ship can be seen very far off in the distance, which symbolizes the chance of rescue. Then moving downward and leftward there are a couple people trying to get the attention of the ship. Then there are some people who seem rather indifferent and are standing about, then there are people who seem worried, which gradually advances to into mourning, some people have their hands clasped over their faces, and finally there are the sick and then the dead. The elements of art which are important in this painting are line, space, and color. The line in this painting by Gericault is much defined by the way he outlines the bodies and faces to shape their expressions. Gericault also uses symbolism, using people to represent possible human emotions for dealing with such an event, and he expresses individualism by showing almost each person with their own emotion. Finally he uses the horizon very well by giving the painting a sense of depth."
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Shakespeare and the Romantic Poets, 2006.
This paper discusses the reception of William Shakespeare by the Romantic poets as referenced in several text of both Shakespeare and these poets.
2,930 words (approx. 11.7 pages), 14 sources, APA, $ 86.95
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Abstract
This paper examines the way in which Shakespeare was viewed by the poetic exponents of Romanticism, and how some of the characters of Shakespeare's plays may exemplify the Romantic ideal. This author explains that two hundred years separates the time of William Shakespeare in the Elizabethan era and the Romantic poets and their vision of a society, which put the concerns of the individual to the forefront of political issues. The paper points out that, while direct reference to Shakespeare's works by the romantic poets is less than abundant, John Keats, Samuel Taylor and Percy Bysse Shelley suggest a clear aesthetic link between Romanticism and Shakespeare's texts. The paper examines characters of Shakespeare's plays and how they exemplify the Romantic vision of individual liberty, the freedom of expression and mans' relationship with nature, which feature prominently in "King Lear", "Hamlet", "Romeo and Juliet"."
From the Paper
"If then, life is to be lived according to one's ideals, as opposed to the rules of society, then the examination of cerebral conflict is a relevant concern. It would be a simple matter to make one's point by filling an essay such as this with quotations from "Hamlet", whose central character, it appears, is in a state of permanent confusion, or from Corialanus, who, it could be argued is the most egocentric character ever created by Shakespeare, and whose vanity, ultimately, proves to be his undoing. The Romantic hero referred to in my question however, is, for this critic, personified in the character of the eponymous protagonist of "Romeo and Juliet"."
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Romantic Comedy, 2004.
Analysis of the romantic comedy genre.
2,129 words (approx. 8.5 pages), 8 sources, MLA, $ 66.95
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This paper analyzes the romantic comedy genre in the context of the movies, "Pretty Woman," "Runaway Bride", and "Notting Hill". The paper points out how the typical theme of romantic comedies has been updated, but still remains the same. In other words, the female characters in romantic comedy are still portrayed as independent women with a certain amount of power, yet still craving a relationship with a man who will be at their side when needed.
From the Paper
"Ever since the invention of the cinema, the art of filmmaking has evolved tremendously. In the early days the audience of these cinemas was hungry for any type of screening of films, merely waiting for something new and innovative coming their way. Thus, film makers though limited by their tools and technology tended to repeat or imitate stories in real life so that movies started to develop certain norms or conventions. A western movie thus would have the good guy and the bad guy always at odds; eerie music marked the tone in a horror movie; the loss of a girl was common in a romantic comedy. Filmmakers started to categorize movies into broad categories like thriller, romantic comedy and horror and subsequent sub-categories. Such categorization came to be known as "genre" which in French means "sort", "type? or "kind" ("Genre" 2004)."
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Shelley and Romantic Beauty, 2008.
An analysis of the ideology of romantic beauty in "On the Medusa of Leonardo Da Vinci in the Florentine Gallery" by Percy Bysshe Shelley.
1,854 words (approx. 7.4 pages), 6 sources, MLA, $ 59.95
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This literary study examines the ideology of romantic beauty in the poem "On the Medusa of Leonardo Da Vinci in the Florentine Gallery" by Percy Bysshe Shelley. The writer notes that the central theme of romanticism that arises in this poem focuses on the dark and terrifying Grecian mythological creature Medusa. The writer maintains that for romantic poets such as Shelley, there was a concerted effort to represent feminine beauty and grace through the veil of darkness or death in this poem about Da Vinci's famous painting. In essence, the premise of death and decay is the central element of romantic beauty in Shelley's poem about Da Vinci's depiction of the terrifying Medusa.
From the Paper
"This critical perspective is one key aspect for understanding why Shelley saw beauty in this terrible creature--through the lens of mythological history and the victimization of Medusa at the hands of Minerva and Neptune. In this manner, the basis of romantic beauty hinges on the darkness of humanity, which invariably will produce a cycle of life. For romantics like Shelly, this cycle of death and decay is an essential part of life that illuminates the beauty he sees within Da Vinci's Medusa.
"The evolution of the poem further builds upon the beauty of Medusa as a seductive woman figure that seeks to bring down any man that comes within her grasp. Shelly is keen to point out her horrifying appearance, but it is her inner 'grace' that defines her beauty through the image of death and decay that seduces men .."
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