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British Romantics Writers, 2005.
Compares the writings of male and female authors of the romantic period of British literature from 1785 until 1830.
1,760 words (approx. 7.0 pages), 6 sources, MLA, $ 56.95
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Abstract
This paper relates that the main ideas of romanticism were exalting the praises of the ordinary and speaking to the masses. However, some of the literature of this period demonstrates that various British romantic authors, most often men, still were rooted in the style of the classics of John Milton. The writings of William Wordsworth, Samuel Taylor Coleridge, Lord George Gordon Byron, Mary Robinson, Mary Wollstonecraft and Anna Leticia Barbauld are reviewed. The women authors of the romantic period, the author believes, were much more down to earth; thereby, by definition, these women can be more clearly classified as romantic writers than these men.
From the Paper
"Anna Leticia Barbauld also wrote of women being strong and is perhaps the best example of a Romantic's Romantic. One of the best examples of her work is "Washing Day," a satirical "epic" poem about the washerwoman and her excessive burden of laundry day in the Romantic era. This is as authentic a piece of Romantic literature as one may find. It is not written for the privileged few, it is not hindered by overly aristocratic language or superfluous length, and it can be understood universally, as well as on many different levels."
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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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Romantic Poetry, 2008.
This paper argues that some of the best examples of Romantic poetry are from unlikely individuals that are rarely included in the canon of "Romantic literature".
1,660 words (approx. 6.6 pages), 4 sources, MLA, $ 53.95
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Abstract
The paper relates that Romantic poetry was a clear demand for social justice, expressing that the past social structure was too rigid and the new social order must allow for individual growth. The paper posits that some of the best examples of Romantic poetry were produced by working class individuals. The paper uses the example of the working class, self-educated poet, Mary Collier, and analyzes two specific examples of Collier's poems. The paper explains that this working class woman was not only not an exception but probably even more committed to the ideals of the period than many of the classic Romantic poets.
From the Paper
"The term romanticism related to a period of European history associated with the end of the eighteenth and the beginning of the nineteenth century. Romantic poetry is an expression of the period, the emphasis of such poetry was frequently nature as well as individual expression of emotions and imagination as a rejection of earlier classicism and strict social rules and conventions that defined life, prior to the time. In a sense romantic poetry, as well as other literary and artistic expressions during the period were a clear demand for social justice, expressing that the past social structure was to rigid and the new social order must allow for individual growth. "
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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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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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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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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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Abstract
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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The Romantic Male, 2007.
An analysis of the concept of the romantic male as portrayed in the media.
751 words (approx. 3.0 pages), 4 sources, MLA, $ 26.95
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Abstract
This paper discusses the concept of the romantic male from various perspectives. It presents different definitions and descriptions of male personality and behavior, in terms of their masculinity and romanticism. However, more than just looking into romanticism and masculinity as concepts relevant to the concept of the romantic male, this paper also assesses romantic males as portrayed and interpreted in films.
From the Paper
"The second typology is the "hero" or "warrior" male, most popularly depicted in films and literary texts. The warrior/hero is the male individual who is "physically and socially competent." The warrior/hero is physically tall, muscular, handsome, strong, large, tanned, masculine, and energetic, while socially, he is "sexually bold, calm, confident, and intelligent...no hero was described as being a gentle, sensitive fellow (except with respect to his feelings for and actions toward the heroine)" (Salmon and Symons, 2004). The warrior/hero is considered the romantic male because he is able to "transform" or shift his characteristics in accordance to the person he relates to: he becomes strong and brave when antagonism or conflict is present, and becomes sensitive and gentle when faced with a female individual (Jones, 2006). This character shift makes the female feel special, thus connoting the male's intention to ensure relational longevity between him and the female."
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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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Abstract
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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Romantic Age, Slavery and Blacks, 2006.
This paper explores the extent to which inclusion of literature related to slavery and blacks is an aspect of the Romantic Age.
1,986 words (approx. 7.9 pages), 4 sources, MLA, $ 63.95
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Abstract
The paper discusses how the inclusion of literature related to slavery and blacks is to a tremendous extent an indisputable aspect of the Romantic Age. The paper relates that the Romantic Age coincided with colonialism and the acquiring of African slaves. The paper reveals that this era founded and birthed racial taxonomies and the very term "Blacks" among other racial slurs. The paper shows how the height, depth and demise of slavery were witnessed during the Romantic period.
From the Paper
"The exact span of time attributed to the Romantic Era is still debatable. According to Joseph Strayer and Hans Gatzke, "The term Romanticism defies clear definition. It differed not only from country to country but from Romanticist to Romanticist" (The Mainstream of Civilization; 550). What is definite and sure is that Romanticism coincided with Colonialism. Colonialism has been defined as, "The practice of acquiring control over another country, occupying it with settlers, and exploiting it economically" (The Oxford Dictionary). The chief tool utilized to achieve the ends of colonialism was African slaves. As stated by Damrosch et. Al. "From 1783 to 1793 more than 300,000 slaves were sold in the British colonies, at a value of over 15,000,000 pounds" (108)."
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Nostalgia in Romantic Poetry, 1996.
An examination of the use of nostalgia in the poetry of the romantic era (1768 - 1839), focusing in particular on the poetry of William Wordsworth and Samuel Taylor Coleridge.
1,951 words (approx. 7.8 pages), 5 sources, MLA, $ 62.95
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Abstract
This paper argues that nostalgia in poetry can be considered a particular kind of literary device, through which it is possible to gain some degree of insight into the whole ideology on which the romantic movement was based. Through an analysis of the poetry of William Wordsworth and Samuel Taylor Coleridge, it looks at how the romantics mourn the fleeting nature of time and look back to the golden age of childhood - which can only be recaptured through nostalgia. It shows how nostalgia allows the poets the opportunity to not only recapture the past, but to manipulate and control it and how the nostalgia displayed in romantic poetry is, then, a tool of the intellect and a calculated attempt to make sense of a confused world of impressions and feelings, to bring order where previously there was only chaos.
From the Paper
"Coleridge?s is an extreme model of nostalgia. Casting his mind back to childhood, he finds that the child he once was is also indulging in nostalgic thoughts of a still deeper past; the past he may have experienced even before birth, on a far different plane. This is the blissful, innocent world which becomes the ideal for all present existence, and the child who can still recall it, and imaginatively re-inhabit that world through nostalgia becomes, to the romantic mind, like a visionary without language or the proper means of expressing his recollection."
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Evolution and the Romantic Poets, 2008.
An analysis of the relationship between Darwin's theory of evolution and the romantic poets in the nineteenth century.
1,107 words (approx. 4.4 pages), 2 sources, MLA, $ 38.95
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Abstract
This paper discusses the conflict between evolution and religion since the publication of Charles Darwin's work in the mid-nineteenth century. It specifically focuses on the way in which this conflict affected the romantic poets. The paper shows how the romantic poets displayed a sense of physical change in the world, of the evolution of nature and of man over time. It suggests that their perceptions were not identical to Darwin's ideas.
From the Paper
"The Romantic poets had some sense of physical change in the world and of the evolution of nature and of man over time, though not in the way that Darwin would describe. Many also had a mystical link with Nature whether more as observers like Wordsworth or as spiritualists like Coleridge. Evolution and religion would conflict more in the next generation, but the Romantic poets found ways to accommodate both at a time when ideas about evolution were only just gaining strength."
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Coleridge as a Romantic Poet, 2003.
An analysis of the extent to which Samuel Taylor Coleridge fits the mantle of ?Romantic poet.?
1,543 words (approx. 6.2 pages), 2 sources, MLA, $ 50.95
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This paper outlines the qualities and criteria of romantic poetry and attempts to show how it is possible to compare and contrast the poetic style and subject matter of Coleridge?s poems,to these criteria in order to determine the extent to which he fits the description ?Romantic poet.? The poems analysed are ?Eolian Harp,? ?This Lime-Tree Bower My Prison? and ?Kubla Khan.? The paper then highlights Coleridge?s Gothic credentials, focusing in particular on ?Christabel.?
From the Paper
"An excellent example of innovation in the way that a poem is divided, and indeed of many other Romantic attributes, is This Lime-Tree Bower My Prison; it contains three sections of twenty, twenty-four and thirty four lines respectively, an irregular structure. The first section conveys a sense of lost opportunity; resigned to missing out on a walk with his friends, Coleridge, due to his heightened insecurities, initially wallows in self pity, an almost obligatory action in many of his autobiographical poems, ?Well, they are gone, and here I must remain / This lime-tree bower my prison!? This focus on, or reference to, the poet himself is an important feature of Romantic poetry and can also be seen in Lines, The Eolian Harp, and Reflections On Having Left a Place of Retirement. However, the second part of the first section and the entire second section show a complete change in spirits on the part of Coleridge, who begins to derive pleasure from imagining the natural beauty surrounding, and the enjoyment of, his friends as they walk. "
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Romantic Captain Ahab, 2003.
A look at the view of Captain Ahab as a romantic hero in "Moby Dick."
1,021 words (approx. 4.1 pages), 2 sources, MLA, $ 36.95
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Abstract
In "Moby Dick", Herman Melville uses Captain Ahab to describe and critique the romantic hero. It shows how Melville establishes Ahab's superiority in several ways and shows how Captain Ahab is the perfect example of a romantic hero.
From the Paper
"Captain Ahab is the perfect example of a romantic hero. He pursues the whale that in a previous voyage had caused him to lose a leg, with a murderous obsession. He wants only information about the whereabouts of Moby Dick. All civilities and pleasures are dispensed with, as Ahab gives his razor away and even throws his pipe overboard. The quadrant is smashed; and compass and chart are jettisoned, as Ahab, with the instinct of a maddened hunter, makes his own magnet, log, and line and pursues Moby Dick across the Pacific by dead reckoning. As the weeks and months pass, Ahab becomes ever more obsessive."
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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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