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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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Keats' "Ode To A Grecian Urn" and Shelley's "Hymn To Intellectual Beauty", 1972.
This paper contends that Shelley's vision was limited as compared to Keats'.
1,575 words (approx. 6.3 pages), 10 sources, $ 55.95
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From the Paper
"It might have been his love for Fanny Brawne, a flare of genius, or only the springtime. But that spring, John Keats placed himself among the great English poets. He did it with all the great odes and the others .. "The Eve of St. Agnes," "The Eve of St. Mark," "La Belle Dame sans Merci." It was the spring of 1819, a bright time, and the spring before Keats started dying.. Keats was twenty.four years old, and he would not live to see two more such springs. When it was all over, John Keats was left suspended in English poetry, charming and imperishably adolescent, timeless and enduring like the frieze on a Greek vase is timeless because it suspends a moment of heightened life.
In this spring, Keats wrote "Ode on a Grecian Urn," perhaps the best of the odes and possibly the best of all his work, for it catches and holds in brief all that Keats had been trying to ... "
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Romantic Poets, 2001.
Discusses elements of Romantic movement; Shelley & other poets.
675 words (approx. 2.7 pages), 3 sources, $ 23.95
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From the Paper
""Ode to the West Wind" by Percy Bysshe Shelley is an example of a Romantic poem. One of the elements of the Romantic Movement in literature was the elevation of Nature as a subject not only for poetry but for study, for life, and as a source of philosophy. This element is seen in different forms in the works of different artists. Romantic poetry such as that by Wordsworth, for instance, takes a more realistic and naturalistic view of Nature than does the more other-worldly sense of Nature found in Coleridge. Each poet features Nature, creates images of the natural world, and makes a connection between human life and the world of nature. This point of view is partially a product of the Enlightenment and of a more human-centered conception of the universe. Shelley puts these ideas into "Ode to the West Wind," addressing Nature as a force in..."
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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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Inner Beauty, 2002.
An exploration of Jane Eyre's life as a search for value in her inner beauty.
1,235 words (approx. 4.9 pages), 1 source, $ 42.95
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Abstract
This essay details the struggle for recognition of inner beauty over outer beauty as seen in ?Jane Eyre?. The author discusses how Jane?s life is a stage for her education and the building of character and value that goes against the traditional notions of beauty. At each of her homes she gains confidence and strength, challenging societal views of beauty and is rewarded with her marriage to a man who respects her for who she is.
From the paper:
?The notion of beauty, what it is and whether it is an inner or outward quality, has been long debated. For centuries people, and particularly women, have struggled with the concept of their own inner beauty as something as important, if not more important than their outward, physical beauty. This is no less true in literature. The idea of female inner beauty has not always been valued. In Charlotte Bronte?s ?Jane Eyre?, the protagonist, Jane, rejects her own outer beauty in favour of nurturing her intellect, her humility and those other inner qualities that she herself views as beautiful. She respects her wisdom and philosophy before any of her physical attributes, partly because of her need as a child to read; partly from the lessons she is taught.?
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Naomi Wolf's "The Beauty Myth", 2006.
An analysis of the message about the ideal of beauty in Naomi Wolf's book, "The Beauty Myth".
675 words (approx. 2.7 pages), 2 sources, $ 26.95
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Abstract
This paper discusses the message in Naomi Wolf's book, "The Beauty Myth", explaining that Wolf puts forward the provocative argument that the ideal of beauty in modern culture is nothing but the latest method of keeping women in a subservient role within the patriarchy. She sees the ubiquitous images of female beauty that pervade our culture as being part of a vicious backlash against the successes of feminism, arguing that this beauty myth functions to keep women convinced that they are worth less than men, and thus maintains the current economic system.
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Mary Shelley?s "Frankenstein", 2005.
This paper discusses Mary Shelley's "Frankenstein" as a novel of the Romantic period.
1,425 words (approx. 5.7 pages), 2 sources, MLA, $ 47.95
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Abstract
This paper explains that while the Romantic period was known for its intense appreciation of nature, it also exhibited a heightened interest in the occult, the gothic and the strange phenomena as reflected in Mary Shelley's "Frankenstein". The author points out the most striking similarity between Victor Frankenstein and the monster, both of which were created as Byronic figures, is, that like his creator, the monster also shuns society but simply because of society's repulsion of him. The paper relates that Frankenstein, a social misfit, is driven by an intense desire to do something outrageously different in order to earn high social status and immense fame and recognition, which shows his deep yearning for social superiority.
From the Paper
"The heroes and central characters that emerged during the literature of this period were thus usually viewed as the anti-social specie with some dark attributes and deep capacity for analysis and observation of human nature. In this novel too, we notice that both Victor and the monster share some common traits such as deep intellectual tendency to analyze and study human nature. Both are dark heroes with negative characteristics who are often instigated against the society due to the cruel behavior of the people around him. Their anti-social attitude emerged from mistreatment of society and they both in their own unique way rebelled against the fixed social rules and norms. When the society shunned them, both began displaying a negative streak, which shows that unlike the traditional hero, there is no redeeming quality or "heroic virtue" that could help them emerge as a real hero in the end."
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Romantic and Gothic Influences in "Frankenstein", 2008.
An analysis of the romantic and gothic characteristics in Mary Shelley's novel "Frankenstein".
1,164 words (approx. 4.7 pages), 1 source, MLA, $ 40.95
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Abstract
The paper looks at how Shelley cleverly crafts her chilling story "Frankenstein" by incorporating and contrasting feelings of horror characteristic of the Gothic genre with natural settings and emotional expressions of Romanticism. The paper shows how the Romantic values are stressed, with Gothic elements providing the background. The paper maintains that both of these different styles help mold "Frankenstein" into a literary masterpiece for generations to come.
From the Paper
"The feeling of darkness, gloom, and qualities familiar to the Gothic genre are ever present in Frankenstein. According to Margaret Brantley in the Introduction of Frankenstein, Gothic literature is defined by "the Romantic literature preoccupied with mystery, horror, and the supernatural... tended to feature brooding tones, remote settings, and mysterious events" (xvi). Indeed, the book's main plot consists of the bone-chilling concept of the creation of a hideous monster who wreaks havoc upon Frankenstein and his beloved circle. The description of a newly-born monster is horrifying and detailed"
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Beauty: Is It in the Eye of the Beholder?, 2006.
An analysis of the notion of beauty throughout history.
1,200 words (approx. 4.8 pages), 8 sources, APA, $ 41.95
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Abstract
This paper studies the concept of beauty, examining the views of influential thinkers and society as a whole. The author looks at how beauty has been defined historically, as well as in modern times, and emphasizes the feminine associations with attractiveness. The paper discusses sexuality as it relates to beauty, concluding that, at least today, beauty and sex are intertwined. Finally, the paper investigates the role of emotion -- particularly romantic love -- in perceiving beauty.
From the Paper
"Beauty is seldom an individual opinion. Again, we need to consider beauty as a more or less feminine trait. Men are seldom called "beautiful", except in the statues of the ancient Greeks and Romans, whose admiration for a physical body is timeless (especially when compared to the female body). There is no doubt that, if we can agree that beauty differs according to the desires or gratification of the onlooker or admirer, beauty can not provide a single form. We can fantasize about "beauty" when we see Madonna, perhaps, or Marilyn Molnroe, or Gwyneth Paltrow, in our current thinking. Our parents and grandparents might have preferred a more voluptuous Sophia Loren or Jane Russell. The Arts, for the most part, provide us with examples of what beauty is, or what it should be. Boys now lust for movie actresses such as Cameron Diaz or Alician Silverstone. Girls (and women) might think of handsome men like Harrison Ford or Mel Gibson as "beautiful" because these men arouse them sexually."
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Mary Shelley's "Frankenstein", 2005.
This paper discuses Mary Shelley's "Frankenstein", not as a romantic condemnation of science but rather as a condemnation of man's desire to know and control the supernatural.
1,460 words (approx. 5.8 pages), 1 source, MLA, $ 48.95
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Abstract
This paper explains that "Frankenstein", written by Mary Shelley in the first decades of the nineteenth century, is the story of man's desire to transcend his own limited and fallible nature and a warning of the suffering and punishment that comes from that effort. The author points out a dichotomy in "Frankenstein", the division between the natural and the unnatural, between what is possible to man and what is impossible--if Victor represents the unnatural, then his creature embodies the natural. The paper relates that the conflict within Victor and between the creator and the creature, is brought most sharply into focus during the creation of the she-creature. When the creature wishes for nothing but love and companionship, it demands a help-mate and threatens to unleash its fury on all those dear to Victor if its desire is not met.
From the Paper
"Clearly, Shelley's warning is against meta-humanistic and not scientific knowledge. Even if we were to assume that her understanding of science had been so naive as to equate it with supernatural omnipotence, her understanding of recent history could not have been so fragmented. It is likely that Frankenstein's creature represents the chaos and turmoil that sprang from the French Revolution. It is significant that Shelley's novel takes place during the 1790's and yet there is no mention of this major event. Still more important is her brief allusion to the English revolt a century and a half earlier."
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Romantic Poetry, 1973.
This paper discusses romantic poetry: Analysis of the use of imagery, based on the direct sensory experience of reality and a preference for knowledge derived from the senses. Examples by Wordsworth, Shelley, Byron, Keats and Blake.
4,050 words (approx. 16.2 pages), 5 sources, $ 135.95
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From the Paper
"The Romantic poetry of William Blake, John Keats, Percy Shelley, George Gordon and Lord Byron often utilized metaphors based on human sensory perception. In comparison to the metaphysical poetry of John Donne, in which mechanical objects were the bases for comparison, Romantic poetry relied much more heavily on the human body and its methods of perceiving the world around it. The Romantic school makes no apology for its own particular kind of metaphor; instead, it glories n it, feeling that a world full of dead objects can be brought to life by the superiority of knowledge derived from the senses. There are notable exceptions to this rule, of course, such as the statement by Keats that "Heard melodies are sweet / But those unheard are sweeter." But except in those instances when the metaphor of the senses gives way to the experiences of the imagination, the ... "
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Defense of Beauty, 2002.
This paper uses a philosophical approach to answer the question: What is wrong with beauty?
6,655 words (approx. 26.6 pages), 16 sources, MLA, $ 152.95
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Abstract
This paper discusses what is wrong with beauty from the position of its subjectivity, purpose and irrelevance to modern culture and the modern experience. The author believes that the thinker must examine the theory of the sublime, to determine to what degree, if any, it can be reconciled and identified with beauty. The author concludes that beautiful and the sublime, in their roles of enlightenment and revival and purpose give the artist and the art-experienced an added ability to resist the alienation of postmodern culture and its dehumanizing effects.
Table of Contents
Introduction
Defining the Problem
What is Wrong with Beauty?
The Sublime Transcendent
Developing the Sublime and Beautiful
Beauty is the Guiding Morality of the Sublime
Conclusions
From the Paper
"According to Kant, beauty is "a question merely of the form" (Kant 13). It is a matter of composition and form, which insofar as it reveals to the viewer a purposiveness, is beautiful without recompense to banal matters of emotion or even content. ?Thus a work of art, or a beautiful natural object, displays a kind of free play of forms, consistent with the presence of a purpose to which we don't have access.? (Clowney) If it is possible to reconcile Kant and Locke on this matter, one might say that beauty then is defined by form and composition which due to its purposefulness and harmonic nature, in the absence of personal tastes and social definitions, creates sensual pleasure which evolves into intellectual pleasure. However, both Kant and Locke suggest that judgments of beauty, albeit subjective ones, can additionally be made based on personal interpretation, taste, and will. While Kant sees this as barbaric, Locke views it as an important part of the education of the soul."
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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 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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Beauty, 2002.
An examination of the theme of beauty in the works of the English poet John Keats.
923 words (approx. 3.7 pages), 0 sources, $ 32.95
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Abstract
This discusses how the poetry of John Keats inspires readers because of their lyricism, accessibility and imagery. It looks at how many of Keats? poems focus on beauty as a subject and theme, for beauty is a source of inspiration. It analyzes at how the theme of beauty emerges in several of his more famous works, including ?Ode to a Nightingale,? ?Ode on a Grecian Urn? and ?Ode on Melancholy.? It shows how beauty is treated as a subject worthy of spiritual discussion and how Keats frequently makes mythological and esoteric references in his poems. Keats treats beauty as one of the mysteries of life, which he seeks to understand through his verses.
From the Paper
"?Ode on a Grecian Urn? is Keats? uplifting description of the paintings on an ancient Greek urn. Using the urn as the object of discussion is significant to the theme of beauty because a Grecian urn is ancient. It has witnessed the ravages of time and still retains its physical luster. The urn is the ?still unravished bride of quietness,? meaning it is unsullied by time. Keats uses images of silence to emphasize that the urn is eternal: ?foster child of silence and slow time.? The paintings on the urn, which consist of various images of ?deities or mortals, or of both? are described as a ?flowery tale.? These paintings or carvings were lovely enough to inspire Keats to write this poem, or at least to use it as a metaphor for beauty. Greek gods and goddesses are immortal ideals of human beauty, and Keats evokes them to create a sense of timelessness. Furthermore, this timeless quality shared by the gods and the urn itself is an essential quality of beauty."
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