Abstract
The paper examines John Keats' poem "Ode to a Nightingale" and Samuel Taylor Coleridge and Percy Shelley's poem, "Ode to the West Wind." The paper illustrates how Keats, Coleridge and Shelley represent the Romantics by expressing something bigger and more powerful than anything man could create. The paper clearly shows how they capture life through nature and imagination.

From the Paper
"In "Ode to a Nightingale," the poet is working primarily from his imagination, prompted by the nightingale's song. The poet feels a strong emotion when he begins to ponder the song and even feels a sense of losing his identity as the result of it. The bird's song arouses the poet's regarding things that do not belong on this earthly plane. The poet claims his heart "aches" (Keats 1) and his wits are numbed (1) by this and he feels as though the song invites the poet into a sublime environment. The poet sees pain in beauty when he considers the bird's song in the treetops while man sit underneath those trees to "hear each other moan" (24). The poet also reflects on how his imagination might "cheat" (73) him as falls victim to the nightingale's song. These lines reveal the personal emotion evoked in the poem because the poet begins to consider an "easeful death" (52) to avoided the suffering of the world. The poet has thoughts of leaving the world "unseen/And with thee fade away into the forest dim" (19-20), telling the nightingale he "will fly to thee" (31) on wings of poetry. The mere experience of a bird's song causes the poet to experience all these emotions and prompt him to consider life and death."

Tags:imagination, nature, existence, life

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."

Tags:Transcendentalist, humanity, nationalism, spirituality, philosophy

Abstract
This paper considers the effect of evolution and religion on the Romantic poets, noting that evolution and religion have been in a degree of conflict since the publication of Darwin's work in the mid-nineteenth century. The writer discusses that this conflict affected the Romantic poets as well and became part of their work, though it would be more correct to say that these poets served more as intellectual precursors to Darwin, given that he published his work at the end of the main period of Romantic poetry.

From the Paper
"Evolution and religion have been in a degree of conflict since the publication of Darwin's work in the mid-nineteenth century. This conflict affected the Romantic poets as well and became part of their work, though it would be more correct to say that these poets served more as intellectual precursors to Darwin, given that he published his work at the end of the main period of Romantic poetry. The Romantic poets had a special relationship with nature and the idea of Nature, and concepts from the natural world infused their works, along with an ongoing appreciation for the wonders of nature, for scenes set in the natural world, and for a sense of spirituality derived from exposure ..."

Tags:evolution, romantic, poets

Abstract
An argumentative paper about romantic poets. The author argues that romantic poets were not prophets as most view them to be but rather writers who desired to share their passion and appreciation of nature with their readers. A look at the works of William Wordsworth and John Keats.

From the Paper
"The Romantic Period is characterized by a poet's fascination and harmony with the natural world. Lines upon lines were devoted to the description, exultation, and mystery of nature, yet the readers of the third millennium occasionally view Romantic poetry as pretentious and capricious. While only a handful of Romantic poets believed themselves to be prophets, others like Wordsworth proclaimed themselves voices "of the common man." Their intention was not to serve a higher power through their works of poetry, but instead they chose to describe natural beauty to an audience who might not have discovered the beauty for themselves. We can see through William Wordsworth and John Keats that most of the Romantics were not interested in being modern prophets; rather, they were merely sharing their passion for nature."

Tags:blake, keats, wordsworth, poetry, writers, passion, feelin, love, nature

Abstract
This paper studies the Romantic period in English literature, from 1798 to 1832. The paper evaluates the lyrical ballads of Sir William Wordsworth and Samuel Taylor Coleridge, which were published at the turn of the 19th century. The paper first analyzes William Wordsworth's poems "Expostulation and Reply" and "The Tables Turned", to demonstrate how the Romantic poets turned to nature as their schoolroom and derived life's lessons from nature. Next, the paper examines three Coleridge poems: "The Rime of the Ancient Mariner," "Kubla Khan" and "Christabel". The paper explains that each of these poems demonstrates the juxtaposition between nature and the sub-conscious, particularly the dream-state.

From the Paper
"The old regime in England took its stand in the face of revolutionary fervor based on the American and French Revolutions. For those who sympathized with the Revolution, they needed a new revolution directed against reason and toward something else, and that "something else" was imagination (Adams 363). Romanticism was a movement marked by a shift in feeling, a shift in sensibility, as well as a new concept of man's relation to the natural order and to Nature in particular. As with most movements, the perception that a group of poets exhibited this sort of shift in sensibility is something imposed after the fact by critics reading the works of Keats, Coleridge, and Wordsworth, among others, and finding that many of their sentiments and responses demonstrate a similarity in outlook different from the previous age. Romanticism was marked by certain attitudes, among them the following: 1) a growing interest in Nature and in the natural, primitive, and uncivilized manifestations of Nature; 2) a growing interest in scenery; 3) an association of human moods with the "moods" of Nature, leading to a subjective feeling for it and interpretation of it; 4) an emphasis on natural religion; 5) an emphasis on the need for spontaneity in thought and action and in the expression of thought; 6) more importance given to natural genius and the power of the imagination; 7) a tendency to exalt the individual and his or her needs and an emphasis on the need for a freer and more personal expression; and 8) the cult of the Noble Savage (Cuddon 814-815)."

Tags:romantic, dream, nature, The, Rime, of, the, Ancient, Mariner, Kubla, Khan, Christabel, Samuel, Taylor, Coleridge, Sir, Walter, Scott, Sir, William, Wordsworth

Abstract
The paper shows that the objective during the time of revelation in early nineteenth century Britain was for British women writers to give of themselves in a more defiant manner, setting themselves apart from the calmer, more feminine climate that had heretofore inhabited British literature. The paper shows that British women writers decided they wanted to be better recognized for their inherent literary contributions without being labeled either too feminine or too masculine; rather, they wanted to write like a man without having to be branded by the stigma that typically came with it. The paper explores how authors such as Mary Shelley, Ann Radcliffe and Mary Wollstonecraft contributed to this emancipation movement.

From the Paper
"Mary Shelley, Ann Radcliffe and Mary Wollstonecraft represent an era of the Romantic Period where women were beginning to come out of their literary shells and confront the strongly emotional and defiant aspects of writing that their male counterparts had harbored for so many years prior. With their guidance, subsequent British women writers were given the much-needed opportunity to express themselves in such a manner that embraced both their feminine and masculine sides."

Tags:feminist, frankenstein, literature, patriarchal, romantic

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 .."

Tags:image, likeness, romantics, grace

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."

Tags:byron, coleridge, robinson, wollstonecraft, wordsworths

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."

Tags:literature, analysis, poetry, percy, shelley, william, wordsworth, samuel, taylor, coleridge, french, revolution

Abstract
Romanticism began in 1789, right after the French Revolution and ended in industrialism around 1810. The Romantic era was a reaction against the neo-classical quest for order and intellectual control in artistic style. This paper examines artwork which focus on nature and the natural world. The paintings examines are Albert Bierstadt's "Lander's Peak", J.M.W. Turner's "The Slave Ship" and Frederic Edwin Church's "Rainy Season in the Tropics." The writer concludes that these paintings show good descriptions on how the Romantic period shows its love of nature.

From the Paper
"The first painting I chose was Albert Bierstadt, "Lander's Peak" (1863). This painting shows beautiful detail of the landscape of the Rocky Mountains. The bottom of the painting shows the Native Americans living, working and feeding off the land. The center of the painting shows the details of the Rocky Mountains with the trees, cliffs, and the waterfalls from the river. Bierstadt even showed the lower cloud lining and the reflection of the sun off the water. The top of the painting shows even more details of the mountains at a distance with light layers of snow and clouds. The painting was drawn together with so much detail it looks like he took a picture of the landscape. He captured a great natural scene because he got the consecrate nature and the people who believed in nature are very important to survive. One thing I can not help to think about is that the painting also symbolizing how the pilgrims push the Native Americans west to take up there lands."

Tags:Albert, Bierstadt, Lander's, Peak, Turner, Slave, Ship, Frederic, Edwin, Church, Rainy, Season, Tropics