By Jon Klancher
A Concise better half to the Romantic Age presents new views at the relationships among literature and tradition in Britain from 1780 to 1830
- Provides unique essays from a number of multi-disciplinary students at the Romantic period
- Includes clean insights into such issues as spiritual controversy and politics, empire and nationalism, and the connection of Romanticism to modernist aesthetics
- Ranges around the Romantic era's literary, visible, and non-fictional genres
Read or Download A Concise Companion to the Romantic Age PDF
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Extra resources for A Concise Companion to the Romantic Age
William Blake anathematized Voltaire and Rousseau and mocked the empiricist who could not see – as Blake could – an entire world in a grain of sand. But even he insisted on precise sensual perception of that very grain of sand. As he makes clear in Milton (1809–10), the world begins anew with the birth of William Blake, a new Adam of poetic consciousness, into whom Milton’s soul had entered through the left big toe, now inhabiting a body burning with joyful perceptions of the defining lines of all individualized life, all sharply perceived material things.
London: Penguin Books. Olsen, G. W. ). (1990) Religion and Revolution in Early Industrial England: The Halévy Thesis and its Critics. Lanham, MD: University Press of America Prickett, Stephen. (1976) Romanticism and Religion: The Tradition of Coleridge and Wordsworth in the Victorian Church. Cambridge, UK: Cambridge University Press. Prickett, Stephen. (1996) Origins of Narrative: The Romantic Appropriation of the Bible. Cambridge, UK: Cambridge University Press. Priestman, Martin. (2000) Romantic Atheism: Poetry and Freethought, 1780–1830.
Mill did not suffer his depression after any violent historical event, as Romantic writers did after the French Revolution. But the imagination they constructed was suitable for such a mental crisis as Mill’s when, without religious belief, the mind lost faith in itself. What Wordsworth brought to Mill, the social utilitarian, was not a replacement for God, but an anchoring in feelings connected with the world that had been lost along with social optimism in the 1790s, and which made Romantic imagination a matter of mental survival.