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Handouts
Contexts | Authors
Contexts
Romanticism & Revolution
In "Plotting the Revolution: The Political Narratives of Romantic Poetry and Criticism," Marilyn Butler provides this interesting insight into the era's poetry:
| "One theme after all binds Blake (whom contemporaries barely knew) to Scott and Byron (by whom they were dazzled): that theme is empire and its imagined overthrow, which is both longed for and dreaded. The nature of the British state was transformed in fact though not yet in law in the decade that followed 1795 by the effective annexation of the Indian subcontinent from Ceylon to the Himalayas: liberals followed Ferguson, Gibbon, and Burke in thinking it transformed for the worse. First Cornwallis, then Marquis Wellesley, Wellington 's brother, completed the subjection of 562 petty Indian states, a program of expansion matching that of the rival empire in Europe headed by Napoleon. The scale of these events ensured that the period's dominant modes were not in the end personal, meditative, and lyric, as might have been predicted in more ordinary times from what went before. The attractive Cowper became quickly superseded, and no wonder. He had to compete with allegorical narratives enacting revolution-- Blake's America , Landor's Gebir , Southey's Thalaba the Destroyer , Byron's Bride of Abydos and Corsair . And then, since accounts of war didn't end with war, Moore's Lalla Rookh , Shelley's Revolt of Islam , Keats's Hyperion " (134-35). |
Butler could mention other Blake works, such as Europe and The Four Zoas , as well as Wordsworth's The Prelude and The Excursion and Shelley's Prometheus Unbound . The important point lies in connecting history and literature, world and writer, through a mediating concept of literary form. Stuart Curran, another deeply informed scholar of the period, writes of this relation between history and form In Poetic Form and British Romanticism (1986).
| "Romanticism, though forced to wait out the Napoleonic Wars…turned to art as a resource of forms of intellectual power, as a means to reconceive and expand a European conceptual syntax too restrictive to accommodate the new historical forces represented by the French Revolution. For Romanticism form became a guarantor of intellectual freedom, at once a framework for psychological exploration and a means, through reimagining the past, to enlarge future possibilities" (217). |
Romanticism & Empire
The English Romantic period coincides with the transition of the British Empire into its second major phase. The so-called Second Empire, which emerges from the crisis with the American colonies (1776-1783), takes definitive shape after the defeat of France in 1815, which heralds England 's rise to world imperial dominance through the Victorian era (1837-1901). Read the following with a dose of critical thinking.
"The Old Empire consisted for the most part of contiguous territory in North America , which had been settled and peopled from the British Isles .... The new Empire, as it took shape by 1815, was made up of many different communities--real English colonies in Canada and the West Indies ; penal settlements, growing into colonies, in the Southern Pacific [ Australia ]; conquered European colonies in Canada , South Africa and the West Indies; kingdoms annexed in India , Ceylon and the Malay Archipelago; some footholds in tropical Africa , and strategic posts guarding the routes of trade in the Mediterranean, the Caribbean Sea, the South Atlantic and the Indian Ocean --a vast diversity of race and region.
"The object of this expansion of power was not, as Adam Smith had said of the First Empire, to raise up a people of customers, but to secure to Great Britain the freedom to sell all over the world the products of her growing industries. The stimulus of the industrial revolution created the motive of imperial policy. Little conscious of the manifold problems in which their activity entangled us, our merchants and statesmen, seeking new markets, were binding up our fortunes with a quarter of the human race.
"As English colonists had been left to govern themselves, a commercial policy had sufficed for an imperial policy in the Old Empire, but English statesmen were now setting themselves a larger task, and had to learn the art of government in a great variety of climes and circumstances and over a great variety of peoples. And this not in a stationary world, but in a world awakened to a new energy with the discoveries and stimulus of industrial and political evolution." |
From the Preface to vol. 2 of The Cambridge History of the British Empire (1961).
British Empiricism
“In its most general sense, Empiricism is the name applied to the attitude that beliefs are to be accepted and acted upon only if they first have been confirmed by actual experience—a definition that accords with the derivation of the name from the Greek word emperia , “experience”” (6: 766).
“As stressing experience, Empiricism is thus opposed to the claims of authority, intuition, imaginative conjecture, and abstract, theoretical, or systematic reasoning as sources of reliable belief. Its most fundamental antithesis is with…Rationalism….A Rationalist theory of meaning asserts that there are concepts not derived from…experienceable features of the world, such as “cause,” “identity,” or “perfect circle,” and that these concepts are…part of the mind's innate or natural equipment” (6:767).
“In both everyday attitudes and philosophical theories, the experiences referred to are principally those arising from stimulation of the sense organs, in particular those of sight and touch. Most philosophical Empiricists, however, have maintained that sensation is not the only provider of experience, admitting as empirical the awareness of mental states in introspection or reflection, such as feelings of pain or of fear, often metaphorically described as present to the “inner sense”” (6:767) .
“The most elaborate and influential presentation of Empiricism was made by John Locke (1632-1704), an early Enlightenment philosopher, in the first two books of his Essay Concerning Human Understanding (1690). All knowledge, he held, comes from sensation or from reflection, by which he meant the introspective awareness of the workings of [one's] own mind” (6:769).
“The basic strength of Empiricism consists in its recognition that man's concepts and beliefs apply to a world outside himself, and that it is by way of his senses that this world acts upon him. The question, however, of just how much the mind itself contributes to the task of processing its sensory input is one that no simple argument can answer” (6:770). |
Citations are from The New Encyclopedia Britannica, 30 volumes (Chicago: Encyclopaedia Britannica, 1975). Other significant British Empiricist philosophers are Francis Bacon, Bishop [George] Berkeley, David Hume, John Stuart Mill, and Bertrand Russell.
Romanticism & Satire
"Satyr is a sort of Glass, wherein Beholders do generally discover every body's Face but their Own; which is the chief Reason for that kind of Reception it meets in the World, and that so very few are offended with it" (Jonathan Swift).
"Two things...are essential to satire; one is wit or humor founded on fantasy or a sense of the grotesque or absurd, the other is an object of attack....For effective attack we must reach some kind of impersonal level...that commits the attacker, if only by implication, to a moral standard" (Northrop Frye).
"The satirist claims, with much justification, to be a true conservative. Usually (but not always--there are significant exceptions) he operates within the established framework of society, accepting its norms, appealing to reason (or to what his society accepts as rational) as the standard against which to judge the folly he sees" (Robert C. Elliot).
"The satirist's characteristic purpose is to cleanse society of its impurities, to heal its sicknesses; and his tools are crude ones: the surgeon's knife, the whip, the purge, the rack, the flood, and the holocaust, all typical metaphors of satire. He employs irony, sarcasm, caricature, and even plain vituperation with great vigor, determined to beat the sots into reason or cut away the infected parts of society; but the job is always too much for him. The massive weight of stupidity, bestiality, greed, and cunning, which is his scene, resists his uttermost efforts, and so he suffers frustration and the agonized sense that evil multiplies faster than it can be corrected or even catalogued. But suffering brings no change in him; his methods, his sense of his own righteousness, and his understanding of evil remain the same....This constant movement without change forms the basis of satire, and while we may be only half aware of the pattern as we read, it more than any other element creates the tone of pessimism inherent in the genre" (Alvin B. Kernan).
"This is precisely the satirist's task: to appeal to men's responsibility by projecting the consequences of their actions."
"What primarily distinguishes Blake as a satirist from the Augustans is the shift from moral judgment to a standard of energy. It is not the evil man man so much as the soulless or dead man that Blake disdains" (Martin Price). |
Biblical Typology
In the Christian version, biblical typology is both a narrative strategy and a method of interpretation that connects events, figures, or symbols in the Old and New Testaments. The figure or event, called the "type," prefigures or anticipates its counterpart in the New Testament, the "antitype" ("anti" does not mean opposed to but rather "fulfilled"). Although Hebrew writers used typology, especially of the Exodus and Covenant, in English language literature it generally designates a method in which the New Testament fulfills the promises of the Hebrew Bible or Old Testament. Keep in mind that although the typological system sets up patterns between events that are symbolic, the events themselves must be real...or believed to be real. Thus, post-biblical writers have extended typological method to include events or figures in their own times, arguing that both the Old and New Testaments anticipate, prefigure, or basically set a pattern for understanding contemporary history.
| "In the typology of the Bible there are parallel versions of the fall and redemption of man. Adam falls from a garden into a wilderness, losing the tree of life; Christ, the second Adam, wins back the garden....Inside the story of Adam is the story of Israel, who falls from the Promised Land into the bondage of Egypt and Babylon. Besides being a second Adam, Christ is also a second Israel, who wins back, in a spiritual form, the Promised Land and its capital city of Jerusalem. In this capacity the story of the Exodus, or deliverance of Israel from Egypt, prefigures his life in the Gospels. Israel is led to Egypt through a Joseph; Christ is taken to Egypt by a Joseph. Christ is saved from a wicked king who orders a massacre of infants; Israel is saved from Pharoah's slaughter of Egyptian first born. Moses organizes Israel into twelve tribes...Christ gathers twelve followers....Israel wanders forty years in the wilderness; Christ forty days. The Israelites received the law from Mount Sinai; the gospel is preached in the Sermon on the Mount, which in its structure is largely a commentary on the Ten Commandments." |
Northrop Frye, "The Typology of Paradise Regained"
| "When we leave the realm of pure or conventional typology, where it functions as a system of exegesis, we must deal with a creative and changing system....It is transformed into a literary system. Typology is not merely a kind of figuralism or imagery. Simultaneously, it is also a widely accepted hermeneutic [interpretive] device, one that interpreters employ deliberately in both religious and secular contexts. Hence most writers who introduce a typological schema into a passage, a poem, a chapter, or a novel, are conscious that they are using a figural technique that combines the mystery of metaphor and the secret of interpretation" |
Paul Korshin, Typologies in England, 1650-1820
Reading Poetry
In part 5 “Approaching a Poem” from his brief, lucid book Elements of Poetry (New York: Oxford UP, 1969), Robert Scholes writes the following.
“1. Try to grasp the expressive dimension of the poem first. This means getting a clear sense of the nature and situation of the speaker. What are the circumstances under which he says, writes, or thinks these words? Who hears them? Are they part of an ongoing action which is implied by them?
2. Consider the relative importance of the narrative-dramatic dimension and the descriptive-meditative dimension in the poem. Is the main interest psychological or philosophical…? Or is the poem's verbal playfulness or music its main reason for being? How do the nature of the speaker and the situation in which he[she] speaks color the ideas and attitudes presented?
3. After you have a sense of the poem's larger, expressive dimension re-read it with particular attention to the play of language. Consider the way that metaphor and irony color the ideas and situations. How does the language work to characterize the speaker or to color the ideas presented with shadings of attitude?….How well do the images and ideas fit together and reinforce one another in a metaphoric or ironic way?
4. Re-read the poem yet again with special attention to its musical dimension. To the extent that it seems important, analyze the relation of rhyme and rhythm to the expressive dimension of the poem.
5. Throughout this process, reading the poem aloud can be helpful in establishing emphases and locating problems. Parts of a poem which are not fully understood will prove troublesome in the reading. Thus it is advisable to work toward a reading performance as a final check on the degree to which we have mastered situation, ideas, images, attitudes, and music….Reading poetry aloud helps establish our grasp of it…” (84-85)
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