An analysis of the salient features of the romantic period, the first generation and second generation of the romantic poets, writers and their works are described at a glance.

4. LYRICAL BALLADS (1798 and 1800) is a turning point in literary history, William
Wordsworth and Samuel Taylor Coleridge presented and illustrated a liberating
aesthetic: poetry should express, in genuine language, experience as filtered through
personal emotion and imagination; the truest experience was to be found in nature. It is
a collection of poems by William Wordsworth and Samuel Taylor Coleridge, first
published in 1798 and generally considered to have marked the beginning of the
English Romantic Movement in literature.
Wordsworth deals with imagination at much greater length in his Preface to the 1815
edition of the Lyrical Ballads. There he draws a distinction between Fancy and
Imagination. According to Wordsworth, both Imagination and Fancy, “evoke and
combine, aggregate and associate”. But the material which they evoke and combine is
different, and their purpose in evoking and combining is different. They differ not in
their natures but in their purpose. Fancy makes things exact and definite, while
Imagination leaves everything vague and indefinite.

6. France standing on the top of golden hours, And human nature seeming born again.
Lightly equipped, and but a few brief looks Cast on the white cliffs of our native
shore
FRENCH REVOLUTION 1789-1799
France standing on the top of golden hours, And human nature seeming born again.
Lightly equipped, and but a few brief looks Cast on the white cliffs of our native
shore
France standing on the top of golden hours, And human nature seeming born again.
Lightly equipped, and but a few brief looks Cast on the white cliffs of our native
shore…These are the lines from the “Prelude”.
William Wordsworth associates France and the revolution with images of childhood and
youth. However, because the relationships he suggests are often complex as well as
uneasy, the vigor and specificity of such associations are often debated.

7. QUOTE BY WILLIAM WORDSWORTH
Bliss was it in that dawn to be alive, But to be young was very heaven!-
This lines tell us the central event of Wordsworth’s life, indeed of the life
of Europe in his time: the fall of the Bastille on July 14, 1789, and the
French revolution that followed.
The above lines reflect his perspective at the beginning of the French
Revolution; this spirit of enthusiasm didn't last long.
Wordsworth subscribed to Rousseau's belief that humanity was
essentially good but was corrupted by the influence of society. This may
be linked with the sentiments spreading through Europe just prior to the
French Revolution.

8. Romanticism has been the subject of debate in the fields of intellectual history and
literary history throughout the 20th century, without any great measure of consensus
emerging on the following points
That it was part of the Counter-Enlightenment, a reaction against the Age of Enlightenment, is
generally accepted.
Its relationship to the French Revolution which began in 1789 in the very early stages of the
period, is clearly important, but highly variable depending on geography and individual reactions.
Most Romantics can be said to be broadly progressive in their views, but a considerable
number always developed a wide range of conservative views and nationalism was in
many countries strongly associated with Romanticism, as discussed in detail below. In
philosophy and the history of ideas, Romanticism was seen by Isaiah Berlin as
disrupting for over a century the classic Western traditions of rationality and the very
idea of moral absolutes and agreed values, leading "to something like the melting
away of the very notion of objective truth“, and hence not only to nationalism, but
also fascism and totalitarianism, with a gradual recovery coming only after the catharsis

13. James Gillray 'The Man of Feeling'

14. Romantics stressed the awe of nature in art and language

16. THE LADY OF SHALLOT
based on The Lady of Shallot by Alfred Lord Tennyson.

18. ROMANTIC
LITERATURE
In literature, Romanticism found recurrent
themes in the evocation or criticism of the past,
the cult of "sensibility" with its emphasis on
women and children, the heroic isolation of the
artist or narrator, and respect for a new, wilder,
untrammeled and "pure" nature. Furthermore,
several romantic authors, such as Edgar Allan
Poe and Nathaniel Hawthorne, based their
writings on the supernatural/occult and human
psychology. Romanticism tended to regard
satire as something unworthy of serious
attention, a prejudice still influential today.
The Scottish poet James Macpherson influenced the early development of Romanticism
with the international success of his Ossian cycle of poems published in 1762, inspiring
both Goethe and the young Walter Scott. Both Chatterton and Macpherson's work
involved elements of fraud. The Gothic novel, beginning with Horace Walpole's The
Castle of Otranto (1764), was an important precursor of one strain of Romanticism,
with a delight in horror and threat, and exotic picturesque settings, matched in Walpole's
case by his role in the early revival of Gothic architecture. Tristram Shandy, a novel by
Laurence Sterne (1759–67) introduced a whimsical version of the anti-rational
sentimental novel to the English literary public.

20. William Blake (1757-1827)
William Wordsworth (1770-1850): the Lake School
S. T. Coleridge (1772-1834): the Lake School
Lord Byron (1788-1824): the Satanic School
Percy Shelley (1792-1822): the Satanic School
John Keats (1795-1821): the Cockney School

21. Wordsworth, Preface to Lyrical Ballads (1802)
Coleridge, Biographia Literaria (1817)
Shelley, A Defence of Poetry (written in 1821, published posthumously
in 1840)

22. England

24. George Gordon Byron was
born on January 22, 1788 in
Aberdeen, Scotland, and
inherited his family's English
title at the age of ten,
becoming Baron Byron of

26. Frontispiece to a c. 1825 edition of Childe
Harold's Pilgrimage:
Lo! where the Giant on the mountain stands,
His blood-red tresses deep'ning in the sun,
With death-shot glowing in his fiery hands,
And eye that scorcheth all it glares upon;
Restless it rolls, now fixed, and now anon
Flashing a far,—and at his iron feet
Destruction cowers to mark what deeds are done.
For on this morn three potent nations meet,
To shed before his shrine the blood he deems
most sweet.
Childe Harold's Pilgrimage is a lengthy narrative
poem in four parts written by Lord dedicated to
"Ianthe". She was the second daughter of Edward
Harley, 5th Earl of Oxford and Earl Mortimer. Her
beauty as a child prompted Lord Byron to dedicate the
first two cantos of Childe Harold's Pilgrimage to her,
under the name "Ianthe
Charlotte Harley (1801-1880) as Ianthe, to
whom Byron dedicated Childe Harold.

27. Alastor, or The Spirit of Solitude is a poem by Percy
Bysshe Shelley, written from September 10 to December
14 in 1815 in Bishopsgate, London and first published in
1816. The poem was without a title when Shelley passed it
along to his contemporary and friend, Thomas Love
Peacock. The poem is 720 lines long. It is considered to be
one of the first of Shelley's major poems.
Peacock suggested the name Alastor which comes from
Roman mythology. Peacock has defined Alastor as "evil
genius." The name does not refer to the hero or Poet of the
poem, however, but instead to the spirit who divinely
Richard Rothwell's
portrait of Mary
Shelley in later life
was shown at the
Royal Academy in
1840, accompanied
by lines from Percy
Shelley's poem The
Revolt of Islam calling
her a "child of love
and light".

28. Samuel Taylor Coleridge's Biographia Literaria
The Imagination then I consider either as primary, or secondary.
The primary Imagination I hold to be the living Power and prime
Agent of all human Perception, and as a repetition in the finite mind
of the eternal act of creation in the infinite I Am. The secondary I consider
as an echo of the former, co-existing with the conscious will, yet still as
identical with the primary in the kind of its agency, and differing only
in degree, and in the mode of its operation. It dissolves, diffuses,
dissipates, in order to re-create; or where this process is rendered
impossible, yet still at all events it struggles to idealize and to unify.
It is essentially vital, even as all objects (as objects) are essentially fixed and dead.
Samuel Taylor Coleridge divides imagination into two parts: the primary and secondary
imagination. As the "living Power and prime Agent," the primary imagination is attributed
a divine quality, namely the creation of the self, the "I Am." However, because it is not
subject to human will, the poet has no control over the primary imagination. It is the
intrinsic quality of the poet that makes him or her a Creator; harking back to Wordsworth,
the primary imagination can be likened to poetic genius. The secondary imagination is
an echo of the primary. It is like the former in every way except that it is restricted in
some capacity. It co-exists with the conscious will, but because of this, the secondary
imagination does not have the unlimited power to create. It struggles to attain the ideal
but can never reach it. Still the primary governs the secondary, and imagination gives
rise to our ideas of perfection. In this way, Coleridge and Shelley share the belief that

29. A statue of the Ancient Mariner, with the albatross around his
neck, at Watchet, Somerset.
"Ah ! well a-day ! what evil looks
Had I from old and young!
Instead of the cross, the Albatross
About my neck was hung."

30. The Mariner up on the mast in a storm. One of the wood-engraved illustrations by
Gustave Doré.

31. The Rime of the Ancient Mariner relates the experiences of a sailor who has returned
from a long sea voyage. The Mariner stops a man who is on the way to a wedding
ceremony and begins to narrate a story. The Wedding-Guest's reaction turns from
bemusement to impatience and fear to fascination as the Mariner's story progresses, as
can be seen in the language style: for example, Coleridge uses narrative techniques
such as personification and repetition to create either a sense of danger, of the
supernatural or of serenity, depending on the mood of each of the different parts of the
poem.
The Mariner's tale begins with his ship departing on its journey. Despite initial good
fortune, the ship is driven south off course by a storm and eventually reaches Antarctica.
An albatross appears and leads them out of the Antarctic but, even as the albatross is
praised by the ship's crew, the Mariner shoots the bird ("with my cross-bow / I shot the
albatross"). The crew is angry with the Mariner, believing the albatross brought the south
wind that led them out of the Antarctic. However, the sailors change their minds when
the weather becomes warmer and the mist disappears ("'Twas right, said they, such
birds to slay / that bring the fog and mist"). However, they made a grave mistake in
supporting this crime as it arouses the wrath of spirits who then pursue the ship "from
the land of mist and snow"; the south wind that had initially led them from the land of ice
now sends the ship into uncharted waters, where it is becalmed.
Day after day, day after day, We stuck, nor breath nor motion;
As idle as a painted ship Upon a painted ocean.
Water, water, every where, And all the boards did shrink;
Water, water, every where, Nor any drop to drink.

32. "The Albatross about my Neck was Hung," etching by William Strang. Poem
illustration published 1896

33. Illustration by Gustave Doré, 1878

34. Engraving by Gustave Doré for an 1876 edition of the poem. "The Albatross," depicts
17 sailors on the deck of a wooden ship facing an albatross. Icicles hang from the
rigging.

36. The words 'Daffodils' and 'Wordsworth' go hand in hand with each other.
Wordsworth's most famous poem about daffodils was composed in 1804.It was
inspired by an event on April 15, 1802, in which Wordsworth and his sister, Doroth

37. "Lines Composed a few miles above
Tintern Abbey" (often abbreviated to
"Tintern Abbey", or simply "Lines") is a
poem by William Wordsworth. Tintern
Abbey is located in the southern Welsh
county of Monmouthshire, and was
abandoned in 1536.
The poem is of particular interest in that
Wordsworth's descriptions of the banks of
the River Wye outline his general
philosophies on nature.
It also has significance as the terminal
poem of the 1798 edition of Lyrical Ballads,
although it does not fit well into the titular
category, being more protracted and
elaborate than its predecessors.
The poem's full title, as given in Lyrical
Ballads, is "Lines written a few miles above
Tintern Abbey, on revisiting the banks of the
Wye during a tour, July 13, 1798".
TINTERN ABBEY

38. Wordsworth begins by explaining the pleasure he feels at being back in the place that
has given him so much joy over the years. He is also glad because he knows that this
new memory will give him future happiness. He goes on to explain how differently he
experienced nature five years ago, when he first came to explore the area. During his
first visit he was full of energy.
For nature then (The coarser pleasures of my boyish days,
And their glad animal movements all gone by) To me was all in all.
COMPOSED A FEW MILES ABOVE TINTERN ABBEY, ON REVISITING THE
BANKS OF THE WYE DURING A TOUR. JULY 13, 1798
...in thy voice I catch
The language of my former heart, and read
My former pleasure in the shooting lights
Of thy wild eyes. Oh! yet a little while
May I behold in thee what I was once,
My dear, dear Sister!Wordsworth addresses his sister Dorothy, calling her both "Sister" and "dear Friend."
Through her eyes, Wordsworth can see the wild vitality he had when he first visited this
place, and this image of himself gives him new life. It is apparent at this point in the
poem that Wordsworth has been speaking to his sister throughout. Dorothy serves the
same role as nature, reminding Wordsworth of what he once was:

41. LYRICAL BALLADS (1798 and 1800) is a turning point in literary history, William
Wordsworth and Samuel Taylor Coleridge presented and illustrated a liberating
aesthetic: poetry should express, in genuine language, experience as filtered through
personal emotion and imagination; the truest experience was to be found in nature. It is
a collection of poems by William Wordsworth and Samuel Taylor Coleridge, first
published in 1798 and generally considered to have marked the beginning of the
English Romantic Movement in literature.
Wordsworth deals with imagination at much greater length in his Preface to the 1815
edition of the Lyrical Ballads. There he draws a distinction between Fancy and
Imagination. According to Wordsworth, both Imagination and Fancy, “evoke and
combine, aggregate and associate”. But the material which they evoke and combine is
different, and their purpose in evoking and combining is different. They differ not in
their natures but in their purpose. Fancy makes things exact and definite, while
Imagination leaves everything vague and indefinite.

42. In his “Preface to Lyrical Ballad” he says that an external stimulus is not
needed for a poet so that he could write a poem. This means that whenever
we meet a poem, we shouldn’t understand that the poem is the product of a
certain definite occasion

43. William Blake (28 November 1757 – 12 August 1827) was
an English poet, painter, and printmaker. Largely
unrecognized during his lifetime, Blake is now considered a
seminal figure in the history of the poetry and visual arts of
the Romantic Age. His prophetic poetry has been said to
form "what is in proportion to its merits the least read body
of poetry in the English language".
His visual artistry led one contemporary art critic to proclaim
him "far and away the greatest artist Britain has ever
produced“. He produced a diverse and symbolically rich
corpus, which embraced the imagination as "the body of
God“ or "Human existence itself"
Major themes of William Blake’s Poetry:
•The destruction of Innocence: Songs of Innocence & Songs of Experience
•Redemption
•Religious Poetry
•Imagination over reason
•Nature as the purest state of man
•The flaws of earthly parents
•Social reform

44. The Destruction of Innocence
Throughout both Songs of Innocence and Songs of Experience, Blake repeatedly addresses the destruction of
childlike innocence, and in many cases of children's lives, by a society designed to use people for its own
selfish ends. Songs of Experience is an attempt to denounce the cruel society that harms the human soul in
such terrible ways, but it also calls the reader back to innocence, through Imagination, in an effort to redeem
a fallen world.
Redemption
Throughout his works, Blake frequently refers to the redemptive work of Jesus Christ. While he alludes to the
atoning act of Christ Crucified. Blake focuses on the Incarnation, the taking on of human form by the divine
Creator, as the source of redemption for both human beings and nature. He emphasizes that Christ "became a
little child" just as men and women need to return to a state of childlike grace in order to restore the
innocence lost to the social machinery of a cruel world.
Religious Hypocrisy
In such poems as "Holy Thursday" and "The Little Vagabond," Blake critiques the religious leaders of his day
for their abuse of spiritual authority.
Imagination over Reason
Blake is a strong proponent of the value of human creativity, or Imagination, over materialistic rationalism,
or Reason. As a poet and artist, Blake sees the power of art in its various forms to raise the human spirit
above its earth-bound mire. Songs of Experience in particular decries Reason's hold over Imagination. In "A
Little Boy Lost" from Songs of Experience, Blake admires the boy's inquiries into the nature of God and his
own Thought, even as he sharply criticizes the religious leaders of his day for demanding mindless obedience
to dogma.

45. Nature as the Purest State of Man
Like many of his contemporary Romantic poets, Blake sees in the natural world an idyllic
universe that can influence human beings in a positive manner. Many of his poems, such as
"Spring," celebrate the beauty and fecundity of nature, while others, such as "London,"
deride the sterile mechanism of urban society.
The Flaws of Earthly Parents
One recurring motif in both Songs of Innocence and Songs of Experience is the failure of
human parents to properly nurture their children. The "Little Boy Lost" is abandoned by his
earthly father, yet rescued by his Heavenly Father. The parents of "The Little Vagabond"
weep in vain as their son is burned alive for heresy. Both mother and father seem frustrated
by their child's temperament in "Infant Sorrow."This recurring motif allows Blake to
emphasize the frailty of human communities and to emphasize the supremacy of Nature and
of divine care in the form of God the Father.
Social Reform
While much of Blake's poetry focuses on leaving behind the material world in favor of a
more perfect spiritual nature, his poetry nonetheless offers realistic and socially conscious
critiques of existing situations.

46. Blake's poem
And did those feet in ancient
time.
Walk upon Englands mountains
green:
And was the holy Lamb of God,
On Englands pleasant pastures
seen!
And did the Countenance Divine,
Shine forth upon our clouded
hills?
And was Jerusalem builded here,
Among these dark Satanic
Mills?
Bring me my Bow of burning
gold;
Bring me my Arrows of desire:
Bring me my Spear: O clouds
unfold!
Bring me my Chariot of fire!
I will not cease from Mental
Fight,
Beneath the poem Blake inscribed an excerpt from the Bible: "Would to God that all the
Lord's people were Prophets": Numbers chapter 11, verse 29
dark Satanic Mills? This phrase is usually
interpreted as a symbol of the hardship
unleashed by the Industrial Revolution.

47. But other people have argued that “Satanic Mills” refers to the Church of
England, which Blake didn’t like much either. And Blake himself sometimes
used the word “mills” to mean pre-Christian megaliths like the monuments at
Stonehenge. He drew this image on a manuscript, possibly illustrating a nearby
reference to “the starry Mills of Satan”:

48. But other people have argued that “Satanic Mills” refers to the Church of
England, which Blake didn’t like much either. And Blake himself sometimes
used the word “mills” to mean pre-Christian megaliths like the monuments at
Stonehenge. He drew this image on a manuscript, possibly illustrating a nearby
reference to “the starry Mills of Satan”:

49. The first reference to Satan's "mills", next to images of megaliths (Milton a Poem, copy

50. William Blake, The Little Girl Found, from Songs of Innocence and Experience,

51. The archetype of the Creator is a familiar image in
Blake's work. Here, the demiurgic figure Urizen
prays before the world he has forged. The Song of
Los is the third in a series of illuminated books
painted by Blake and his wife, collectively known as
the Continental Prophecies.
"I must Create a System, or be
enslav'd by another Man's. I will not
Reason & Compare; my business is
to Create.“
Words uttered by Los in Blake's
Jerusalem: The Emanation of the
Giant Albion.
Blake's Ancient of Days. The
"Ancient of Days" is described in
Chapter 7 of the Book of Daniel.

52. Charles Lamb as a
Romantic Essayist
Charles Lamb
Charles Lamb is known for his essays. in
his Essays of Elia, uses the pseudonym of
Elia. Dream Children: A Reverie, is an
essay from this collection which was
published in the form of a book.
E.V.Lucas, his principal biographer, has
called him the most loved figure in
English Literature. Lamb’s writing style by
nature is very romantic. And above all he is
highly evocative, a quality possessed by
all Romantic writers.
The essay, Dreams Children in itself is
quite melancholy as most romantic
essays are. In it, Lamb reminisces his
childhood by telling his children stories
of when he was younger. The
fictionalized Charles Lamb, the father,
tells his children stories of their
deceased great- grand mother Field.
He mentions that, they recently had
heard of the horrifying ballad of the
Babes in the Woods

53. The poets of the second generation, Gorge
Gordon Byron, Percy Bysshe Shelley and
John Keats, all had intense but short lives.
They lived through the disillusionment of the
post-revolutionary period, the savage violence
of the terror and the threatening rise of the
Napoleonic Empire

54. George Gordon Byron,
second-generation
Romantic poet
William Hazlitt, Romantic
critic
Leigh Hunt, second-
generation Romantic poet
SECOND GENERATION ROMANTIC
POETS

55. Frontispiece to a c. 1825 edition of Childe
Harold's Pilgrimage:
Lo! where the Giant on the mountain stands,
His blood-red tresses deep'ning in the sun,
With death-shot glowing in his fiery hands,
And eye that scorcheth all it glares upon;
Restless it rolls, now fixed, and now anon
Flashing a far,—and at his iron feet
Destruction cowers to mark what deeds are done.
For on this morn three potent nations meet,
To shed before his shrine the blood he deems
most sweet.
Childe Harold's Pilgrimage is a lengthy narrative
poem in four parts written by Lord dedicated to
"Ianthe". She was the second daughter of Edward
Harley, 5th Earl of Oxford and Earl Mortimer. Her
beauty as a child prompted Lord Byron to dedicate the
first two cantos of Childe Harold's Pilgrimage to her,
under the name "Ianthe
Charlotte Harley (1801-1880) as Ianthe, to
whom Byron dedicated Childe Harold.

56. Childe Harold's Pilgrimage by J.M.W.
Turner, 1823
Childe Harold's Pilgrimage, Parts I-
II, on March 20, with other books
published in following years, up to
1818. Fourteen shorter poems also
included. The publication of these
first two cantos were received with
acclamation, and Byron wrote, "I
awoke one morning and found
myself famous." The poem
describes the travels and reflections
of a world-weary young man who,
disillusioned with a life of pleasure
and revelry, looks for distraction in
foreign lands; in a wider sense, it is
an expression of the melancholy
and disillusionment felt by a
generation weary of the wars of the
post-Revolutionary and Napoleonic
eras. The title comes from the term
childe, a medieval title for a young
man who was a candidate for
knighthood.
Childe Harold became a vehicle for Byron's
own beliefs and ideas

57. His first poems, Hours of Idleness (1807) were generally well received, but one very hostile
review upset him: "...it knocked me down - but I got up again. Instead of bursting a blood-vessel, I
drank three bottles of claret, and began an answer." This was a satire attacking his critics, and the
poetry of most contemporaries,

58. English Bards and Scotch Reviewers, satire in
verse by Lord Byron, first published anonymously
in 1809. The poem was written in response to the
adverse criticism that The Edinburgh Review had
given Hours of Idleness (1807), Byron’s first
published volume of poetry.
It was first published, anonymously, in March
1809; the opening parodies the first satire of
Juvenal. A second, expanded edition followed
later in 1809, with Byron identified as the author.
In English Bards and Scotch Reviewers, Byron
used heroic couplets in imitation of Alexander
Pope’s The Dunciad to attack the reigning poets
of Romanticism, including William Wordsworth
and Samuel Taylor Coleridge, and Francis Jeffrey,
the editor of The Edinburgh Review.

59. George Gordon Byron, who is usually referred to as Lord Byron, was a prominent
British writer, most famous for the influence of his poetry on the romantic movement that
originated in the eighteenth century.
Lord Byron’s best known works are not only the short poems She walks in beauty ;
When We Two Parted ; and, So, we’ll go no more a roving, but also his two narrative
poems Childe Harold’s Pilgrimage, and, of course the more than famous Don Juan.
SHE WALKS IN BEAUTY – LORD BYRON
She walks in beauty, like the night Of cloudless climes and starry skies; And all that's best
of dark and bright Meet in her aspect and her eyes: Thus mellowed to that tender light
Which heaven to gaudy day denies.
One shade the more, one ray the less, Had half impaired the nameless grace Which waves in
every raven tress, Or softly lightens o'er her face; Where thoughts serenely sweet express
How pure, how dear their dwelling place.
And on that cheek, and o'er that brow, So soft, so calm, yet eloquent, The smiles that win,
the tints that glow, But tell of days in goodness spent, A mind at peace with all below, A
heart whose love is innocent!
She Walks in Beauty Summary
The poem is about an unnamed woman. She's really quite striking, and the speaker
compares her to lots of beautiful, but dark, things, like "night" and "starry skies." The
second stanza continues to use the contrast between light and dark, day and night, to
describe her beauty. We also learn that her face is really "pure" and "sweet." The third

60. A Legend of Montrose
illustration from the 1872
edition.
"Edgar and Lucie at
Mermaiden's well" by Charles
Robert Leslie (1886), after Sir
Walter Scott's Bride of
Lammermoor. Lucie is wearing
a full plaid.

61. The Bride of Lammermoor is based on a real-life
family tragedy that Scott had heard as a boy from his
maternal great-aunt Margaret Swinton and which
became one of his mother's favourite fireside tales.
Scott's heroine Lucy Ashton, derives from Janet
Dalrymple, daughter of the great jurist James
Dalrymple, first Viscount Stair.
The Stairs were a landowning family sympathetic to
the Covenanters, but Janet become secretly engaged to
the Royalist third Lord Rutherford. She was
compelled to confess the engagement when presented
with a suitor approved by her parents and forced by a
despotic mother to retract her vow. On the night of her
marriage to her parent's approved choice, she
seriously wounded her bridegroom in a fit of insanity
and died a fortnight later without recovering her
senses.

62. Walter Scott's stone slab at the Makars'
Court outside the Writers' Museum in
Edinburgh.
Scott Monument in Glasgow's George
Square.

63. The Funeral of Shelley by Louis Edouard
Fournier (1889); pictured in the centre are, from
left, Trelawny, Hunt, and Byron. (As a matter of
fact Hunt was not standing before the fire, he
remained in his coach the entire time.)
Friend: Keats and Shelley
Leigh Hunt, was an English
critic
essayist, poet and writer.
The Funeral of Shelley by Louis Edouard
Fournier
James Henry Leigh Hunt (19 October 1784 – 28 August
1859)

64. GOTHIC ROMANCE

65. GOTHIC FICTION, sometimes referred to as Gothic horror, is a genre or mode of
literature that combines elements of both horror and romance. Gothicism's origin is
attributed to English author Horace Walpole, with his 1764 novel The Castle of Otranto,
subtitled "A Gothic Story". The effect of Gothic fiction feeds on a pleasing sort of terror,
an extension of Romantic literary pleasures that were relatively new at the time of
Walpole's novel. Melodrama and parody (including self-parody) were other long-standing
features of the Gothic initiated by Walpole. It originated in England in the second half of
the 18th century and had much success during the English romantic period with Mary
Shelley’s Frankenstein and the works of Edgar Allan Poe. The name Gothic refers to
the (pseudo)-medieval buildings in which many of these stories take place. This extreme
form of romanticism was very popular in England and Germany.
FRANKENSTEIN by Mary Shelley is infused with some elements of
the Gothic novel and the Romantic movement
and is also considered to be one of the earliest
examples of science fiction.

66. The Castle of Otranto is a 1764 novel by Horace
Walpole. It is generally regarded as the first gothic
novel, initiating a literary genre which would become
extremely popular in the later 18th century and early
19th century.
Horace Walpole tried to do in the Castle of Otranto
was to separate and remove it from the realm of
Romance because Walpole felt that then-
contemporary romantic fiction was much too
contrived and unimaginative. Gothic conventions
which were originated in Walpole's The Castle of
Otranto, include things like castles /mansions, often
decaying in order to portray the decay of humanity;
rough, sometimes dangerous landscapes such as
jagged cliffs /foggy moors, the introduction of magic
or supernatural elements, often involving ghostly
apparations; passionate, headstrong men and
dangerously curious women.
Castle of Otranto tells the story of Manfred, lord of
the castle, and his family. The book begins on the
wedding-day of his sickly son Conrad and is
crushed to death by a gigantic helmet that falls on
him from above. princess Isabella.

67. GENRE:
ROMANCE NOVELS

69. Jane Austen (16 December 1775 – 18
July 1817) was an English novelist whose
works of romantic fiction earned her a
place as one of the most widely read
writers in English literature.
From 1811 until 1816, with the release of
Sense and Sensibility (1811), Pride and
Prejudice (1813), Mansfield Park (1814)
and Emma (1816), she achieved success
as a published writer.
She wrote two additional novels,
Northanger Abbey and Persuasion, both
published posthumously in 1818, and
began a third, which was eventually titled
Sanditon, but died before completing it.

70. PRIDE AND PREJUDICE