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Romantic literature

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A series of slides as tools for class lessons about literature

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Romantic literature

  1. 1. ROMANTIC POETS <ul><li>William Blake </li></ul><ul><li>Samuel Taylor Coleridge </li></ul><ul><li>William Wordsworth </li></ul>
  2. 2. WILLIAM BLAKE <ul><li>Prophet of imagination and symbolism </li></ul><ul><li>Contemplation of nature </li></ul><ul><li>Interest in Medieval and Gothic heritage </li></ul><ul><li>Democratic ideas </li></ul><ul><li>Original manyfold poetry </li></ul><ul><li>Against rationalism and materialism </li></ul><ul><li>Hate towards Deism and moral Christianity </li></ul>
  3. 3. WILLIAM BLAKE <ul><li>PROPHET OF IMAGINATION </li></ul><ul><li>He created his own philosophy </li></ul><ul><li>a visionary exaltation of the spirit over the body </li></ul><ul><li>Instict over education </li></ul><ul><li>Spiritual vision over the impressions of the physical sense </li></ul><ul><li>An urge to grasp the world of childish naivetè to reacquire infinite </li></ul>
  4. 4. WILLIAM BLAKE <ul><li>POETRY THEMES </li></ul><ul><li>The realities of the contemporary world </li></ul><ul><li>The potentiality of the spiritual world </li></ul><ul><li>Art as a creative vision </li></ul><ul><li>Freedom: man must search for it </li></ul><ul><li>Poet as a seer who awakes generations </li></ul>
  5. 5. WILLIAM BLAKE <ul><li>POETRY SOURCES </li></ul><ul><li>Bible and Milton </li></ul><ul><li>Dante’s Divine Comedy </li></ul><ul><li>Chaucer’s works </li></ul><ul><li>Shakespeare and Spenser </li></ul><ul><li>Swedenborg and Boehme </li></ul><ul><li>Gnosticism and Hindù religion </li></ul><ul><li>Neoplatonists, occultism snd teosophy </li></ul>
  6. 6. SONGS OF INNOCENCE <ul><li>T his lyric anthology evokes a predominantly pastoral world prior to the dualisms of adult consciousness. Human, natural, and divine states of being have yet to be separated. The child is the chief representative of this condition; other recurrent figures, such as the shepherd and lamb, point ultimately to the figure of Christ as the incarnation of the unity of innocence. </li></ul>
  7. 7. SONGS OF EXPERIENCE <ul><li>T his lyric anthology evokes the dualisms of adult consciousness. Anyway these dualisms help man grow up. The adult is the chief representative of this condition; other recurrent figures, such as the tyger and other obscure symbols with elusive meanings point ultimately to a sense of impelling doom submerging mankind. </li></ul>
  8. 8. S.T. COLERIDGE <ul><li>Ballad structure and themes </li></ul><ul><li>Medieval setting </li></ul><ul><li>Mystery and supernatural </li></ul><ul><li>The importance of nature </li></ul><ul><li>Exoticism </li></ul><ul><li>Music </li></ul>
  9. 9. S.T. COLERIDGE <ul><li>Imagination is divided into Primary and Secondary. The first is the faculty by which we perceive the world around us, through senses. </li></ul><ul><li>The second is the faculty of the poet who assembles and unifies his emotional experience in a state of exstacy </li></ul>
  10. 10. S.T. COLERIDGE <ul><li>Imagination trascends the data of experience and creates. </li></ul><ul><li>It is different from fancy which is inferior since it simply assembles and associates images, metaphors and similes. </li></ul><ul><li>Poetry is the product of the unconscious. The poet is a seer looking for truth inside himself. </li></ul>
  11. 11. THE RIME... <ul><li>Though concerned with the supernatural, it is well organized in a progression of events resulting from a sequence of causes and effects and leading to an acceptable conclusion. The overflowing genius of the author is disciplined through a wise mixture of real and unreal elements </li></ul>
  12. 12. W. WORDSWORTH <ul><li>Humble rustic life </li></ul><ul><li>A selection from the simple purified language of men </li></ul><ul><li>Imagination colouring experience </li></ul><ul><li>Emotions recollected in tranquillity </li></ul><ul><li>The poet with a higher degree of sensitiveness than other men </li></ul>
  13. 13. W. WORDSWORTH <ul><li>His faculty for drawing inspiration from everyday life and objects led him to a sort of mystic belief, whereby man and nature were different but inseparable parts of a whole universe, created by God. In his opinion nature had a sort of spirit, a living presence of its own and it could speak to all who entered in contact with it </li></ul>
  14. 14. W. WORDSWORTH <ul><li>It was through a fusion with nature and the contemplation of its beauty that man becomes aware of his own inner life. </li></ul><ul><li>The mission of the poet, like that of a prophet or a priest, was therefore to open men’s souls to the inner reality of Nature and to the calm meditative joy she can offer us </li></ul>
  15. 15. W. WORDSWORTH <ul><li>He was influenced by D. Hartley with ‘The Observation on man’ </li></ul><ul><li>No ideas are innate in man </li></ul><ul><li>They derive from impressions of external objects </li></ul><ul><li>Groups of vibrations becomes associated with simple ideas </li></ul>
  16. 16. W. WORDSWORTH <ul><li>The 3 stages of the mind’s development are </li></ul><ul><li>Sensations </li></ul><ul><li>Simple ideas </li></ul><ul><li>Complex or organized ideas </li></ul><ul><li>They correspond to the 3 ages of man </li></ul>
  17. 17. W. WORDSWORTH <ul><li>Childhood, in which there are only sensations from the external world </li></ul><ul><li>Youth in which sensations give rise to emotions and simple ideas </li></ul><ul><li>Manhood in which man organizes his ideas through rational thinking </li></ul>

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