ROMANTIC POETRY Jeremiah Erika Austin Patrick THE ROMANTIC

ROMANTIC POETRY Jeremiah Erika Austin Patrick

THE ROMANTIC MOVEMENT ROUGHLY AROUND THE 1790 S TO 1830 S A “revolt” against the established order of precise rules, laws, dogmas, and formulas that heavily characterized Classicism as well as Neoclassicism. As an international artistic and philosophical movement, it redefined the ways in which people in Western cultures thought about themselves and their world. It countered the belief that logic and reason could solve life’s problems, which were popular ideas from the scientific and technological advances of the Enlightenment and Rationalism. Embraced freedom and revolution in their art and politics as well as emphasized the qualities of the human personality, its moods and mental potentialities.

ROMANTIC POETRY Although it’s named the “Romantic” movement, the work of this period has very little to do with romance, although love is a recurring topic of some works. The poems of this period highlighted meter or verse that expressed emotions as well as using: § § § metaphors similes imagery repetition rhyme onomatopoeia Common thematic elements included: § § individualism idealism the natural world physical and emotional passion the supernatural

POETIC ELEMENTS allusio n : a refe rence in a wor k of literature to something outside the work, esp ecially to a we ll-known historical or literary event, person, or work apo stro phe : a figure of speech in which someone (usually, but not always abse nt ), so me abstract quality, or a nonexistent personage i s directly add re ssed as though pre s ent coup l et : a two-line stanza, u sually with end-rhymes the same dic tio n : t he use of words in a literary work im ag ery : the images of a lit erary work; the sensory details of a work; the fig urat ive language of a work ly ric po em: any short poe m that presents a single speaker who expresses tho ugh ts and fe e lings. Love lyrics are common, but lyric poems have also been writt en on subjects as different as religion and reading. metaph or : a figurative use of language in which a comparis on is expressed wit hout the use of a comparative term like “as, ” “like, ” or “than” on omat opo eia : the use of wor ds whose sound suggests thei r meaning pe rson ification : a kind of metaphor that gives inanimate objects or abstract ide as h uman characteristics rep eti tio n : the repe ating of a certain word or phrase; usual ly to provide emph asis ton e : th e manne r in which an author expresses his or her atti tude; the in to natio n o f the voice that expresses meaning

WALT WHITMAN 1819 -1892 Born May 31, 1819 in the town of West Hills, New York Considered to be a humanist who’s works furthered the transcendentalist movement Had 8 other siblings and grew up in a family of modest means and lived on a farm but by the age of three, they moved to Brooklyn Pulled out of school at 11 to help support his family and by 17 became a teacher for five years Worked in the field of journalism for newspapers in New York and New Orleans Volunteered in hospitals and in the medical field during the Civil War after his brother was injured After the war, he settled down in Camden, New Jersey to take care of his family POETRY He is often referred to as the “father of free verse” His poetry used many unusual symbols and images; poetic diction like regional dialects; emphasized the individual and praised the human body Preferred writing about open places, journeys, cities, etc. to blur the line between the individual and the world, public and private His parent’s profound love for America (named children after American heroes) influenced Whitman’s American pride in his poetry/work

WHY, WHO MAKES MUCH OF A MIRACLE? AS TO ME I KNOW OF NOTHING ELSE BUT MIRACLES, WHETHER I WALK THE STREETS OF MANHATTAN, OR DART MY SIGHT OVER THE ROOFS OF HOUSES TOWARD THE SKY, OR WADE WITH NAKED FEET ALONG THE BEACH JUST IN THE EDGE OF THE WATER, OR STAND UNDER TREES IN THE WOODS, OR TALK BY DAY WITH ANY ONE I LOVE, OR SLEEP IN THE BED AT NIGHT WITH ANY ONE I LOVE, OR SIT AT TABLE AT DINNER WITH THE REST, OR LOOK AT STRANGERS OPPOSITE ME RIDING IN THE CAR, OR WATCH HONEY-BEES BUSY AROUND THE HIVE OF A SUMMER FORENOON, OR ANIMALS FEEDING IN THE FIELDS, OR BIRDS, OR THE WONDERFULNESS OF INSECTS IN THE AIR, OR THE WONDERFULNESS OF THE SUNDOWN, OR OF STARS SHINING SO QUIET AND BRIGHT, OR THE EXQUISITE DELICATE THIN CURVE OF THE NEW MOON IN SPRING; THESE WITH THE REST, ONE AND ALL, ARE TO ME MIRACLES, THE WHOLE REFERRING, YET EACH DISTINCT AND IN ITS PLACE. TO ME EVERY HOUR OF THE LIGHT AND DARK IS A MIRACLE, EVERY CUBIC INCH OF SPACE IS A MIRACLE, EVERY SQUARE YARD OF THE SURFACE OF THE EARTH IS SPREAD WITH THE SAME, EVERY FOOT OF THE INTERIOR SWARMS WITH THE SAME. TO ME THE SEA IS A CONTINUAL MIRACLE, THE FISHES THAT SWIM—THE ROCKS—THE MOTION OF THE WAVES— THE SHIPS WITH MEN IN THEM, WHAT STRANGER MIRACLES ARE THERE? miracles by whitman Notable works • • Leaves of Grass Drum-Taps When Lilacs Last in the Dooryard Bloom’d Song of the Open Road Crossing Brooklyn Ferry When I Heard the Learn’d Astronomer O Captain! My Captain!

EMILY DICKINSON 1830 -1886 B orn on December 1 0, 1 830 , i n Amherst, Mas sachusetts parents r aised her to become a t radit ional C hristian woman who wou ld one day be respons ibl e f or a family of her own lived most of her li fe in iso lati o n never marr ied but she di d have r elationships wi th s everal friends , confidantes, and mentors family name was known her father Edward Dickins on serv ed as a law yer her w or k was n ev er publis hed du ring lifetime, except for two after her deat h on May 15, 18 86, her sister p ublis hed he r poetry r eputation chang ed, making her one of literature’s m ost well-kno wn poets

"WHY DO I LOVE" YOU, SIR? BECAUSE— THE WIND DOES NOT REQUIRE THE GRASS TO ANSWER—WHEREFORE WHEN HE PASS SHE CANNOT KEEP HER PLACE. BECAUSE HE KNOWS—AND DO NOT YOU— AND WE KNOW NOT— ENOUGH FOR US THE WISDOM IT BE SO— THE LIGHTNING—NEVER ASKED AN EYE WHEREFORE IT SHUT—WHEN HE WAS BY— BECAUSE HE KNOWS IT CANNOT SPEAK— AND REASONS NOT CONTAINED— —OF TALK— THERE BE—PREFERRED BY DAINTIER FOLK— THE SUNRISE—SIRE—COMPELLETH ME— BECAUSE HE'S SUNRISE—AND I SEE— THEREFORE—THEN— I LOVE THEE— “why do i love" you, sir? by dickinson Notable works • • • Much Madness Hope is the Thing with Feathers Because I Could Not Stop for Death

MATTHEW ARNOLD 1822 -1888 Born in Laleham, England St udied and g raduated from Bal l iol College and wo rked as a g overnment s cho ol i nspe ctor allowing to tr avel all over Engl and developing an interes t of educatio n and poet ry After gaining a re putation as a poe t he was offered a pos ition as Pr ofess or of Poetry at Oxford where he began wr itin g his mos t famo us wor ks He was considered as one of the “Big Thr ee” Victorian poets of his t ime Many historians see Arnol d as the br idge between Rom anticis m and Modernism, bu t wasn’t recog ni zed in his t ime

THE SEA IS CALM TONIGHT, THE TIDE IS FULL, THE MOON LIES FAIR UPON THE STRAITS; ON THE FRENCH COAST THE LIGHT GLEAMS AND IS GONE; THE CLIFFS OF ENGLAND STAND, GLIMMERING AND VAST, OUT IN THE TRANQUIL BAY. COME TO THE WINDOW, SWEET IS THE NIGHT AIR!ONLY, FROM THE LONG LINE OF SPRAY WHERE THE SEA MEETS THE MOON-BLANCHED LAND, LISTEN! YOU HEAR THE GRATING ROAR OF PEBBLES WHICH THE WAVES DRAW BACK, AND FLING, AT THEIR RETURN, UP THE HIGH STRAND, BEGIN, AND CEASE, AND THEN AGAIN BEGIN, WITH TREMULOUS CADENCE SLOW, AND BRING THE ETERNAL NOTE OF SADNESS IN. SOPHOCLES LONG AGO HEARD IT ON THE AGEAN, AND IT BROUGHT INTO HIS MIND THE TURBID EBB AND FLOW OF HUMAN MISERY; WE FIND ALSO IN THE SOUND A THOUGHT, HEARING IT BY THIS DISTANT NORTHERN SEA. THE SEA OF FAITH WAS ONCE, TOO, AT THE FULL, AND ROUND EARTH'S SHORE LAY LIKE THE FOLDS OF A BRIGHT GIRDLE FURLED. BUT NOW I ONLY HEAR ITS MELANCHOLY, LONG, WITHDRAWING ROAR, RETREATING, TO THE BREATH OF THE NIGHT WIND, DOWN THE VAST EDGES DREAR AND NAKED SHINGLES OF THE WORLD. AH, LOVE, LET US BE TRUE TO ONE ANOTHER! FOR THE WORLD, WHICH SEEMS TO LIE BEFORE US LIKE A LAND OF DREAMS, SO VARIOUS, SO BEAUTIFUL, SO NEW, HATH REALLY NEITHER JOY, NOR LOVE, NOR LIGHT, NOR CERTITUDE, NOR PEACE, NOR HELP FOR PAIN; AND WE ARE HERE AS ON A DARKLING PLAIN SWEPT WITH CONFUSED ALARMS OF STRUGGLE AND FLIGHT, WHERE IGNORANT ARMIES CLASH BY NIGHT. dover beach by arnold Notable works • • Dover Beach The Forsaken Merman To a Friend. Published The Scholar Gipsy The Buried Life Shakespeare To Marguerite

GEORGE GORDON BYRON 1788 -1824 Born in London, son of a guards officer, Captain John Byron which later left him and his mother Catherine Gordon, lived in considerable poverty One of the most important figures of the romantic movement, his works, active life, and physical beauty became to be considered the personification of the romantic poet.

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 MELLOW'D TO THAT TENDER LIGHT WHICH HEAVEN TO GAUDY DAY DENIES. ONE SHADE THE MORE, ONE RAY THE LESS, HAD HALF IMPAIR'D 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 by byron Notable works • • A Spirit passed Before me She Walks in Beauty Darkness Solitude

AP PROMPTS Prompt 1: In the poem “Dover Beach” by Matthew Arnold (1822 -1888) the poet depicts his view towards religion during his time period. Carefully read the poem and create an essay analyzing the poetic devices Arnold uses to express his attitude towards people’s faith toward religion. Prompt 2: Read the following poem entitled “Miracles” by Walt Whitman (1819 -1892). In an essay, explain the Romantic elements of repetition and diction and the connection they make with themes of the time.

WRITE YOUR OWN POEM DRAWING ON ROMANTIC ELEMENTS.

WHEN DID ROMANTICISM APPEAR? a. in the High Middle Ages b. in the beginning of the 20 th century c. around the middle-late of the 18 th century d. during the late 19 th century e. during the early 20 th century QUIZ

WHEN DID ROMANTICISM APPEAR? a. in the High Middle Ages b. in the beginning of the 20 th century c. around the middle-late of the 18 th century d. during the late 19 th century e. during the early 20 th century QUIZ

WHY DID ROMANTICISM APPEAR? a. as an opposition to the Russian Revolution b. because the technological contribution c. as a result of the publication of the Theory of Evolution d. as a revolt against the rationalism of the Enlightenment period e. because it wanted to QUIZ

WHY DID ROMANTICISM APPEAR? a. as an opposition to the Russian Revolution b. because the technological contribution c. as a result of the publication of the Theory of Evolution d. as a revolt against the rationalism of the Enlightenment period e. because it wanted to QUIZ

WHAT IS THE UNDERLYING THEME FOR ALL ROMANTICS? a. ideas of the imagination is equal to or better than the ideas of science b. the portrayal of life through minute details and realistic images c. focus on the love and hate aspect of human nature d. emphasis on mental and physical growth through consumption e. none of the above QUIZ

WHAT IS THE UNDERLYING THEME FOR ALL ROMANTICS? a. ideas of the imagination is equal to or better than the ideas of science b. the portrayal of life through minute details and realistic images c. focus on the love and hate aspect of human nature d. emphasis on mental and physical growth through consumption e. none of the above QUIZ

WHERE DO ROMANTICS FIND INSPIRATION FOR THEIR WORK? a. Nature b. Emotions c. Religion d. both a and b e. all of the above QUIZ

WHERE DO ROMANTICS FIND INSPIRATION FOR THEIR WORK? a. Nature b. Emotions c. Religion d. both a and b e. all of the above QUIZ

HOW CAN ONE DESCRIBE ROMANTIC ART? a. It is subjective, emotionally intense, and dreamlike b. It is extremely detailed and complex techniques are employed c. It is eccentric and stimulates the senses d. it is meant to be enjoyed by the aristocracy e. all of the above QUIZ

HOW CAN ONE DESCRIBE ROMANTIC ART? a. It is subjective, emotionally intense, and dreamlike b. It is extremely detailed and complex techniques are employed c. It is eccentric and stimulates the senses d. it is meant to be enjoyed by the aristocracy e. all of the above QUIZ

WHAT HUMAN ABILITY IS NOT PRIMARY ACCORDING TO THE ROMANTICS? a. Intuition b. Feeling c. Deductive reason d. Imagination e. none of the above QUIZ

WHAT HUMAN ABILITY IS NOT PRIMARY ACCORDING TO THE ROMANTICS? a. Intuition b. Feeling c. Deductive reason d. Imagination e. none of the above QUIZ

HOW DID LEADING ROMANTICS VIEW LOCAL TRADITIONS? a. as something to be eliminated because they violated the integrity of the individual b. as something to be eliminated because they were largely based on mysticism rather than reason c. as something to be embraced because they represented the idyllic past d. as something to be embraced because one's place in the greater society is the source of individual identity e. none of the above QUIZ

HOW DID LEADING ROMANTICS VIEW LOCAL TRADITIONS? a. as something to be eliminated because they violated the integrity of the individual b. as something to be eliminated because they were largely based on mysticism rather than reason c. as something to be embraced because they represented the idyllic past d. as something to be embraced because one's place in the greater society is the source of individual identity e. none of the above QUIZ

WHICH DID THE ROMANTICS MOSTLY REVOLT AGAINST IN GENERAL? a. Bohemianism b. Nationalism c. Classicism d. Expressionism e. none of the above QUIZ

WHICH DID THE ROMANTICS MOSTLY REVOLT AGAINST IN GENERAL? a. Bohemianism b. Nationalism c. Classicism d. Expressionism e. none of the above QUIZ

WHAT DID ROMANTICS GENERALLY USE TO CONVEY EMOTION? a. imagery and word association b. allusion and blank verse c. consonance and alliteration d. hyperbole and irony e. none of the above QUIZ

WHAT DID ROMANTICS GENERALLY USE TO CONVEY EMOTION? a. imagery and word association b. allusion and blank verse c. consonance and alliteration d. hyperbole and irony e. none of the above QUIZ

IN WHAT AREAS DID THE ROMANTIC MOVEMENT OCCUR? a. industry, science, politics, and religion b. literature, art, music, dance, and theater c. language, books, and politics d. medicine, industry, and religion e. none of the above QUIZ

IN WHAT AREAS DID THE ROMANTIC MOVEMENT OCCUR? a. industry, science, politics, and religion b. literature, art, music, dance, and theater c. language, books, and politics d. medicine, industry, and religion e. none of the above QUIZ

RESOURCES http: //allpoetry. com/Emily_Dickinson http: //www. encyclopedia. com/topic/Emily_Dickinson. aspx http: //www. sparknotes. com/poetry/whitman/themes. html http: //www. biography. com/people/walt-whitman 9530126? page=1