romanticism in literature essay

Romanticism in Literature: Definition and Examples

Finding beauty in nature and the common man.

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Romanticism was a literary movement that began in the late 18th century and ended around the middle of the 19th century—although its influence continues to this day. Marked by a focus on the individual (and the unique perspective of a person, often guided by irrational, emotional impulses), a respect for nature and the primitive, and a celebration of the common man, Romanticism can be seen as a reaction to the huge changes in society that occurred during this period, including the revolutions that burned through countries like France and the United States, ushering in grand experiments in democracy.

Key Takeaways: Romanticism in Literature

• Romanticism is a literary movement spanning roughly 1790–1850.
• The movement was characterized by a celebration of nature and the common man, a focus on individual experience, an idealization of women, and an embrace of isolation and melancholy.
• Prominent Romantic writers include John Keats, William Wordsworth, Percy Bysshe Shelley, and Mary Shelley.

Romanticism Definition

The term Romanticism does not stem directly from the concept of love, but rather the French word romaunt (a romantic story told in verse). Romanticism focused on emotions and the inner life of the writer, and often used autobiographical material to inform the work or even provide a template for it, unlike traditional literature at the time.

Romanticism celebrated primitive and elevated "regular people" as being deserving of celebration, which was an innovation at the time. Romanticism also fixated on nature as a primordial force and encouraged the concept of isolation as necessary for spiritual and artistic development.

Characteristics of Romanticism

Romantic literature is marked by six primary characteristics: celebration of nature, focus on the individual and spirituality, celebration of isolation and melancholy, interest in the common man, idealization of women, and personification and pathetic fallacy.

Celebration of Nature

Romantic writers saw nature as a teacher and a source of infinite beauty. One of the most famous works of Romanticism is John Keats’ To Autumn (1820):

Where are the songs of Spring? Ay, where are they? Think not of them, thou hast thy music too,– While barred clouds bloom the soft-dying day, And touch the stubble-plains with rosy hue; Then in a wailful choir the small gnats mourn Among the river sallows, borne aloft Or sinking as the light wind lives or dies;

Keats personifies the season and follows its progression from the initial arrival after summer, through the harvest season, and finally to autumn’s end as winter takes its place.

Focus on the Individual and Spirituality

Romantic writers turned inward, valuing the individual experience above all else. This in turn led to a heightened sense of spirituality in Romantic work, and the addition of occult and supernatural elements.

The work of Edgar Allan Poe exemplifies this aspect of the movement; for example, The Raven tells the story of a man grieving for his dead love (an idealized woman in the Romantic tradition) when a seemingly sentient Raven arrives and torments him, which can be interpreted literally or seen as a manifestation of his mental instability.

Celebration of Isolation and Melancholy

Ralph Waldo Emerson was a very influential writer in Romanticism; his books of essays explored many of the themes of the literary movement and codified them. His 1841 essay Self-Reliance is a seminal work of Romantic writing in which he exhorts the value of looking inward and determining your own path, and relying on only your own resources.

Related to the insistence on isolation, melancholy is a key feature of many works of Romanticism, usually seen as a reaction to inevitable failure—writers wished to express the pure beauty they perceived and failure to do so adequately resulted in despair like the sort expressed by Percy Bysshe Shelley in A Lament :

O world! O life! O time! On whose last steps I climb. Trembling at that where I had stood before; When will return the glory of your prime? No more—Oh, never more!

Interest in the Common Man

William Wordsworth was one of the first poets to embrace the concept of writing that could be read, enjoyed, and understood by anyone. He eschewed overly stylized language and references to classical works in favor of emotional imagery conveyed in simple, elegant language, as in his most famous poem I Wandered Lonely as a Cloud :

I wandered lonely as a Cloud That floats on high o'er vales and Hills, When all at once I saw a crowd, A host, of golden Daffodils; Beside the Lake, beneath the trees, Fluttering and dancing in the breeze.

Idealization of Women

In works such as Poe’s The Raven , women were always presented as idealized love interests, pure and beautiful, but usually without anything else to offer. Ironically, the most notable novels of the period were written by women (Jane Austen, Charlotte Brontë, and Mary Shelley, for example), but had to be initially published under male pseudonyms because of these attitudes. Much Romantic literature is infused with the concept of women being perfect innocent beings to be adored, mourned, and respected—but never touched or relied upon.

Personification and Pathetic Fallacy

Romantic literature’s fixation on nature is characterized by the heavy use of both personification and pathetic fallacy. Mary Shelley used these techniques to great effect in Frankenstein :

Its fair lakes reflect a blue and gentle sky; and, when troubled by the winds, their tumult is but as the play of a lively infant, when compared to the roarings of the giant ocean.

Romanticism continues to influence literature today; Stephenie Meyers’ Twilight novels are clear descendants of the movement, incorporating most of the characteristics of classic Romanticism despite being published a century and a half after the end of the movement’s active life.

Encyclopaedia Britannica. " Romanticism ."

Cambridge University Press. " The Cambridge Companion to German Romanticism ."

Poetry Foundation. " William Wordsworth ."

University of Florida. " Romantic Myth Making: The Sympathetic Soulmate From Romanticism to Twilight and Beyond ."

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121 Romanticism Essay Topics & Examples

In a romanticism essay, you can explore a variety of topics, from American literature to British paintings. For that task, these ideas of romanticism collected by our team will be helpful!

🏆 Best Romanticism Ideas & Essay Examples

• ⭐ Simple & Easy Romanticism Essay Titles

📌 Most Interesting Romanticism Essay Topics

👍 good research ideas on romanticism, ❓ essay questions on romanticism.

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• Gothic Romanticism in Edgar Allan Poe’s “The Tell-Tale Heart”, Nathaniel Hawthorn’s “The Birthmark” In the film “The Black Swan” directed by Darren Aronofsky, Nina struggles to fit into the ultimate role of the play “The Swan Lake”, as the Black Swan, even though she is comfortable playing the […]
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⭐ Simple & Easy Romanticism Essay Titles

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• Gothic Romanticism of Edgar Allen Poe When the thought of today, the nineteenth-century writer Edgar Allan Poe is remembered as the master of the short story and the psychological thriller.
• Revolution and Romanticism in Europe and America The analysis of romanticism presentation on the basis of Rousseau’s theory is to be reflected through the atmosphere of French revolution period. Romanticism of Rousseau appeared to be close to the approach of ‘primitivism’, characterizing […]
• Tristan and Isolde Opera Romanticism The Tristan and Isolde drama is influenced by a wide range of things. Wagner uses the voices to show what is in the thoughts of Isolde and her attendant.
• British Romanticism and Its Origins It was partially a rebellion against aristocratic social and political standards of the Age of Enlightenment and a response against the scientific explanation of nature and was exemplified most powerfully in the visual arts, music, […]
• Romanticizing Literature, Visual Arts and Music During Romanticism 1800-1850 As “it emphasized the individual, the subjective, the irrational, the imaginative, the personal, the spontaneous, the emotional, the visionary, and the transcendental”, the Romanticism period inspired many artists in the field of literature, painting, music, […]
• Enlightenment and Romanticism: Comparison In the wake up of the feminist and historicist takes to pieces of the older Romanticism, particularly Bloom’s “creative thinker corporation” and the Wordsworth-centered verse of consciousness and the natural world, one has to inquire […]
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• Chopin: Musician Who Had Effect Romanticism Music At the beginning of the musical period known as Romanticism Frederic Chopin was born in Poland. The piano was his chosen instrument and one that he mastered at a very young age.
• The Age of Romanticism and Its Factors Characteristics of the genre identified by Welleck include a “revolt against the principles of neo-classicism criticism, the rediscovery of older English literature, the turn toward subjectivity and the worship of external nature slowly prepared during […]
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• The Age of Romanticism: Dances Articles Analysis On the one hand, it seems that these two writings have nothing in common except the intentions of the authors to make contributions to the field of dance and choose the theme of ballet for […]
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Romanticism in Literature and Literary Theory

Romanticism has its roots in the Latin word “Romanicus,” meaning “of or pertaining to Rome,” and the French word “Romantique,” which referred to medieval romances, stories of chivalry, and adventure.

Romanticism: Etymology, Meanings and Concept

Table of Contents

Romanticism has its roots in the Latin word “Romanicus,” meaning “of or pertaining to Rome,” and the French word “Romantique,” which referred to medieval romances, stories of chivalry, and adventure. The term “Romantic” was first used in English in the 17th century to describe something as “romance-like,” and by the late 18th century, it had evolved to describe a cultural and artistic movement that emphasized emotion, imagination, and individualism.

Meanings and Concept

• Emphasis on Emotion : Romantics valued strong emotions, intuition, and the personal experience over rationality and logic.
• Imagination and Creativity : Romantics believed in the power of imagination and creativity, often exploring themes of fantasy, myth, and the supernatural.
• Individualism and Nonconformity : Romantics celebrated the individual and the unique, often rejecting societal norms and conventions.
• Nature and the Sublime : Romantics saw nature as a source of inspiration, beauty, and the sublime, often exploring themes of the natural world and humanity’s place within it.
• Nationalism and Folk Culture : Romantics often drew inspiration from folk culture, mythology, and national identity, celebrating the unique characteristics of their own cultures.
• Reaction against Enlightenment Values : Romantics rejected the Enlightenment’s emphasis on reason, order, and control, seeking a more emotional and intuitive approach to life and art

Romanticism: Definition of a Theoretical Term

A cultural and artistic movement that emerged in the late 18th century, characterized by an emphasis on emotion, imagination, and individualism, and a rejection of Enlightenment values and societal norms. It celebrates the beauty and power of nature, the importance of personal experience and intuition, and the value of folk culture and national identity. Through literature, art, music, and other creative expressions, Romanticism seeks to evoke feelings, spark imagination, and challenge conventional thinking.

Romanticism: Theorists, Works and Argument

Romanticism: Major Characteristics

• Emphasis on Emotion and Imagination: Romanticism championed the power of feelings and individual perception.
• Example: John Keats’ poem “Ode on a Nightingale” explores the speaker’s emotional response to a bird’s song, using vivid imagery to capture the beauty and fleeting nature of the experience.
• Celebration of Nature: Nature was seen as a source of inspiration, awe, and even spiritual connection.
• Example: William Wordsworth’s poem “ I Wandered Lonely as a Cloud ” describes the speaker’s encounter with a field of daffodils, highlighting the power of nature to uplift and inspire.
• Individualism and the Cult of the Hero: Romantics valued personal expression and unconventional individuals who dared to be different.
• Example: Mary Shelley’s novel Frankenstein features a protagonist, Victor Frankenstein, who defies the boundaries of science and creation, highlighting the potential dangers of unchecked ambition.
• Idealization of the Past: The Romantics looked back on certain historical periods, particularly the Middle Ages, with a sense of nostalgia and admiration for their perceived simplicity and heroism.
• Example: Sir Walter Scott’s historical novels, like Ivanhoe , are set in medieval times and often depict chivalrous knights and damsels in distress, romanticizing a bygone era.
• The Sublime and the Power of Nature: Romantics were fascinated by the awe-inspiring and potentially frightening aspects of nature’s power.
• Example: Lord Byron’s poem “Manfred” explores the protagonist’s struggle against the overwhelming forces of nature and his own internal demons.
• Focus on the Supernatural and the Uncanny: Romanticism embraced the mysterious and otherworldly, often incorporating elements of folklore and gothic themes.
• Example: Mary Shelley’s Frankenstein not only explores scientific ambition but also delves into the fear of the unknown and the potential consequences of tampering with life and death.

Romanticism: Relevance in Literary Theories

• Enduring Focus on Individualism :
• The Romantic emphasis on individual experience and expression resonates with reader-response theory, which acknowledges the role of the reader in constructing meaning from a text.
• Exploration of the Unconscious: The Romantic interest in dreams, imagination, and the exploration of emotions foreshadowed psychoanalytic criticism, which analyzes texts through the lens of the unconscious mind.
• Nature as a Complex Symbol: The multifaceted portrayal of nature in Romanticism (both beautiful and terrifying) laid the groundwork for ecocriticism, which examines the relationship between literature and the environment.
• Challenging Established Norms: The Romantic rebellion against social and artistic conventions continues to inspire various critical approaches, such as Marxist and feminist criticism, which challenge dominant ideologies within literature.
• The Power of Emotion: The focus on emotions in Romanticism remains valuable for various theories that explore the affective dimension of literature, analyzing how texts evoke feelings in readers.
• Legacy of Gothic and Fantasy: The exploration of the supernatural and the macabre in Romanticism continues to influence Gothic criticism and the study of fantasy literature.

Romanticism: Application in Critiques

Romanticism: Relevant Terms

Romanticism: Suggested Readings

• Abrams, M. H. The Mirror and the Lamp: Romantic Theory and the Critical Tradition . Oxford University Press, 2011.
• Mellor, Anne K. Romanticism and Gender . Routledge, 2000.
• Wu, Duncan. Romanticism: An Anthology . Blackwell Publishing, 1994.
• Butler, Marilyn. Romantics, Rebels, Revolutionaries: From Blake to Shelley. Farrar, Straus and Giroux, 2004.
• Mulvey-Roberts, Marie, ed. The handbook of the Gothic . NYU Press, 2009.. (While not solely focused on Romanticism, this book provides valuable context for the Gothic elements within Romanticism)
• Gorodeisky, Keren. “19th century romantic aesthetics.” (2016). The Stanford Encyclopedia of Philosophy , Stanford University, plato.stanford.edu/entries/romanticism/.
• The Keats-Shelley Association of America. https://www.k-saa.org/ This website offers a wealth of resources on Romantic poets, including biographies, critical essays, and online editions of their works.
• The William Blake Archive. https://www.blakearchive.org/ This website provides access to digital images of William Blake’s illuminated works, paintings, and drawings, alongside critical essays and information about his life and work.
• The Romantic Studies Association. https://www.rsaa.online/ This website offers information about the Romantic Studies Association, including upcoming conferences, publications, and resources for scholars of Romanticism.

Representative Quotes for Romanticism

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Romanticism Essay | Essay on Romanticism for Students and Children in English

February 13, 2024 by Prasanna

Romanticism Essay:  Romanticism was an artistic, intellectual, literary and musical movement that took place in Europe towards the end of the eighteenth century and mid-nineteenth century. This artistic movement was at its peak in most areas in the approximate period of 1800 to 1850.

The prominence can characterise Romanticism it gave to emotional sensitivity and individual subjectivity along with the glorification of all the nature and past preferring the medieval rather than the classical. For Romantics, imagination was the most important creative faculty, rather than reason.

You can also find more  Essay Writing  articles on events, persons, sports, technology and many more.

Long and Short Essays on Romanticism for Students and Kids in English

We are providing students with essay samples on a long essay of 500 words and a short essay of 150 words on the topic Romanticism for reference.

Long Essay on Romanticism 500 Words in English

Long Essay on Romanticism is usually given to classes 7, 8, 9, and 10.

Romanticism was an artistic period of attitude or intellectual orientation that was characterised by several works of literature music, painting, architecture, criticism and historiography in the Western Civilisation over a time period from the late 18th century to the mid-19th century.

Romanticism was first defined as the aesthetic in literary criticism around the 1800s, and it gained momentum as an artistic movement in Britain and France. Romanticism was partly a reaction to the Industrial Revolution, the political norms and noble social of the Age of Enlightenment and the scientific rationalisation of nature – all elements of modernity. It was embodied most strongly in literature, visual arts and music but had a major impact on chess, natural sciences, social sciences and education. It also had a remarkable and complex effect on politics with the romantic thinkers influencing nationalism, liberalism, conservatism and radicalism.

Romanticism can be seen as a rejection of the perception of harmony, order, calm, idealisation, balance and rationality. This typified Classism in general and Neoclassicism in particular in the late 18th century. Romanticism was also an aftermath of the French Revolution that took place in 1789. Even though often predicted as the opposition of Neoclassicism, early stages of Romanticism was shaped largely by artists trained in Jacques Louis David’s studio, including Anne Louis Girodet-Trioson, Baron Antoine Jean Gros and Jean Auguste Dominique Ingres.

The movement emphasised on intense emotions serving as an authentic source of an aesthetic experience. It gave a new emphasis to emotions such as horror, terror, apprehension and awe – especially those experienced in confronting the unique aesthetic characteristics of sublimity and nature’s beauty. Contrasting to Classicism and Rationalism of the Enlightenment, Romanticism brought back medievalism. It also brought back the elements of art and narrative perceived as truthfully medieval in the attempt at escaping population growth, industrialism and early urban sprawl. Although this artistic movement was rooted in German Sturm and Drang movement, in which emotion and intuition were preferred to the rationalism of Enlightenment, the ideologies and events of the French Revolution also served as proximate factors. It elevated ancient customs and folklore to something noble but also spontaneity as a helpful characteristic.

Romanticism gave a high value to the achievements of ‘heroic’ artists and individualists, whose example it maintained would raise the quality of the society. It also helped in promoting the individual an individual’s imagination as a critical authority gave the freedom of classical notions of forms in art. The period of Romanticism had a few elements which stood out in the Western Civilisation. Romantics had belief in individuals and the common man, and they shared their love for nature. Romanticism showed interest in the past, supernatural, gothic and bizarre things. They had great faith in the inner experience and the power of imagination.

There was a strong recourse to the natural and historical inevitability – a spirit o the age in the representation of its ideas. In the second half of the nineteenth century, Realism was offered, which served as the polar opposite of Romanticism. The decline of Romanticism started during this time which was associated with multiple processes, including political and social changes and spread of nationalism.

Short Essay on Romanticism 150 Words in English

Short Essay on Romanticism is usually given to classes 1, 2, 3, 4, 5, and 6.

Romanticism was an intellectual as well as an artistic movement that occurred in Europe between the period of the late eighteenth and mid-nineteenth centuries. Recognised broadly as a break from the Enlightenment’s guiding principles – which confirmed reason as the foundation of all the knowledge – the Romantic Movement emphasised on the importance of individual subjectivity and emotional sensitivity.

The nature of the Romantic Movement may be approached with the primary importance of free expression of the artist’s feelings. To express the feelings of the artists, Romantics believed that the content of the art should come from the imagination of the artist. Not specifically for Romanticism, there was widespread strong belief importance give to nature. This particularly affected the nature of the artist’s work, when the artist was surrounded by it – preferably alone. Contrary to the very social art of the Enlightenment, the Romantics were distrustful of the world, tended to be in close connection with nature.

10 Lines on Romanticism in English

• Romanticism is not an era that can be easily defined by its techniques.
• The principles of the age characterise this movement.
• Over science, reason and industrialisation Romanticism gave importance to spiritualism, emotions and nature.
• This period of artistic movement focused on freedom from authority over a traditional focus on society.
• The period of Neoclassicism corresponds with Romanticism only in the period.
• The ideals of the two movements Romanticism and Neoclassicism, were the direct opposite.
• Romantic music was technically adventurous and highly innovative.
• Along with showing the power of nature, many Romantic artists used their paintings to showcase natural disasters.
• Most famous Romantic art depicting natural disaster was The Raft of Medusa – a masterpiece by Theodore Gericault’s.
• Several paintings of the era dipped into fairy tales folklore and mythology for inspiration.

FAQ’s on Romanticism Essay

Question 1. Which is the largest defining painting of the era?

Answer: Francisco Goya’s painting El Tres de Mayo 1808 (May 3) is considered one of the largest defining paintings of the era.

Question 2.  What did Romanticism focus on?

Answer: Romanticism emphasised nature, emotions, individuality and spiritualism over industrialisation, science and reasoning.

Question 3. When did Romanticism begin?

Answer: The Romantic Movement began approximately in the year 1770.

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Home — Essay Samples — Literature — Ozymandias — Shelley’s Romanticism in Ozymandias

Shelley’s Romanticism in Ozymandias

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Shelley, P. B. (1818). Ozymandias. The Examiner. Retrieved from doi:10.1353/vp.2015.0032

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Literary Theory and Criticism

Home › Literature › Romantic Poetry

Romantic Poetry

By NASRULLAH MAMBROL on February 16, 2021 • ( 0 )

The classic essays on romanticism tend not to define the term but to survey the manifold and unsuccessful attempts to define it. In English poetry, however, we can give a more or less historical definition: Romanticism is a movement that can be dated as beginning with William Wordsworth and Samuel Taylor Coleridge ’s Lyrical Ballads of 1798 and that is still continuing today, despite reactions and countermovements which begin almost immediately and which are highly relevant to any consideration of Victorian and modern literature. (Although romanticism includes all of William Blake’s major poetry, beginning more than a decade prior to Lyrical Ballads, Blake’s obscurity limited his influence on other major writers for a good half century.)

Paradoxically, though, these reactions can themselves be regarded as highly romantic in nature— partly, perhaps, because one very general but still useful early (1825) definition of romanticism is, in the words of the French dramatist and politician Ludovic Vitet (1802–73), “Protestantism in arts and letters” (quoted in Furst, European Romanticism ). Protestantism was a protest against the fetters of the past (even romanticism itself)—against rule and convention, as Vitet realized—and therefore was also an analogue to the Protestant Reformation. In this sense, romanticism is the analogue in the literary sphere of the freedom brought by the Enlightenment in the political, moral, and philosophical world—according to Vitet, “the right to enjoy what gives pleasure, to be moved by what moves one, to admire what seems admirable, even when by virtue of well and duly consecrated principles it could be proved that one ought not to admire, nor be moved, nor enjoy.” Wordsworth, too, spoke of his object in Lyrical Ballads as giving pleasure to his readers, rather than conforming to rules: “There will also be found in these volumes little of what is usually called poetic diction . . . because the pleasure which I have proposed to myself to impart is of a kind very different from that which is supposed by many persons to be the proper object of poetry.” That pleasure is Protestant in its deference to the judgment and poetic conscience of the individual soul: “[T]his necessity of producing immediate pleasure . . . is an acknowledgment of the beauty of the universe, an acknowledgment the more sincere because it is not formal, but indirect; . . . it is a homage paid to the native and naked dignity of man, to the grand elementary principle of pleasure, by which he knows, and feels, and lives, and moves” (preface to Lyrical Ballads , 1800).

Wanderer Above the Sea of Fog, by Caspar David Friedrich, 1818

Romanticism is therefore to be defined negatively, perhaps, as a principled protest against classicism. Since the French were the earliest to identify it as a movement, we can recur to the incisive definition one of the great French romantics, Victor Hugo, who (in the preface to his 1830 play Hernani ) wrote, “Romanticism, so often badly defined, is . . . viewed wholly under its militant aspect, nothing but liberalism in literature . . . a literary liberty [which] is the daughter of political liberty.” The philosopher John Stuart Mill was one of the earliest purveyors of the term in English, but again he was describing French literature when he wrote in 1837:

The stateliness and conventional decorum of old French poetic and dramatic literature, gave place to a licence which made free scope for genius and also for absurdity, and let in new forms of the beautiful was well as many of the hideous. Literature shook off its chains, and used its liberty like a galley-slave broke loose; while painting and sculpture passed from one unnatural extreme to another, and the stiff school was succeeded by the spasmodic. This insurrection against the old traditions of classicism was called romanticism: and now, when the mass of rubbish to which it had given birth has produced another oscillation in opinion the reverse way, one inestimable result seems to have survived it—that life and human feeling may now, in France, be painted with as much liberty as they may be discussed, and, when painted truly, with approval.

Mill’s account shows the extent to which romanticism was central to Victorian literary attitudes, even as the heyday of what came to be called high romanticism came to an end in England with the beginning of the Victorian period. Indeed, the Victorian parody of the continued influence of romanticism identified what it called the “spasmodic school” of poetry.

These quotations show the extent to which romanticism is regarded as a revolutionary rejection of the past—of Mill’s classicism—which might be regarded as the literary equivalent of the French Revolution. Indeed, the first generation of English romantics were admirers of the French Revolution before its descent into destruction and terror. For this reason as well, the romantics saw Napoleon Bonaparte as a Promethean figure who promised liberty but ended up besotted with despotic power. Wordsworth, who celebrated the death of the French revolutionary Robespierre in The Prelude, nevertheless began that work with an ode to liberty. For the English romantics, that liberty was at once a break with Enlightenment rationalism and (as we have seen) a continuation of the Enlightenment’s intensely humanistic project of rejecting religious superstition and arbitrary law on behalf of the human soul’s freedom and primacy.

It is important not to make the mistake that some critics fall into of thinking of romanticism as essentially an irrational egotism. Romanticism is far more the inheritor of Enlightenment ideas than their displacer. It shares with the Enlightenment an intense focus on the powers of the human mind. For Enlightenment philosophers, that focus was often on its rational and analytic powers, whence the flowering of modern science. But such Enlightenment figures as the philosophe Jean-Jacques Rousseau paid equal or greater attention to the mind’s subjective experience. Rousseau’s Confessions (1769) as well as his novel Julie (1761) were forerunners of intense influences on (respectively) such works as Wordsworth’s The Prelude , Lord Byron’s Childe Harold’s Pilgrimage , and Percy Bysshe Shelley’s T he Triumph of Life . In Immanuel Kant and the German idealists, and in Coleridge, much of whose work is uncomfortably close to plagiarism of the idealists, the relationship between its objective and subjective powers is central to a philosophical account of the mind. Kant saw that relationship forming in the faculty of judgment, of which aesthetic judgment was the most vivid example. The half-creation, half-perception of the world which takes place in judgment is the theme of romanticism, explicitly in such poems as Wordsworth’s “Tintern Abbey” and Shelley’s “Mont Blanc.” Sometimes the difference between subjective and objective attitudes manifested itself as a sense of self-division within the soul, a sense that could be traced back to the philosophy of John Locke (1632– 1704), which was repugnant but therefore powerfully influential, to such figures as Blake and Wordsworth.

Self-division, solitude, subjective longing—all of these are aspects of the subjectivity which romanticism took as its starting point and theme (in part inheriting it from the more sentimental mode of 18th-century sensibility, though sensibility was far more an overtly social phenomenon than romanticism). Because of its intense interest in subjectivity as well as its rejection of superstition, it is possible to see romanticism as a kind of religious sensibility without religious belief. The soul, or self, experiences itself as fallen in a fallen world (often represented as the world of childhood or the world most closely present in childhood). In Romanticism, by rejecting the doctrines of religion—that the biblical Fall is punishment for some derogation from a state of grace—the soul also rejects the consolations of religion; accordingly, it has no hope of salvation except within itself and its own experience. That salvation is therefore primarily aesthetic and philosophical (the distinction between the two is one of emphasis, which is why so many romantic poems are so intensely philosophical). The romantics took to heart Satan’s claim in John Milton’s great 17th-century work Paradise Lost (the poem most essential to the English romantics) that “The mind is its own place and in itself / Can make a Heaven of hell, a Hell of heaven (1, l. 254).” Our sense of ourselves as fallen, as having a destiny and home “with infinity,” as Wordsworth says, makes the finite world a negative measure of our own subjective intensity. When this intensity is represented as a claim to greatness of soul, it can look egotistical; but what counts is the intensity of experience measured by the failure as well as by the intermittent success of the outside world at matching it.

This intermittent success tends to come with a sense of the grandeur of nature, which is why so much great romantic poetry is about nature in its most intense aspects: those of beauty, solitude, and most of all, the sublime. Nature’s wildness, partly imaged in ruined castles and abbeys, which had been a staple of gothic fiction in the 18th century were particularly appropriate settings for romantic thought. But nature is itself a projection—it is the place the mind makes of it, as in the last two lines of Shelley’s “Mont Blanc,” where it is the human mind’s imaginings that transfigure vacancy into silence and solitude.

The general mode of a romantic poem is one of crisis—a crisis that leads to its own solution. The very fact of crisis is a sign that the intensity of feeling and thought at risk is still there. Romantic poets worry about the loss of intensity that seems the inevitable course of human experience, but they reimagine that loss of intensity as the intensity of loss. Loss becomes, as the 20th-century literary critic Paul de Man put it somewhat skeptically, “shadowed gain.” The gain for the soul is in its apprehension of its own capacity to measure its losses, and therefore to rise above them. Loss within the soul comes to be figured as the loss of poetic vocation. The poetry inspired by this loss is a sign that poetic vocation is intensified in its own undoing, rather than dissipated— for a while at least. Romanticism reimagined poetry as an intense analysis of human subjectivity, and in doing so it lent splendor to the universal human experience of loss and decline. What more can poetry do?

Bibliography Abrams, M. H. Natural Supernaturalism: Tradition and Revolution in Romantic Literature. New York: Norton, 1973. Bloom, Harold. The Visionary Company: A Reading of English Romantic Poetry. Garden City, N.Y.: Doubleday, 1961. ———, ed. Romanticism and Consciousness: Essays in Criticism. New York: Norton, 1970. Brown, Marshall. Preromanticism. Stanford, Calif.: Stanford University Press, 1991. Deane, Seamus. French Revolution and Enlightenment in England, 1789–1832. Cambridge, Mass.: Harvard University Press, 1988. De Man, Paul. The Rhetoric of Romanticism. New York: Columbia University Press, 1984. Furst, Lilian, ed. European Romanticism: Self-Definition: An Anthology. London: Methuen, 1980. Lovejoy, Arthur. “On the Discrimination of Romanticisms.” PMLA (journal of the Modern Language Association) 39, no. 2 (June 1924): 229–253. McGann, Jerome. The Romantic Ideology: A Critical Investigation. Chicago: University of Chicago Press, 1983. Mill, John Stuart. “Armand Carrel.” In Dissertations and Discussions. Vol. 1. 237–308. Boston: Holt, 1882. Quinney, Laura. The Poetics of Disappointment: Wordsworth to Ashbery. Charlottesville: University Press of Virginia, 1999.

Romanticism in England

Romanticism in France

Romanticism in America

Romantic Literary Criticism

Literary Criticism of William Wordsworth

Literary Criticism of S.T. Coleridge

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Romanticism

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Romanticism , attitude or intellectual orientation that characterized many works of literature, painting , music, architecture , criticism , and historiography in Western civilization over a period from the late 18th to the mid-19th century. Romanticism can be seen as a rejection of the precepts of order, calm, harmony , balance, idealization, and rationality that typified Classicism in general and late 18th-century Neoclassicism in particular. It was also to some extent a reaction against the Enlightenment and against 18th-century rationalism and physical materialism in general. Romanticism emphasized the individual, the subjective, the irrational, the imaginative, the personal, the spontaneous, the emotional, the visionary, and the transcendental.

Among the characteristic attitudes of Romanticism were the following: a deepened appreciation of the beauties of nature; a general exaltation of emotion over reason and of the senses over intellect; a turning in upon the self and a heightened examination of human personality and its moods and mental potentialities; a preoccupation with the genius , the hero, and the exceptional figure in general and a focus on his or her passions and inner struggles; a new view of the artist as a supremely individual creator, whose creative spirit is more important than strict adherence to formal rules and traditional procedures; an emphasis upon imagination as a gateway to transcendent experience and spiritual truth; an obsessive interest in folk culture , national and ethnic cultural origins, and the medieval era; and a predilection for the exotic, the remote, the mysterious, the weird, the occult, the monstrous, the diseased, and even the satanic.

Romanticism proper was preceded by several related developments from the mid-18th century on that can be termed Pre-Romanticism . Among such trends was a new appreciation of the medieval romance, from which the Romantic movement derives its name. The romance was a tale or ballad of chivalric adventure whose emphasis on individual heroism and on the exotic and the mysterious was in clear contrast to the elegant formality and artificiality of prevailing Classical forms of literature, such as the French Neoclassical tragedy or the English heroic couplet in poetry. This new interest in relatively unsophisticated but overtly emotional literary expressions of the past was to be a dominant note in Romanticism.

Romanticism in English literature began in the 1790s with the publication of the Lyrical Ballads of William Wordsworth and Samuel Taylor Coleridge . Wordsworth’s “Preface” to the second edition (1800) of Lyrical Ballads , in which he described poetry as “the spontaneous overflow of powerful feelings,” became the manifesto of the English Romantic movement in poetry. William Blake was the third principal poet of the movement’s early phase in England. The first phase of the Romantic movement in Germany was marked by innovations in both content and literary style and by a preoccupation with the mystical, the subconscious, and the supernatural. A wealth of talents, including Friedrich Hölderlin , the early Johann Wolfgang von Goethe , Jean Paul , Novalis , Ludwig Tieck , August Wilhelm and Friedrich von Schlegel , Wilhelm Heinrich Wackenroder , and Friedrich Schelling , belong to this first phase. In Revolutionary France , François-Auguste-René, vicomte de Chateaubriand , and Madame de Staël were the chief initiators of Romanticism, by virtue of their influential historical and theoretical writings.

The second phase of Romanticism, comprising the period from about 1805 to the 1830s, was marked by a quickening of cultural nationalism and a new attention to national origins, as attested by the collection and imitation of native folklore , folk ballads and poetry, folk dance and music, and even previously ignored medieval and Renaissance works. The revived historical appreciation was translated into imaginative writing by Sir Walter Scott , who is often considered to have invented the historical novel . At about this same time English Romantic poetry had reached its zenith in the works of John Keats , Lord Byron , and Percy Bysshe Shelley .

A notable by-product of the Romantic interest in the emotional were works dealing with the supernatural , the weird, and the horrible, as in Mary Shelley ’s Frankenstein and works by Charles Robert Maturin , the Marquis de Sade , and E.T.A. Hoffmann . The second phase of Romanticism in Germany was dominated by Achim von Arnim , Clemens Brentano , Joseph von Görres , and Joseph von Eichendorff .

By the 1820s Romanticism had broadened to embrace the literatures of almost all of Europe . In this later, second, phase, the movement was less universal in approach and concentrated more on exploring each nation’s historical and cultural inheritance and on examining the passions and struggles of exceptional individuals. A brief survey of Romantic or Romantic-influenced writers would have to include Thomas De Quincey , William Hazlitt , and Charlotte , Emily , and Anne Brontë in England; Victor Hugo , Alfred de Vigny , Alphonse de Lamartine , Alfred de Musset , Stendhal , Prosper Mérimée , Alexandre Dumas , and Théophile Gautier in France; Alessandro Manzoni and Giacomo Leopardi in Italy; Aleksandr Pushkin and Mikhail Lermontov in Russia; José de Espronceda and Ángel de Saavedra in Spain; Adam Mickiewicz in Poland; and almost all of the important writers in pre-Civil War America .

In the 1760s and ’70s a number of British artists at home and in Rome, including James Barry , Henry Fuseli , John Hamilton Mortimer, and John Flaxman , began to paint subjects that were at odds with the strict decorum and classical historical and mythological subject matter of conventional figurative art. These artists favoured themes that were bizarre, pathetic, or extravagantly heroic, and they defined their images with tensely linear drawing and bold contrasts of light and shade. William Blake , the other principal early Romantic painter in England, evolved his own powerful and unique visionary images.

In the next generation the great genre of English Romantic landscape painting emerged in the works of J.M.W. Turner and John Constable . These artists emphasized transient and dramatic effects of light, atmosphere, and colour to portray a dynamic natural world capable of evoking awe and grandeur.

In France the chief early Romantic painters were Baron Antoine Gros , who painted dramatic tableaus of contemporary incidents of the Napoleonic Wars , and Théodore Géricault , whose depictions of individual heroism and suffering in The Raft of the Medusa and in his portraits of the insane truly inaugurated the movement around 1820. The greatest French Romantic painter was Eugène Delacroix , who is notable for his free and expressive brushwork, his rich and sensuous use of colour, his dynamic compositions , and his exotic and adventurous subject matter, ranging from North African Arab life to revolutionary politics at home. Paul Delaroche , Théodore Chassériau , and, occasionally, Jean-Auguste-Dominique Ingres represent the last, more academic phase of Romantic painting in France. In Germany Romantic painting took on symbolic and allegorical overtones, as in the works of Philipp Otto Runge . Caspar David Friedrich , the greatest German Romantic artist, painted eerily silent and stark landscapes that can induce in the beholder a sense of mystery and religious awe.

Romanticism expressed itself in architecture primarily through imitations of older architectural styles and through eccentric buildings known as “follies.” Medieval Gothic architecture appealed to the Romantic imagination in England and Germany, and this renewed interest led to the Gothic Revival .

Romantic Literature: the Romantic Period in English Literature

This essay about Romantic literature explores its profound impact on English literature during the late 18th and early 19th centuries. It discusses how Romanticism, a response to societal upheavals, championed subjectivity, personal introspection, and a reverence for nature. Through the works of Wordsworth, Coleridge, Byron, and Shelley, Romanticism embraced individualism, celebrated nature’s beauty, and grappled with existential themes. The era birthed the Romantic hero, delved into the Gothic genre, and reshaped the novel with emotional depth and social critique. It advocated for political liberalism and left a lasting legacy of profound inquiry into human consciousness and moral agency. Romantics urged a fresh perspective on the world, inspiring a pursuit of personal authenticity and liberty.

How it works

The Romantic epoch, spanning from the latter part of the 18th century to the early 19th century, denotes a discernible shift in the annals of English literature, characterized by a bold departure from the Enlightenment’s constraints and a fervent embrace of subjectivity. In an era where Europe bore witness to radical upheavals spurred by revolution, industrialization, and radical ideological shifts, literature began mirroring a profound transition towards personal introspection, emotional depth, and an exaltation of the natural world. This epoch not only revolutionized literary style but also redefined the thematic contours of literature—turning inward to plumb the depths of the human psyche and outward to reclaim the allure of the natural and the supernatural.

During this epoch, the world bore witness to the seismic shifts wrought by the French and American revolutions, cataclysmic events that not only altered the geopolitical landscape but also left an indelible imprint on the collective European consciousness. Romantic writers, though often peripheral to these convulsions, were profoundly influenced by the revolutionary fervor, endeavoring to rupture the shackles of convention and extol the virtues of individualism. The Romantic movement transcended mere stylistic or technical uniformity; it embodied an ethos, a worldview, a paradigm shift in perception. It exalted spontaneity, imagination, and emotional fervor as essential components of an authentic human existence.

At the heart of Romanticism lay a profound faith in the inherent nobility of humankind, the sanctity of personal autonomy, and a quasi-spiritual reverence for the natural world. Poets such as William Wordsworth and Samuel Taylor Coleridge, towering figures in the nascent Romantic movement, viewed nature not merely as a backdrop to human activity but as an indispensable, transformative force that offered solace, inspiration, and moral enlightenment. Wordsworth’s seminal preface to the second edition of “Lyrical Ballads,” a collaborative effort with Coleridge, served as a veritable manifesto for Romantic literature. He championed poetry emanating from the “spontaneous overflow of powerful feelings,” diametrically opposing the neoclassical poetry of the preceding century, which adhered to more restrained and decorous conventions.

In Wordsworth’s rugged landscapes or Coleridge’s eerie seascapes in “The Rime of the Ancient Mariner,” one discerns an amalgam of awe at nature’s beauty and trepidation at its unfathomable grandeur and mystery. These works beckoned readers to embark on an inward journey, beseeching them to plumb the depths of their emotional landscapes. The solitary wanderer emerged as a recurrent motif—a symbol of existential quest, venturing into the wilderness to commune with nature and undergo spiritual metamorphosis.

The exploration of individualism also engendered the emergence of the “Romantic hero,” characterized by singular idiosyncrasy and often marked by psychological or social estrangement. Lord Byron’s protagonists, epitomized in “Childe Harold’s Pilgrimage” and “Manfred,” embodied this archetype—brooding, enigmatic figures tormented by latent guilt or melancholy, eschewing societal norms in pursuit of their moral code.

Moreover, the era witnessed an infatuation with the exotic, the antiquated, and the occult. The medieval and the mystical became wellsprings of inspiration, giving birth to the Gothic novel—a genre that plumbed the depths of horror, the grotesque, and the sublime. Mary Shelley’s “Frankenstein,” a synthesis of Gothic tropes and nascent science fiction, interrogated the ethical boundaries of scientific inquiry and the ramifications of transgressing the natural order. It constituted a profound meditation on the essence of humanity—a quintessentially Romantic inquiry.

The Romantic epoch not only reshaped poetic form and content but also revolutionized the novel. Writers such as Jane Austen, while often perceived as aligned with Enlightenment rationalism, imbued their novels with a profound emotional acuity and a critique of societal mores that circumscribed the desires and aspirations of their characters. Austen’s incisive social commentary and exploration of personal morality within stratified social hierarchies exemplified a uniquely Romantic sensitivity to individual agency within the fabric of society.

Furthermore, Romanticism was inextricably linked to political liberalism, with poets and novelists advocating for social equity, individual liberty, and democratic ideals. Percy Bysshe Shelley, in works like “Queen Mab” and “Prometheus Unbound,” espoused revolutionary ideals and depicted tyranny and social inequity as inherently unnatural, necessitating their overthrow for humanity to progress.

In hindsight, the Romantic era emerged as a dynamic and transformative epoch that broadened the horizons of English literature. It posed profound inquiries into personal identity, societal norms, the natural world, and the enigmatic realm beyond. It afforded a platform for individual expression and laid the groundwork for subsequent literary movements that continued to plumb the depths of human consciousness and grapple with the complexities of moral agency. The Romantics exhorted us to perceive the world through fresh eyes, to cherish the untamed wilderness both within and without, and to exalt imagination as a potent catalyst for metamorphosis and enlightenment in an often inscrutable universe.

The enduring legacy of Romantic literature persists as a testament to the enduring power of the written word to foment change, challenge orthodoxy, and exalt the indomitable human spirit. Whether through the haunting verses of Keats or the stirring narratives of Scott, the literature of the Romantic epoch remains a beacon for those who prize emotional profundity, natural splendor, and the unyielding pursuit of personal authenticity and liberty.

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Heilbrunn Timeline of Art History Essays

• Romanticism

Théodore Gericault

Evening: Landscape with an Aqueduct

Alfred Dedreux (1810–1860) as a Child

The Start of the Race of the Riderless Horses

Horace Vernet

Jean-Louis-André-Théodore Gericault (1791–1824)

Inundated Ruins of a Monastery

Karl Blechen

Salisbury Cathedral from the Bishop's Grounds

John Constable

Eugène Delacroix

Royal Tiger

Stormy Coast Scene after a Shipwreck

French Painter

Mother and Child by the Sea

Johan Christian Dahl

The Natchez

Wanderer in the Storm

Julius von Leypold

The Abduction of Rebecca

Jewish Woman of Algiers Seated on the Ground

Théodore Chassériau

The Virgin Adoring the Host

Jean Auguste Dominique Ingres

Ovid among the Scythians

Kathryn Calley Galitz Department of European Paintings, The Metropolitan Museum of Art

October 2004

Romanticism, first defined as an aesthetic in literary criticism around 1800, gained momentum as an artistic movement in France and Britain in the early decades of the nineteenth century and flourished until mid-century. With its emphasis on the imagination and emotion, Romanticism emerged as a response to the disillusionment with the Enlightenment values of reason and order in the aftermath of the French Revolution of 1789. Though often posited in opposition to Neoclassicism , early Romanticism was shaped largely by artists trained in Jacques Louis David’s studio, including Baron Antoine Jean Gros, Anne Louis Girodet-Trioson, and Jean Auguste Dominique Ingres. This blurring of stylistic boundaries is best expressed in Ingres’ Apotheosis of Homer and Eugène Delacroix’s Death of Sardanapalus (both Museé du Louvre, Paris), which polarized the public at the Salon of 1827 in Paris. While Ingres’ work seemingly embodied the ordered classicism of David in contrast to the disorder and tumult of Delacroix, in fact both works draw from the Davidian tradition but each ultimately subverts that model, asserting the originality of the artist—a central notion of Romanticism.

In Romantic art, nature—with its uncontrollable power, unpredictability, and potential for cataclysmic extremes—offered an alternative to the ordered world of Enlightenment thought. The violent and terrifying images of nature conjured by Romantic artists recall the eighteenth-century aesthetic of the Sublime. As articulated by the British statesman Edmund Burke in a 1757 treatise and echoed by the French philosopher Denis Diderot a decade later, “all that stuns the soul, all that imprints a feeling of terror, leads to the sublime.” In French and British painting of the late eighteenth and early nineteenth centuries, the recurrence of images of shipwrecks ( 2003.42.56 ) and other representations of man’s struggle against the awesome power of nature manifest this sensibility. Scenes of shipwrecks culminated in 1819 with Théodore Gericault’s strikingly original Raft of the Medusa (Louvre), based on a contemporary event. In its horrifying explicitness, emotional intensity, and conspicuous lack of a hero, The Raft of the Medusa became an icon of the emerging Romantic style. Similarly, J. M. W. Turner’s 1812 depiction of Hannibal and his army crossing the Alps (Tate, London), in which the general and his troops are dwarfed by the overwhelming scale of the landscape and engulfed in the swirling vortex of snow, embodies the Romantic sensibility in landscape painting. Gericault also explored the Romantic landscape in a series of views representing different times of day; in Evening: Landscape with an Aqueduct ( 1989.183 ), the dramatic sky, blasted tree, and classical ruins evoke a sense of melancholic reverie.

Another facet of the Romantic attitude toward nature emerges in the landscapes of John Constable , whose art expresses his response to his native English countryside. For his major paintings, Constable executed full-scale sketches, as in a view of Salisbury Cathedral ( 50.145.8 ); he wrote that a sketch represents “nothing but one state of mind—that which you were in at the time.” When his landscapes were exhibited in Paris at the Salon of 1824, critics and artists embraced his art as “nature itself.” Constable’s subjective, highly personal view of nature accords with the individuality that is a central tenet of Romanticism.

This interest in the individual and subjective—at odds with eighteenth-century rationalism—is mirrored in the Romantic approach to portraiture. Traditionally, records of individual likeness, portraits became vehicles for expressing a range of psychological and emotional states in the hands of Romantic painters. Gericault probed the extremes of mental illness in his portraits of psychiatric patients, as well as the darker side of childhood in his unconventional portrayals of children. In his portrait of Alfred Dedreux ( 41.17 ), a young boy of about five or six, the child appears intensely serious, more adult than childlike, while the dark clouds in the background convey an unsettling, ominous quality.

Such explorations of emotional states extended into the animal kingdom, marking the Romantic fascination with animals as both forces of nature and metaphors for human behavior. This curiosity is manifest in the sketches of wild animals done in the menageries of Paris and London in the 1820s by artists such as Delacroix, Antoine-Louis Barye, and Edwin Landseer. Gericault depicted horses of all breeds—from workhorses to racehorses—in his work. Lord Byron’s 1819 tale of Mazeppa tied to a wild horse captivated Romantic artists from Delacroix to Théodore Chassériau, who exploited the violence and passion inherent in the story. Similarly, Horace Vernet, who exhibited two scenes from Mazeppa in the Salon of 1827 (both Musée Calvet, Avignon), also painted the riderless horse race that marked the end of the Roman Carnival, which he witnessed during his 1820 visit to Rome. His oil sketch ( 87.15.47 ) captures the frenetic energy of the spectacle, just before the start of the race. Images of wild, unbridled animals evoked primal states that stirred the Romantic imagination.

Along with plumbing emotional and behavioral extremes, Romantic artists expanded the repertoire of subject matter, rejecting the didacticism of Neoclassical history painting in favor of imaginary and exotic subjects. Orientalism and the worlds of literature stimulated new dialogues with the past as well as the present. Ingres’ sinuous odalisques ( 38.65 ) reflect the contemporary fascination with the exoticism of the harem, albeit a purely imagined Orient, as he never traveled beyond Italy. In 1832, Delacroix journeyed to Morocco, and his trip to North Africa prompted other artists to follow. In 1846, Chassériau documented his visit to Algeria in notebooks filled with watercolors and drawings, which later served as models for paintings done in his Paris studio ( 64.188 ). Literature offered an alternative form of escapism. The novels of Sir Walter Scott, the poetry of Lord Byron, and the drama of Shakespeare transported art to other worlds and eras. Medieval England is the setting of Delacroix’s tumultuous Abduction of Rebecca ( 03.30 ), which illustrates an episode from Sir Walter Scott’s Ivanhoe .

In its stylistic diversity and range of subjects, Romanticism defies simple categorization. As the poet and critic Charles Baudelaire wrote in 1846, “Romanticism is precisely situated neither in choice of subject nor in exact truth, but in a way of feeling.”

Galitz, Kathryn Calley. “Romanticism.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/roma/hd_roma.htm (October 2004)

Further Reading

Brookner, Anita. Romanticism and Its Discontents . New York: Farrar, Straus & Giroux; : , 2000.

Honour, Hugh. Romanticism . New York: Harper & Row, 1979.

Additional Essays by Kathryn Calley Galitz

• Galitz, Kathryn Calley. “ The Legacy of Jacques Louis David (1748–1825) .” (October 2004)
• Galitz, Kathryn Calley. “ Gustave Courbet (1819–1877) .” (May 2009)
• Galitz, Kathryn Calley. “ The French Academy in Rome .” (October 2003)

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Studies in Romanticism

Adriana Craciun, Boston University

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Peer review and submission process.

Studies in Romanticism  publishes original essays on all aspects of literature and culture of the Romantic century (1750-1850). Upon submission, articles are screened by the editor and managing editor for appropriateness for the journal. Those submissions deemed appropriate then go through a double-blind peer review process. In preparing manuscripts, contributors should consult the  Chicago Manual of Style , and specifically the “Notes and Bibliography” section appropriate for scholars in the humanities. Essays should be no more than 9,000 words in length inclusive of notes and bibliography, double-spaced in 12-point type using Times New Roman font, and should not have right justified margins. Footnotes should be at the bottom of the page and kept to a minimum. The first footnote for any source should include a full citation. Subsequent references to primary sources may by cited parenthetically in the text; other references should be cited as abbreviated footnotes. A quick version of the guidelines, with examples, appears online at  chicagomanualofstyle.org/tools_citationguide . Contributions must be in English; text quoted in other languages should include an English translation. Please save your manuscript in MS Word (.doc preferred). An abstract of no more than 300 words, headed with the title of the essay and the author’s name, institutional affiliation, and contact information, should be sent as a separate attachment. The author’s name must not be identified anywhere in the essay–neither in the text itself, nor in the footnotes, nor in headers or footers. Any self-citations should be in the third person. Use images only if they are necessary for your argument, and keep the overall number to a maximum of three. The use of Chat GPT or similar AI language-generating tools in the production of submissions constitutes academic dishonesty.

The essay should be emailed as an attachment, along with the abstract, to Jennifer Reed, the managing editor, at  [email protected] .  SiR  will not consider essays already published or under consideration elsewhere.

The Hopkins Press Journals Ethics and Malpractice Statement can be found at the ethics-and-malpractice  page.

Peer Review

Studies in Romanticism  publishes original essays on all aspects of literature and culture of the Romantic century (1750–1850).  Studies in Romanticism  will not consider essays already published or under consideration elsewhere. This includes translations of articles that have previously been published in other languages. We publish book reviews but do not publish informal articles.

Essays are submitted to the managing editor and are evaluated by the editor to determine whether or not they will be sent out for review. Submissions deemed appropriate go through a double-blind peer review process. Readers provide one of the following recommendations: (1) Acceptance, (2) Conditional Acceptance, or (3) Revise and Resubmit, and (4) Rejection. If reader evaluations conflict, the editor makes a final decision, or in some cases sends the essay out to a third reader. In cases where an author has been asked to make minor revisions, the editor alone evaluates the revised essay. If revisions are more significant, the essay may be sent back to one of the initial referees for evaluation. Once the essay has been formally accepted, it enters the publication queue. In the case of Special Issues, we typically solicit one referee for the entire issue. We aim to publish articles within one year of their acceptance.

Studies in Romanticism Special Issues Guidelines

SiR  welcomes submissions of special issue topics. Successful topics would not be conference proceedings, but they may grow out of an event or collaborative project where authors worked toward a coherent and timely topic of inquiry together and then revised their essays to this end. The special issue editor/s should send a brief, abstract-length description of the topic and names of proposed contributors for initial consideration to the managing editor. If the initial fit seems good, they will be invited to submit a 6-8 page proposal similar to one for an essay collection, with project overview and argument, intended audience and significance, competing volumes/issues, abstracts of each essay, and brief details on contributors.

Special issues should consist of four to six essays of a maximum of 9000 words each including notes and bibliography. The editorial Introduction can be 5000 words maximum, and the total number of images should not exceed 15. Issue editors are responsible for submitting to the managing editor the complete manuscript conforming to the length limits, assuring the references are all according to house style, and including all images and copyright permissions per journal requirements. Special topic issues will be subject to peer review as with all manuscripts.

We also accept proposals for shorter symposia or forums focusing on the impact of a significant current scholarly work or issue within or outside literary studies, with an invited set of responses addressing this text or issue directly (similar to PMLA’s “Theories and Methodologies”). To propose a symposium or forum, follow the same procedures as for proposing a special issue (a brief initial inquiry followed by a more substantive proposal). The symposium format would consist of shorter, more polemical contributions. Interdisciplinary and/or methodologically innovative topics are particularly encouraged.

Adriana Craciun,  Boston University

Associate Editor

Ian Newman, University of Notre Dame

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Jennifer Reed,  Boston University

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Susan Valladares, Durham University

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Alan Bewell,  University of Toronto      David Bromwich,  Yale University      Luisa Calè,  Birkbeck, University of London      Julie Carlson,  University of California, Santa Barbara      Manu Samriti Chander,  Rutgers University-Newark      James Chandler,  University of Chicago      Linda Colley,  Princeton University      Jeffrey N. Cox,  University of Colorado, Boulder      James Davies,  University of California, Berkeley      Mary Favret,  Johns Hopkins University      Michael Gamer,  University of Pennsylvania      Kevin Gilmartin,  California Institute of Technology      Ian Haywood,  University of Roehampton, London      Noah Heringman,  University of Missouri      Theresa Kelley,  University of Wisconsin-Madison      Jon Klancher,  Carnegie Mellon University      Greg Kucich,  University of Notre Dame      Nigel Leask,  University of Glasgow      Michelle Levy,  Simon Fraser University      Peter J. Manning,  Stony Brook University      Patricia A. Matthew,  Montclair State University      Joseph Rezek,  Boston University     Charles J. Rzepka,  Boston University      Stacey Sloboda,  University of Massachusetts, Boston

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Kenneth R. Johnston,  Indiana University, Bloomington      Jerome J. McGann,  University of Virginia      Morton D. Paley,  University of California, Berkeley     Charles J. Rzepka, Boston University      David Wagenknecht,  Boston University

The  Book Reviews  section provides concise, substantive assessments (approx. 1200-1500 words) of recently published scholarly titles in the field. While attending to all major works of scholarship, including new scholarly editions and essay collections,  SiR  takes an especial interest in reviewing first monographs and work by younger scholars.

Send all book review correspondence to:   Susan Valladares, Durham University   [email protected]

Presses should send any review copies to:   Dr Susan Valladares Department of English Studies Durham University  Elvet Riverside  Durham  DH1 3JT UNITED KINGDOM  

Please send book review copies to the contact above. Review copies received by the Johns Hopkins University Press office will be discarded.

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• Biography Index: Past and Present (H.W. Wilson), vol.24, 1985-vol.48, no.2, 2009
• Book Review Digest Plus (H.W. Wilson), Dec.1983-
• Current Abstracts, 1/1/2000-
• Historical Abstracts (Online), 3/1/1962-
• Humanities & Social Sciences Index Retrospective: 1907-1984 (H.W. Wilson), 10/15/1964-7/15/1983
• Humanities Abstracts (H.W. Wilson), 9/1/1983-
• Humanities Index (Online), 1983/12-
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• Humanities International Complete, 1/1/1995-
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• International Bibliography of Theatre & Dance with Full Text, 6/1/1996-
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• OmniFile Full Text Mega (H.W. Wilson), 9/1/1983-
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• Russian Academy of Sciences Bibliographies
• Social Sciences Index Retrospective: 1907-1983 (H.W. Wilson), 1964/09-1973/12
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• ArticleFirst, vol.29, no.1, 1990-vol.49, no.4, 2010
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• Personal Alert (E-mail)
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• The Annual Bibliography of English Language and Literature (ABELL)

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Romantic Age in English Literature

The late 18th century through the middle of the 19th century, known as the Romantic Period in English literature, was a pivotal time marked by a significant shift in socioeconomic, philosophical, and artistic perspectives. The Enlightenment ideas and the rapid industrialization triggered an intense reaction that gave rise to this era.

The Romantics defended the superiority of passion, individuality, and imagination in opposition to the Enlightenment’s focus on reason, rationality, and empiricism. They looked for inspiration and insight by delving into the depths of human emotion, the mysteries of nature, and the capacity of the human imagination. This was a shift from the Enlightenment’s belief that reason and science were the main forces behind advancement in society.

Table of Contents

Historical and Cultural Background

The cultural and historical context of the Romantic Period in English literature was greatly affected by a number of important factors that helped to define this period.

The worldview of the Romantics was significantly influenced by the French Revolution and political instability. The turbulent events of the French Revolution in the late 18th century inspired political idealism, optimism, and revolt throughout Europe. The Romantics, which included writers like William Wordsworth and Lord Byron, were profoundly influenced by the revolutionary spirit and saw in it a chance for societal transformation and the emancipation of the individual from repressive structures. However, they also had to deal with the violence and despair that frequently followed revolutionary fervor, giving rise to complicated and even contradictory perspectives on political change.

Read More: Enlightenment in English Literature

Romanticism ‘s strong affinity for the sublime and the natural world developed in response to the era’s rapid industrialization and urbanization. The natural world was valued by the Romantics as a source of creativity, comfort, and spiritual regeneration. They saw the natural world as both a haven for the human spirit and a window towards the divine. The idea of the sublime, which included both the stupendous majesty of nature and the overwhelming strength of human emotions, also emerged as a major theme in Romantic literature. John Keats and Samuel Taylor Coleridge were two authors who explored the sublime in their writings, creating sensations of both transcendence and dread.

Read More: Romanticism in English Literature

The Romantic Period was greatly influenced by technological development and socioeconomic transformations, notably the rapid industrialization of society. Although these changes helped in economic development, they also brought about social inequality, labor exploitation, and environmental deterioration. The Romantics sharply criticized these unfavorable effects and frequently illustrated how industrialization caused alienation from and a loss of connection to nature. Their works represented a yearning for a life that was less complicated, more peaceful, and in harmony with the cycles of nature.

Literature of the Romantic Period

The literature of the Romantic Period was distinguished by a wide variety of subjects and genres, which captured the significant social and cultural transformations of the time.

Poetry of Nature and Emotion: The praise of the natural world and the exploration of profound human emotions were two of the most notable and enduring features of Romantic literature. William Wordsworth , Samuel Taylor Coleridge , and John Keats were among the poets of this time who focused on the splendor and grandeur of the natural world. They regarded nature as a way to connect with more profound emotional and spiritual truths as well as a source of aesthetic inspiration. Wordsworth’s “Lines Composed a Few Miles Above Tintern Abbey” perfectly encapsulates this romanticism that is rooted in nature, while Coleridge’s “Kubla Khan” explores the mystical and surreal facets of nature. In contrast, Keats wrote odes that praised love, beauty, and mortality, as shown in poems like “Ode to a Nightingale” and “Ode on a Grecian Urn.”

Read More: Coleridge’s concept of imagination and fancy

Gothic Literature

As a result of the Romantic Era’s interest in the enigmatic, supernatural, and darker facets of human nature, Gothic literature developed into a unique and distinctive literary style. With frequent blending of the real and the supernatural, gothic literature tried to explore the eerie, the macabre, and the weird.

The ideas and aesthetic of Gothic literature from the Romantic Era are best exemplified in two classic works. The revolutionary book “ Frankenstein” by Mary Shelley, which was first published in 1818, examines the effects of scientific experimentation as well as the urge to go beyond natural limitations. Bram Stoker’s “Dracula,” published in 1897, introduced readers to the iconic vampire Count Dracula and established many of the tropes associated with vampire lore. Immortality, sexuality, and the conflict between reason and the supernatural are some of the topics that are explored in the novel.

Prose and Essays

The prose and essays of the Romantic Era were distinguished by a rich tapestry of political and philosophical writings that captured the intellectual fervor of the time. The works of authors like Thomas De Quincey and William Hazlitt, who provided profound insights into the intellectual and political currents of their period, made a substantial contribution to this genre.

Read More: John Keats as a romantic poet

Thomas De Quincey is most known for his autobiographical work “Confessions of an English Opium-Eater,” in which he explored the nature of consciousness, dreams, and the human mind in addition to revealing his struggles with addiction. The essays of De Quincey were prime examples of Romanticism ‘s preoccupation with the inner workings of the human soul. The prolific essayist William Hazlitt, on the other hand, wrote essays like “Table-Talk” and “The Spirit of the Age,” which offered scathing comments on the literary figures and cultural trends of the day. Hazlitt became a recognized figure in both literary and political circles due to his essays which were distinguished by their eloquence and impassioned engagement with the events of the day.

Key Themes and Characteristics

The Romantic Period’s focus on individualism and the unrestrained power of the human imagination was one of its most important and enduring literary themes. Romantic authors fought for the idea that every person has a special inner world of emotions, creativity, and imagination that should be honored and expressed.

Romantic literature frequently explored the complexity of love, passion, sorrow, and wonder by delving into the depths of human emotions. John Keats’ poetry , for example, is a prime example of the Romantic movement’s preoccupation with the depth of human emotion. The Romantic confidence in the capacity of the individual imagination to handle life’s difficulties was typified by Keats’ discovery of the “negative capability,” the capacity to embrace doubt and uncertainty.

Read More: John Keats concept of negative capability

The Romantics also praised the power of unrestrained imagination and creativity as transformational forces that could shape the world and inspire social reform. For instance, William Blake’s poetry has a visionary aspect and envisioned a universe in which the human mind might go beyond the bounds of the real world.

Idealization of Nature

The Romantic Era was characterized by a deep and idealized relationship to nature, with poets and writers of the time praising nature as a source of creativity, consolation, and spiritual rejuvenation. This idealization of nature was a powerful response to the era’s rapid urbanization and industrialization.

Nature as a source of inspiration and solace: Romantic authors found in nature an endless fountain of inspiration for their imagination. They were inspired by the beauty, wonder, and amazement of the natural world. Poets like William Wordsworth saw nature as a living thing with profound significance rather than merely a picturesque backdrop. His well-known poem “Lines Composed a Few Miles Above Tintern Abbey” examines the healing potential of nature and how it might help people feel more connected to a higher, more transcendent reality. Similar to this, Samuel Taylor Coleridge’s “The Rime of the Ancient Mariner” investigates the spiritual aspects of nature by using the natural world as a setting for ethical and metaphysical exploration.

Rebellion Against Convention

The romantic era witnessed authors and artists resist against convention by criticizing society norms and institutions while promoting nonconformity and artistic independence.

Critique of societal norms and institutions: Romantics had an extremely critical view of the institutions and societal norms of their time. They questioned established religion’s restrictions, rigid social systems, and restrictions on personal freedom. For instance, Lord Byron’s poem “Childe Harold’s Pilgrimage” reflected a  mood of discontent with the existing quo by expressing a sense of disappointment with the social and political order. The Romantics frequently disagreed with the established systems of society and expressed their dissatisfaction at the limitations imposed on free speech and creativity.

Percy Bysshe Shelley’s writings exhibit this attitude of defiance against tradition, notably in his poem “Ode to the West Wind,” in which he yearns for the wind’s ability to “Make me thy Lyre, even as the forests are.” The Romantic ideal of a more emancipated and harmonious existence is reflected in Shelley’s demand for a peaceful coexistence with nature’s powers.

Notable Figures of the Romantic Period

William Wordsworth is often regarded as one of the foundational figures of the Romantic movement. His poems emphasized the importance of individual experience and emotions in artistic creation while praising the splendor and strength of nature. His work on the “Lyrical Ballads” with Samuel Taylor Coleridge is regarded as a turning point in Romantic literature, and his poem “I Wandered Lonely as a Cloud” continues to be one of the most celebrated examples of the Romantic idealization of nature.

Wordsworth’s close friend and fellow poet Samuel Taylor Coleridge is renowned for his inventive and lyrical poetry. A masterwork of Romantic literature, his poem “The Rime of the Ancient Mariner” explores themes of guilt, atonement, and the supernatural. Coleridge’s writings also explored the fields of philosophy and literary criticism, significantly enhancing the Romantic Era’s intellectual landscape.

Lord Byron was a well-known poet and leader of the Romantic movement. Byron, who was famous for his audacious and ferocious poems, frequently explored themes of love, revolt, and independence. Both his narrative poem “Childe Harold’s Pilgrimage” and his dramatic poem “Manfred” demonstrate his connection with Romantic ideals of individual independence and criticism of social norms.

John Keats had a profound impact on Romantic poetry despite having a brief life. His odes, such as “Ode to a Nightingale” and “Ode on a Grecian Urn,” are praised for their examination of beauty, death, and the sublime force of art.

Conclusion:

In conclusion, the Romantic Period in English literature is seen as a transformative and significant period that had a profound impact on both the literary world and the larger cultural consciousness. The writings of renowned figures like Wordsworth, Coleridge , Shelley, Byron, and Keats during this time were characterized by the flourishing of important topics like the celebration of individualism and imagination, the idealization of nature, revolt against convention, and the search for personal independence. The legacy of the Romantic Era stands as a tribute to the enduring human spirit, the limitless power of the imagination, and the ageless pursuit of freedom and self-expression. It is a significant and cherished chapter in the ever-evolving history of English literature and culture because its themes and values are still relevant in modern literature and art.

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