"The word 'Romantic' has come to mean so many things that by it-self, means nothing" It has ceased to perform the functions of a verbal

Transcription

1 "He who seeks to define entering a hazadars occupation whichhas claimed many victims" In 1931 Grierson wrote at 'Romantic' like 'Classical' was a term which makes 'no attempt to define which ever seems entireli convincing to one-self or to oers.longing in his essay 'On e Discrimination of s' (English romantic Poets P.6) wrote wi emphasis: "The word 'Romantic' has come to mean so many ings at by it-self, means noing" It has ceased to perform e functions of a verbal it sign" "Goee declared : " is a disease Classicism is heal" J. Barzeen in his book "Classic, Romantic and Modern" aimed at a new definition of. Hecites words which are used as synonyms here -"attractive", "unselfish", "exuberant", "ornamental", "unreal", "heroic", "notewory", "fanciful" or "stupid". The word 'Romantic' first found rapid currency in Europe about 1770 and It was used as a qualifying term for artistic styles and works as well as dress. Friedrich Schegel was first to introduce e word into e literary context Freidrich defined "Romantic" as:...which depicts emotional matter in an imaginative form." But a detailed inquiry into is subject was carried out by Logan whose essay Four Romantic Words was an illuminating Pearsall Smi, article.it was in England 1 / 5

2 at e terms first became familiar and widely diffused. At first it represented e Old Romances, tales of Chivalry, adventure and love, characterized by high flown sentiments, improbability and unreality. During e 17 century e word sank into increasing dispute for England was now ruled by order and absolute tru. It implied ridiculous, Childish and bombastic. By e start of e 18 century e word began to recover its lost status. Romantic denoted during is period "Captivating to e imagination and an appeal to e imagination. The word now emerged as e basic re orientation of human values at shaped e total view of man and nature. The Romantic Movement was a continuation of Pre.Pre Romantic is based, as an appellation to signal e genius of Rousseau, young, Macpherson, Bernandin, de Saint Pierre. Pre is inspired by a revolution for Neo-Classical dead rules, external adornments, formality, orderliness, embellishments as well courtly civilization. Just as Neo Classical is named as The Age of Reason likewise Pre- as e Age of Sensibility. Friedrich Schlegel is e first to have established e term romantisch in literary contexts. However, he was not very clear of what shades of meaning he attacked to e word. He said at e romantic depicts "emotional matter in an imaginative form" He also equated, "Romantic wi Christian. Madam de Stael is held to credit for popularizing e term romanique in literary contexts in France. Differentiating e literature between e nor and e sou literature, she declared at e norern was medieval, Christian and romantic where as e souern was classical and pagan. England was e first productive bed on which blossomed. This soon traveled to e continent Via Thomson s Seasons, Young s Night Thoughts, Blairs The Grave (1793), Hervey s Meditations Among e Tombs. Such writing foreshadowed a Pre-romantic Sensibility. The novel is particularly important in tracing e history of Especially, Richardson s Pamela (1740) Clarissa Harloawe and Sir charles s Grandisan (1754), Goldsmi s The 2 / 5

3 Vicar of e wake field (1766), Sterne s Sentimental Journey, Henry Mackenzie s The Man Feeling (1771). One should also add at e Goeic Novel and a considerable revival of Shakespeare s plays round about e middle of e 18 century also contributed to e movement, subsequently known as romantic. In England was noticeably informal and easy going, "a warm intuitive mudde" as H.N. Tairchild calls it Words wor s Preface to Lyrical Ballads, Coleridge s Biographia Literaria and Sheley s Defence of Poetry alone are evidence of e range and variety of English. Thus English embrace bo e realism of Wordswor s nature and e idealism of Shelley s visionary transcendentalism. adherence to The French Romantics were chronologically e last, chiefly because of e political strife in France. Besides e persistence of e Neo-classical movement did not make e region conductive e discussion of new ideas. The period between 1790 to 1820 was of virtual silence. Any way, e Frenceh Romantics emphasised e role of feeling, expressed as spontaneously and passionately as possible. Yet, ey were no innovators. Their gaze was largely orientated back words, to e kind of writing against which ey were reacting.this is perhaps what Baudelaire meant when he commented at e French Romantics had sought salvation in outer factors raer en in e inner world. Here e works of Lamartine, Victor Hugo and de Vigny were e main influence to start wi later come de Musset and Dumas Pere. Commonly is set against Classicism Grieson describes problematic relationship between e tow as "e systole e and diastole", of 3 / 5

4 e human heart in history to him " dreams," while Classicism "represents represents man s a synesis, a balance." The true spirit of ancient Classicism had been lost by e 17 century, where as shared a swing to its opposite pole of realism and e fusion of e realistic and romantic was apparent in Romantic poets Words wor as in e Realistic Flaubert. All ough e Romantic Movement had lost most of its impetus before e middle of e 19 century when it was superseded by Realism as e dominant mode, its style and ideas were by no means extinct e Realists and e Naturalists emphasize on e careful observation and faiful reproduction of reality was clearly enimical to e Romantic principle of transformation. The late 19 century us brought a recrudescence of. Hence e term "Neo-" is some times used particularly in German literature to refer to such poets as Hofmannsal, George and e Young Rilke. The heritage of is apparent in symbolism too 1. in e metaphysical conception of e universe existing in and rough e poet. 2. in e idealistic cult of beauty 3. in e mystical belief in a transcendental realm beyond appearances and in e attempts to convey e poet s perception in symbols. 4 / 5

5 In technique as well as in outlook symbolism is an exploration of and e same claim is being made by surrealism wi its exploration of e subconscious. Furer much of e writing of e 20 century is in e wake of its 1. Anarchic individualism 2. Ebullient imaginative 3. Emotional vehemence 4. The re-interpretation wi time and place are indeed its characteristic traits. This proves e relevance of and its relevance to e art of today eier as an evil or as a good force depends on e evolution of its after effects. 5 / 5