Pity tenderness nd benevolence
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1) Sentimentalism
The nature of Sentimentalism
v Sentimentalism is one of the important trends in English literature of the middle and later decades of the 18th century.
v Along with a new vision of love, sentimentalism presented a new view of human nature which prized feeling over thinking, passion over reason, and personal instincts of "pity, tenderness, and benevolence" over social duties.
v Literary work of the sentimentalism, marked by a sincere sympathy for the poverty-stricken, expropriated peasants, wrote the "simple annals of the poor”.
v Writers of sentimentalism justly criticized the cruelty of the capitalist relations and the gross social injustices brought about by the bourgeois revolutions.
v But they attacked the progressive aspect of this great social change in order to eliminate it and sighed for the return of the patriarchal times which they idealized.
v Sentimentalism embraces a pessimistic outlook and blames reason and the Industrial Revolution for the miseries and injustices in the aristocratic-bourgeois society and indulges in sentiment, hence the definite signs of decadence in the literary works of the sentimental tradition
In English poetry of the 18th century, sentimentalism first found its full expression in the forties and the fifties
2) L. Sterne’s innovations in “Sentimental Journey” and in “Life and Opinions of Tristram Shandy”
Laurence Sterne was the most prominent and the most typical of the sentimental tradition among all English novelists and among all English writers of the 18th century.
Yorik
Yorick's journey starts in Calais, where he meets a monk who begs for donations to his convent. Yorick initially refuses to give him anything, but later regrets his decision. He and the monk exchange their snuff-boxes. He buys a chaise to continue his journey. The next town he visits isMontreuil, where he hires a servant to accompany him on his journey, a young man named La Fleur.
During his stay in Paris, Yorick is informed that the police inquired for his passport at his hotel. Without a passport at a time when England is at war with France (Sterne traveled to Paris in January 1762, before the Seven Years' War ended[1]), he risks imprisonment in the Bastille. Yorick decides to travel to Versailles where he visits the Count de B**** to acquire a passport. When Yorick notices the count reads Hamlet, he points with his finger at Yorick's name, mentioning that he is Yorick. The count mistakes him for the king's jester and quickly procures him a passport. Yorick fails in his attempt to correct the count, and remains satisfied with receiving his passport so quickly.
Yorick returns to Paris, and continues his voyage to Italy after staying in Paris for a few more days. Along the way he decides to visit Maria – who was introduced in Sterne's previous novel, Tristram Shandy – in Moulins. Maria's mother tells Yorick that Maria has been struck with grief since her husband died. Yorick consoles Maria, and then leaves.
After having passed Lyon during his journey, Yorick spends the night in a roadside inn. Because there is only one bedroom, he is forced to share the room with a lady and her chamber-maid ("fille de chambre"). When Yorick can't sleep and accidentally breaks his promise to remain silent during the night, an altercation with the lady ensues. During the confusion, Yorick accidentally grabs hold of something belonging to the chamber-maid. The last line is: "when I stretch'd out my hand I caught hold of the fille de chambre's...End of vol II". The sentence is open to interpretation. You can say the last word is omitted, or that he stretched out his hand, and caught hers (this would be grammatically correct). Another interpretation is to incorporate 'End of Vol. II' into the sentence, so that he grabs the Fille de Chambre's 'End'.
Tristam
As its title suggests, the book is ostensibly Tristram's narration of his life story. But it is one of the central jokes of the novel that he cannot explain anything simply, that he must make explanatory diversions to add context and colour to his tale, to the extent that Tristram's own birth is not even reached until Volume III.
Consequently, apart from Tristram as narrator, the most familiar and important characters in the book are his father Walter, his mother, his Uncle Toby, Toby's servant Trim, and a supporting cast of popular minor characters, including the chambermaid, Susannah, Doctor Slop, and the parson, Yorick.
Innovations:
The most striking formal and technical characteristics of Tristram Shandy are its unconventional time scheme and its self-declared digressive-progressive style. Sterne, through his fictional author-character Tristram, defiantly refuses to present events in their proper chronological order. Again and again in the course of the novel Tristram defends his authorial right to move backward and forward in time as he chooses. He also relies so heavily on digressions that plot elements recede into the background; the novel is full of long essayistic passages remarking on what has transpired or, often, on something else altogether.
Tristram counts on his audience to indulge his idiosyncrasies and verify his opinions; Sterne asks the reader to approach the unfolding narrative with a more discriminating and critical judgment.
3) Robert Burns
was a Scottish poet and lyricist. He is widely regarded as the national poet of Scotland and is celebrated worldwide. He is the best known of the poets who have written in the Scots language, although much of his writing is also in English and a light Scots dialect, accessible to an audience beyond Scotland. He also wrote in standard English, and in these his political or civil commentary is often at its bluntest.
As well as making original compositions, Burns also collected folk songs from across Scotland, often revising or adaptingthem. His poem (and song) "Auld Lang Syne" is often sung at Hogmanay (the last day of the year), and "Scots Wha Hae" served for a long time as an unofficial national anthem of the country.
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Romanticism |
Burns, however, has been viewed alternately as the beginning of another literary tradition: he is often called a pre-Romantic poet for his sensitivity to nature, his high valuation of feeling and emotion, his spontaneity, his fierce stance for freedom and against authority, his individualism, and his antiquarian interest in old songs and legends. The many backward glances of Romantic poets to Burns, as well as their critical comments and pilgrimages to the locales of Burns's life and work, suggest the validity of connecting Burns with that pervasive European cultural movement of the late eighteenth and early nineteenth centuries which shared with him a concern for creating a better world and for cultural renovation.
This Cantata records a beggars' revel in a low dive at Mauchline, near where Burns lived. Quite a number of vagabonds were at that carousal and Burns gives songs to six of them. There was a Sodger and his drab, a Merry Andrew or fool, a pickpocket carlin, a little fiddler and the caird or tinker.
Others were mentioned but are given no song, the Merry Andrew's Grizzie and the fiddlers twa Deborahs. There also was the Poet or Bard who gives the recitivo between songs and who himself has two songs.
The Jolly Beggars or Love and Liberty is certainly one of the finest works that Robert Burns wrote
It has been proclaimed his masterpiece, as being unparalleled, as being majestic. But Robert Burns himself claimed to have forgotten its very existence, and it was not published during the poet's lifetime.
4) Restoration comedy refers to English comedies written and performed in the Restoration period from 1660 to 1710. Comedy of manners is used as a synonym of Restoration comedy.[1] After public stage performances had been banned for 18 years by thePuritan regime, the re-opening of the theatres in 1660 signalled a renaissance of English drama. Restoration comedy is notorious for its sexual explicitness, a quality encouraged by Charles II (1660–1685) personally and by the rakish aristocraticethos of his court.[citation needed] The socially diverse audiences included both aristocrats, their servants and hangers-on, and a substantial middle-class segment. These playgoers were attracted to the comedies by up-to-the-minute topical writing, by crowded and bustling plots, by the introduction of the first professional actresses, and by the rise of the first celebrity actors. This period saw the first professional woman playwright, Aphra Behn.
ichard Brinsley Butler Sheridan (30 October 1751 – 7 July 1816) was an Irish playwright and poet and long-term owner of the London Theatre Royal, Drury Lane. He is known for his plays such as The Rivals, The School for Scandal and A Trip to Scarborough.
«Школа злословия» представляет собой комедию нравов и является сатирой на английское аристократическоеобщество XVIII века. В центре повествования: взаимоотношения недавней провинциалки, а ныне леди Тизл (женысэра Питера Тизла) — с более опытными членами салона леди Снируэл («школы злословия»). Леди Тизл с удовольствием оказывается вовлечена в жизнь высшего света, но впоследствии обнаруживает, что сама оказывается жертвой интриг.
Ричард Шеридан отходит в этой пьесе от традиционного для XVIII века сентиментализма — в произведении есть уже многие черты реализма драматургии XIX века.[1]
5) Romanticism is an important literary movement which began in Western Europe during 17th century and went on till the second half of 18th century. Its characteristics which reflect in the artistic, literary and intellectual works of that period, continue to influence artists even in this century. Let's gather adequate knowledge on the characteristics of this movement.
Romanticism emerged as a reaction against 'The Age of Enlightenment', which emphasized on reason and logic. Pioneers of the Romantic period wanted to break away from the conventions of the Age of Enlightenment and make way for individuality and experimentation.
Love of Nature
The Romantics greatly emphasized the importance of nature and the primal feelings of awe, apprehension and horror felt by man on approaching the sublimeness of it. This was mainly because of the industrial revolution, which had shifted life from the peaceful, serene countryside towards the chaotic cities, transforming man's natural order. Nature was not only appreciated for its visual beauty, but also revered for its ability to help the urban man find his true identity.
Emotions Vs. Rationality
Unlike the age of Enlightenment, which focused on rationality and intellect, Romanticism placed human emotions, feelings, instinct and intuition above everything else. While the poets in the era of rationality adhered to the prevalent rules and regulations while selecting a subject and writing about it, the Romantic writers trusted their emotions and feelings to create poetry. This belief can be confirmed from the definition of poetry by William Wordsworth, where he says that poetry is the spontaneous overflow of powerful feelings. The emphasis on emotions also spread to the music created in that period, and can be observed in the compositions made by musicians like Weber, Beethoven, Schumann, etc. Beethoven played an important role in the transition of Western music from the classical to the Romantic age.
Read more at Buzzle: http://www.buzzle.com/articles/romanticism-characteristics-of-romanticism.html
6) Songs of Innocence and of Experience is an illustrated collection of poems by William Blake. It appeared in two phases. A few first copies were printed and illuminated by William Blake himself in 1789; five years later he bound these poems with a set of new poems in a volume titled Songs of Innocence and of Experience Showing the Two Contrary States of the Human Soul. "Innocence" and "Experience" are definitions of consciousness that rethink Milton's existential-mythic states of "Paradise" and the "Fall." Blake's categories are modes of perception that tend to coordinate with a chronology that would become standard in Romanticism: childhood is a time and a state of protected "innocence," but not immune to the fallen world and its institutions. This world sometimes impinges on childhood itself, and in any event becomes known through "experience," a state of being marked by the loss of childhood vitality, by fear and inhibition, by social and political corruption, and by the manifold oppression of Church, State, and the ruling classes.
Songs of Innocence was originally a complete work first printed in 1789. It is a conceptual collection of 19 poems, engraved with artwork.
7) At the end of the 18th Century, the Lake District became the focus of a group of young poets. One of these already had a considerable reputation as a poet; he was Samuel Taylor Coleridge who, by this time, had already produced such well-known works as “The Rime of the Ancient Mariner” and “Kubla Khan”. Coleridge’s greatest friend was instrumental in bringing him to this beautiful part of England. His friend was William Wordsworth, the Lake District’s best known son.
William Wordsworth (1770–1850), one of the first English Romantics, redefined poetry by replacing the mannered style of his predecessors with a more conversational style. Many of his greatest works, such as The Prelude, draw directly from his experiences in the Lake District, where he spent the first 20 and last 50 years of his life. Wordsworth and his work had an enormous effect on Coleridge, Keats, Shelley, Byron, and countless other writers. Explore his homes in Rydal and Grasmere, among other sites.
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