Discover the images, moods, and themes of William Wordsworth's poetry.
Posts in category "Vol. Theatre and Politics in Britain, Cambridge Studies in Romanticism, no. Cambridge University Press, Women in British Romantic Theatre: Drama, Performance, and Society, Edited by Catherine B.
Reviewed by Melynda Nuss The University of Texas at Austin The link between women and the Romantic drama has been unusually fertile in the past several years.
The two books under review here, then, represent something of a second generation of criticism on the role women played in the Romantic drama.
Together, these two books provide a broader and more nuanced view of the way that women participated in the drama as playwrights, critics and actresses, and the way that the drama enabled women to participate in public life. These roles, according to Bolton, were shaped by two notions of theater, which she calls the sentimental and the spectacular.
The sentimental theater tended to bring the nation together by cultivating sympathy; spectacular theater raised the spectacle of mob delusion and violence. While both types of theater envisioned a crucial role for female performers, the roles that women were assigned were limited and highly sexualized.
Cartoons and caricatures treated public women like the Duchess of Devonshire as actresses, and how popular sentiment associated both actresses and public women with demagogues.
|The Romantic period||Literary Criticism Literary criticism, the reasoned consideration of literary works and issues. It applies, as a term, to any argumentation about literature, whether or not specific works are analyzed.|
|British Literature Essay Example for Free||Bring fact-checked results to the top of your browser search. Percy Bysshe Shelley in particular was deeply interested in politics, coming early under the spell of the anarchist views of William Godwinwhose Enquiry Concerning Political Justice had appeared in|
|Percy Bysshe Shelley - Wikipedia||Basic characteristics[ edit ] The nature of Romanticism may be approached from the primary importance of the free expression of the feelings of the artist. The importance the Romantics placed on emotion is summed up in the remark of the German painter Caspar David Friedrich"the artist's feeling is his law".|
Both women of the theater and men of the people "sought to influence public opinion while remaining professionally dependent on public favor" 2and both, therefore, were dangerous to the nation.
Public Men and Public Women," concentrates on the sentimental theater. Hamilton, herself a noted actress in private theatricals, used her talent for protean movements and striking poses to stage her own rise from an unwed, abandoned mother to the role of Lady Hamilton, the British ambassadress to Naples and a confidante of the Queen.
The next chapter examines the way that Mary Robinson fell victim to the same variety of romance nationalism. Robinson, however, worked to reclaim her image by structuring herself as a romance hero--asserting her right to defend her reputation to the death, demonstrating female prowess in literature and history, and insisting on the justice of female dueling.
Given the problems of romance, it comes as no surprise that the plays by female dramatists that Bolton finds most liberating are plays that take up farce. Female dramatists used that "license" to question the assumptions behind sentimental visions of empire, nation and gender.
But the mixed drama did more than simply unsettle existing notions of imperial and gender relations.
The farce, however, is a mixed blessing for women: Women grasp power, but only within the liminal space of the theater and only according to its rules.
The volume is divided into five sections--"Historical Contexts: Revolution and Entrenchment," "Nations, Households, and Dramaturgy," "Performance and Closet Drama," "Criticism and Theory," and "Translation, Adaptation, Revision"--but each of these essays shares an overarching concern with the ways that women adapted to the gendered circumstances confronting them as playwrights, actresses, translators, critics, theorists and theater managers.
The resulting essays not only show the range of options available to women in the theater of the time but also illustrate the difficulty of making generalizations about the "role" that women played in that theater. Jeffrey Cox, for example, begins the collection with an essay arguing that our recovery of Romantic women in the theater has actually been hampered by a combination of two "dramatic ideologies": Such ideologies, Cox argues, not only prevent us from seeing that women truly did exercise significant aesthetic, cultural and institutional power in the theater of the Romantic period, but also from seeing that the power those women exercised was often conservative.
Cox does an excellent job of showing that three of the most powerful women of the day--Joanna Baillie, Sarah Siddons, and Anna Larpent--were actually more conservative than critics would like to believe. Although Cox notes that he could have assembled a more radical slate of dramatic writers--Mary Shelley, Elizabeth Inchbald, and Jane Scott are the three whom he mentions--the point remains that ideology should not blind us to the fact that women writers used their power in the service of a variety of political, cultural and social views, some of which we might find repugnant.
Katherine Newey, for example, argues that female dramatists like Hannah More, Ann Yearsley, Frances Burney, and Mary Russell Mitford use historical tragedy to trouble the boundary between fact and fiction that demarcates the "male" space of political activity from the "female" space of the novel.
Many male reviewers took it upon themselves to instruct these scribbling women in the proper forms of writing and to re-impose proper standards of gender norms and conduct onto the public stage. Carlson notes the way that Inchbald develops her critical authority is by carefully referencing Shakespeare and Dr.
The Romantic emphasis on individualism is reflected in much of the prose of the period, particularly in criticism and the familiar essay. Among the most vigorous writing is that of William Hazlitt, a forthright and subjective critic whose most characteristic work is seen in his collections of lectures On the English Poets () and On the English Comic Writers () and in The Spirit of the. To William Wordsworth, poetry should begin as "the spontaneous overflow of powerful feelings", which the poet then "recollect[s] in tranquility", evoking a new but corresponding emotion the poet . Literature and Language. STUDY. PLAY. William Wordsworth-First generation Romantic poet-Along w/ friend Samuel Taylor Coleridge, attributed w/ launching the romantic poetry movement w/ his first major work, Lyrical ballads. -First generation Romantic poet-Collaborated w/ Wordsworth on Lyrical Ballads-The Rime of the Ancient Mariner, a.
Johnson and drawing on her own experiences as an actress and playwright. She implicitly justifies her own position as a female dramatist by noting that women are often forced to assume "the masculine enterprise of an author" by necessity, not by choice. And she develops a critical voice that is both learned and self-deprecating in order to establish simultaneously authority and deflect criticism.
Thomas Crochunis takes up where Carlson leaves off by suggesting that both Inchbald and Baillie offer a complicated series of "authorial performances" in their plays and prefaces: But the essays here argue for a more creative tension between the private world of the closet and the public world of the stage.
Susan Bennett argues that instead of seeing an opposition between closet drama and stage drama, we ought to see the boundaries between stage and closet, and between public and private spaces, as contested and in flux.Nov 18, · Romanticism The start of the Romantic Age coincided with the start of the French Revolution in It ends in Just as the revolution was changing the social order, the romantic poets were taking literature in a whole new direction.
A Study on William Wordsworth: A Vanguard Poet of the Romantic Movement in British Literature PAGES 1.
WORDS View Full Essay. More essays like this: william wordsworth, romantic movement, vanguard poet, british letirature. Not sure what I'd do without @Kibin - Alfredo Alvarez, student @ . the backdrop against which the Romantic movement in English poetry emerged.
The main poets of this movement were William Blake, William Wordsworth, Samuel Taylor Coleridge, Percy Bysshe Shelley, Lord Byron, and John Keats.
To William Wordsworth, poetry should begin as "the spontaneous overflow of powerful feelings", which the poet then "recollect[s] in tranquility", evoking a new but corresponding emotion the poet . Literature and Language.
STUDY. PLAY. William Wordsworth-First generation Romantic poet-Along w/ friend Samuel Taylor Coleridge, attributed w/ launching the romantic poetry movement w/ his first major work, Lyrical ballads.
-First generation Romantic poet-Collaborated w/ Wordsworth on Lyrical Ballads-The Rime of the Ancient Mariner, a. English literature - The Romantic period: As a term to cover the most distinctive writers who flourished in the last years of the 18th century and the first decades of the 19th, “Romantic” is indispensable but also a little misleading: there was no self-styled “Romantic movement” at the time, and the great writers of the period did not call themselves Romantics.