Thеmе: english romanticism and its development content introduction chapter I. Romanticsim in english literature

The theme of course work is “English Romanticism and its development”.
The practical value of this course work is that the practical results and conclusions can be used at the seminars on theoretical and practical lessons.
The present course work is devoted to analyze characteristic attitudes of the topic: a deepened appreciation of romanticism’s literature, 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, the hero, and the exceptional figure in general, and a focus on his passions and inner struggles.
The topicality of course work is learning necessary importance and development of Romanticism and its development.
The aim of course work is to give some main information about English Romanticism, its influence on history, a new view of the artists as a supremely individual creator, whose creative spirit is more important than strictness formal rules and traditional procedures.
The object of course is based on detailed emphasis upon imagination as a gateway to 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 in romanticism’s literature.
The subject of course work is clarifying that Romanticism’s literature and learning these contributions, writing styles as the best way of learning English Romanticism.
The structure of the course work consists of introduction, main part, conclusion and bibliography.

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CHAPTER I. ROMANTICSIM IN ENGLISH LITERATURE

1. 
   The importance of Romanticism in English literature
   

Romanticism was a creative and academic improvement that started in Europe towards the completion of the eighteenth 100 years. Between about 1800 and 1850, most of Europe saw its peak. Romanticism's emphasis on individualism and emotion, secret literature, and paganism were its hallmarks. Romanticism was in part a reaction to the Industrial Revolution and the dominant ideology of the Age of Enlightenment, especially the scientific rationalization of Nature. It was most espoused in literature, music, and the visual arts. Industrialization and rationalism were frequently viewed with suspicion by romantic thinkers. In addition, they frequently portrayed the Middle Ages—as well as other earlier periods—in moralistic, idealized forms, glorifying them. It likewise affected governmental issues, which included historiography, instruction, chess, the sociologies, and the innate sciences. Traditionalism, progressivism, radicalism, and patriotism were undeniably affected by heartfelt thought. “The development underscored extraordinary feeling as a genuine wellspring of stylish experience. Sensitive people focused on the respectability of society's workmanship and traditional social practices, but they also supported revolutionary governmental issues, unpredictable behavior, and valid immediacy”². It conceded another significance to encounters of compassion, stunningness, marvel, and fear, to a limited extent by naturalizing such feelings as reactions to the "wonderful" and the "sublime." Romanticism resuscitated medievalism and compared a peaceful origination of a more "genuine" European past with a profoundly basic perspective on late friendly changes, like urbanization, achieved by the Modern Unrest. This was in contrast to the Enlightenment's rationalism and classicism.
Heartfelt works were a response to the advancing Modern Age and the Period of Edification, when science and justification began to gain a stronger foothold in public consciousness. Romantic literature posed a challenge to this new wave of ideas by depicting stories rooted in emotion, nature, idealism, and the subjective experiences of common men and women.
It is essential to keep in mind that romanticism and romance novels are distinct literary subgenres. Romance books of today might have been impacted by Romanticism, however they ordinarily need a considerable lot of the fundamental qualities of Heartfelt writing. Additionally, the term "Romantic" encompasses more than just romantic love. The medieval French word "romaunt" means "epic, chivalrous quest told in verse."
The Origins of Romanticism Romantic literature was written during a complete paradigm shift in the world. The Hour of Illumination conveyed one more assortment of researchers and analysts who tried long-held contemplations in regards to individuals' point of view, lived, and became. Normally, the Edification came not long after the Modern Upheaval. In the latter, the developed concepts and theories were brought to life in exciting new inventions that altered people's work and living conditions.
There is always a certain amount of nostalgia for "the old days" when new ways of living become popular, and this is what started romanticism. The development harked back to simpler times when things were clearer. Science, hypothesis, and open legalism were not a viable replacement for the heart and one's most essential feelings in writing.
The romantic movement began in Germany. Johann Wolfgang von Goethe's The Sorrows of Young Werther was a pivotal early romantic work that was infused with a sense of nationalism that later became a hallmark of German romanticism. It was a pivotal early romantic work. Be that as it may, Romanticism didn't unequivocally zero in on patriot propensities as it spread all through Europe and then some.
English romanticism in Great Britain began with the rise of English poets like Wordsworth, Samuel Taylor Coleridge, Lord Byron, and Percy Bysshe Shelley. The English development was sent off with the distribution of Expressive Numbers in 1798, which included works by Wordsworth and Coleridge. During the height of the English romantic era in the 1810s, Jane Austen's works dominated the literary landscape.
Dark romanticism is a subgenre of romantic literature that originated in Germany as well. These works contain elements of the abominable, bizarre, or satanic. Dark romanticism's scarier aspects do not overshadow romantic traits, in contrast to gothic works, which tend to concentrate more on horror. Dark romantic authors include E.T.A. Hoffmann, Edgar Allan Poe, and Nathaniel Hawthorne.
In general, American and English romanticism shared the same ideals: individualism, a daily existence that is loaded with feeling and alone, the normal quality, and decent behavior. The poem "To a Waterfowl," written by William Cullen Bryant in 1818, became one of the first well-known romantic works in America. Emily Dickinson, James Fenimore Cooper, and Washington Irving were among the resulting heartfelt American creators.
Romanticism's Six Elements The majority of romantic works share six elements: the common person, female admiration, distinction, disengagement, nature, and deplorable false notion.
The Common Man/Woman Romantic writers believed that the average reader should be able to understand and enjoy their works. This feeling often stretched out to their characters' appeal. Heathcliff Linton from Emily Brontë's Wuthering Levels, for example, is a laborer, Jane Eyre's nominal hero is a tutor, as per Charlotte Bront. The majority of the heroines in Jane Austen's works were typical young women looking for love. Even though romantic characters may have one-of-a-kind adventures or experiences, they are not imposing personalities with towering intellects or might.
The Glorification of Women
The exceptional case for the ordinary individual in ardent composing was the romanticized woman. Romantic authors would often depict certain female characters as perfect, naive, and innocent bundles that needed to be protected and, in some cases, worshiped. They were so possessed by their admirers that they haunted them. Take the Edgar Allan Poe poem "Annabel Lee" as an example:
because the moon never fails to enchant me with its beauty whenever it shines,
Despite the fact that the stars never rise, I can in any case see the delightful Annabel Lee's shining eyes,
Because he is enamored by her beauty and because he was obsessed in many ways with their "love that was more than love," the narrator of Poe's story places his lover on a pedestal. Poe's storyteller could not stop praising and adoring Annabel, even after his death, He even suggests that holy messengers killed Annabel on the grounds that they were so infatuated with him.
Heartfelt journalists valued characters and their inner lives. They gave perusers permission to the characters' most profound examinations and needs, highlighting the specifics that made them tick. An expanded perception of the otherworldly and occasionally the heavenly was made possible by this heightened focus on emotional issues and interactions.
In Wuthering Heights, Heathcliff is a classic representation of romantic individualism. He is an example of a Byronic legend, a character from heartfelt literature who is hopeless but friendly, rude but happy and rebellious, and so on. Even after Cathy's death, Heathcliff can still imagine being with her because he is so passionately in love with her:
You are aware that after she died, I was irrational, furthermore, perpetually, from one sunrise to another, begging her to return her soul to me! I excel in phantoms in the following areas: I am certain that they would be able to exist among us, and they do! On the day she was buried, a storm of snow arrived. At night, I went to the churchyard. It blew troubling as winter — all round was particular. Her fool of a husband sneaking up the glen at such a late hour did not concern me, Additionally, no one else had a reason to bring them there. I told myself, "I'll have her in my arms once more!" as I was isolated from the rest of the group and aware that the only thing standing in our way was a distance of two yards of free earth.
Heathcliff's transformation from a solitary youth to a besotted young man to a bitter, heartbroken individual as a result of his loss occupies a significant portion of Wuthering Heights.
Isolation Isolation and the sadness that comes with it were significant aspects of the lives of romantic characters and, frequently, their authors. This disheartening and distance from the rest of humanity gives the individual a strategy for imparting the uniqueness of their experiences and thoughts.
John Clare, every now and again called the quintessential genuine author, explained the brilliance of isolation and nature on the farm where he consumed his lifespan in the poem "I'm!":
I am, but no one knows who I am or cares,
Like a forgotten memory, my friends have abandoned me:
Clare depicts himself as a long-failed to remember element that just gets regard from himself — I'm the self-shopper of my burdens — they rise and vanish in unmindful host, similar to shadows in affection's excited smothered pains thus, it nearly appears like he doesn't actually exist — his sentiments disappear to nothing in light of the fact that nobody is around to feel them.
The events and ideologies of the French Revolution also had a direct impact on the Sturm und Drang movement, which prioritized intuition and emotion over Enlightenment rationalism. Numerous Heartfelt standards were first expressed by German scholars in this development. various early Wistful individuals generally through Europe related to the objectives and achievements of French revolutionaries. Romanticism lionized the achievements of "valiant" individuals - especially subject matter experts, who began to be tended to as friendly trailblazers (one Genuine illuminator, Percy Bysshe Shelley, depicted journalists as the "unacknowledged overseers of the world" "With all due regard of Refrain"). Romanticism also prioritized the individual, unique imagination of the artist over classical form. Authenticity emerged as a response to Romanticism in the latter part of the nineteenth century and was occasionally a response to Romanticism. This time saw a general decline in Romanticism because it was overshadowed by new cultural, social, and political movements, many of which were hostile to the Romantics' perceived illusions and preoccupations. However, it has had a lasting impact on Western civilization, and many artists and thinkers from the "Romantic," "neo-Romantic," and "post-Romantic" periods produced their most significant works after the Romantic Era ended.
The following are Romanticism's fundamental characteristics: The right of the artist to freely express their thoughts and feelings was emphasized in romanticism. Romantics, like the German artist Caspar David Friedrich, held the belief that an artist's feelings should dictate their formal approach, Romantic poet William Wordsworth said that poetry should start with "the spontaneous overflow of powerful feelings," which the poet then "recollect[s] in tranquility," allowing the poet to find a form that is appropriate for expressing these feelings. If the artist avoided stale conventions and distracting precedents, the romantics had no doubt that emotionally motivated art would find suitable, harmonious modes for expressing its essential content. Friedrich went so far as to say, "These "natural laws" could support a wide variety of different formal approaches. Samuel Taylor Coleridge and others believed that the imaginations of born artists naturally followed when they were, so to speak, "left alone" during the creative process." as some, perhaps, as there were individuals producing truly significant showstopper. "A new and restless spirit, seeking violently to burst through old and cramping forms," according to Isaiah Berlin, Romanticism embodied "a nervous preoccupation with perpetually changing inner states of consciousness, a longing for the unbounded and the indefinable, for perpetual movement and change, an effort to return to the forgotten sources of life, a passionate effort at self-assertion both individual." ³ Heartfelt specialists likewise shared areas of strength for an in the Romantics were suspicious of cities and social conventions. They slammed Rebuilding and Illumination Time artisans for ignoring the connection between people and Nature and being overly concerned with depicting and analyzing social relationships. Sentimental people were of the assessment that having a cozy relationship with nature was great for individuals, particularly for the people who passed on society to investigate the regular world all alone.
Genuine composing was in many cases written in a specific, person "voice". As intellectual M. H. Abrams has taken note, "a ton of sincere refrain invited the peruser to recognize the legends with the genuine scholars. "[ 3,73] Because of this quality, heartfelt writing affected the method and collection of works across media, It has permeated everything from critical evaluations of individual style in music, fashion, and painting to the auteur movement in contemporary filmmaking.
Etymology Words like "romance" and "Romanesque," which all share the root "Roman," have a long and complicated history in various European languages. In the 1790s, the critics August Wilhelm Schlegel and Friedrich Schlegel introduced the term "romantische Poesie," which stands for "romantic poetry." They compared it to "classic" poetry, but they did so in terms of spirit rather than just dating. The term "Romance languages" refers to vernacular (or popular) language rather than formal Latin[3,74]. The majority of these novels were "chivalric romance" tales of adventure. Friedrich Schlegel wrote the following in his 1800 essay "Dialogue on Poetry": I look for the romantic in older, modern writers like Shakespeare and Cervantes, as well as in Italian poetry from the time of chivalry, love, and fable, which is where the phenomenon and the word originate. 3,75] Germaine de Stal's recurrent use of the term in her novel De l'Allemagne (1813), in which she describes her travels in Germany, helped spread the modern meaning of the term more widely in France. In a preface to his poems from 1815, Wordsworth described the "romantic harp" and "classic lyre" in England. However, Byron was still able to write in 1820, Literature suggests that it took place "roughly between 1770 and 1848"[3,81], but there are few dates much earlier than 1770. M. H. Abrams put it in English writing between 1789 or 1798, the last option being the most widely recognized view, and around 1830, perhaps somewhat later than some other critics[3,82]. 1780–1830 has been proposed by other authors. The Romantic era could have been very different in different fields and countries, For instance, it is generally believed that musical Romanticism came to an end as a significant artistic movement as late as 1910. The Four Last Songs of Richard Strauss, on the other hand, are referred to stylistically as "Late Romantic" because they were written between 1946 and 1948[3,84]. On the other hand, the majority of academic disciplines hold the belief that the Romantic era came to an end around 1850 or earlier.
The early season of the Sincere time frame was a time of fight, with the French Change followed by the Napoleonic Contentions until 1815. The foundation of Romanticism was laid by these conflicts as well as the political and social strife that came with them. Alfred de Vigny, one of the first of the Sentimental French people, said that they were "considered between fights, went to class to the moving of drums." ⁴According to Jacques Barzun, there were three ages of Heartfelt specialists. The first one came out in the 1790s and 1800s, the second one came out in the 1820s, and the third one came out later in the century.
Pre-Romanticism refers to a number of related developments that took place between the middle of the 18th century and the present. Among such patterns was another enthusiasm for the middle age sentiment, from which the heartfelt development infers its name. In stark contrast to the elegant formality and artificiality of the prevalent classical forms of literature, such as the French Neoclassical tragedy or the English heroic couplet in poetry, the romance was a tale or ballad of chivalric adventure with an emphasis on the exotic and mysterious. This new interest in moderately unsophisticated yet clearly close to home scholarly articulations of the past was to be a prevailing. In fact, romanticism originated in Germany and spread throughout Europe. Romanticism was primarily a response to the rigidity of classicism. It valued nature over the industrialized city, feeling over reason, and the person over foundations like the congregation and state. William Wordsworth, Samuel Taylor Coleridge, William Blake, and John Keats, among others, did not consider themselves to belong to a single school of poetry. Romanticism in America was the portrayal of what was covered in the human spirit since the Americans were experiencing the issue of bondage, private enterprise, industry emergency notwithstanding numerous different issues that make it difficult for them to live. It deciphered man's life in literature and other forms of art, it addressed nature as a wellspring of guidance, enjoyment, and sustenance for the spirit. Poetry, novels, and short stories all implicitly or explicitly conveyed individual suffering, wilderness, and brutality. The Heartfelt time in America endured from around 1830 to 1870, it was when America saw the modern transformation, a time of an extraordinary and gigantic turn of events and extension in all fields of life" ⁵.
The major themes and issues are outlined, and a thorough search for national artistic traditions is conducted.
“As opposed to avaricious bourgeois businessmen and money-grabbers, the images of strong, noble, and courageous people were of great positive significance. One of the defining characteristics of early English romanticism is the poetization of the man who lives in the embrace of the virgin and powerful nature of America and the poetization of his brave struggle with it. One of the main agents of Romanticism in American writing was Washington Irving (1783-1859). In his initial funny books and articles, Irving condemned common greed and the inconsistencies of average advancement ("Satan and Tom Walker", "treasure Trackers"), He voiced his opposition to the extinction of Indian tribes. In Irving's early works, such as "Rip van Winkle" and "the Legend of Sleepy Valley," juxtapositions of idealized antiquity and contemporary American life are very characteristic. We will likewise take a gander at certain parts of Romanticism that were extraordinarily figured out by the essayists in the US. There will be a short conversation of "splendid" and "dull" Heartfelt composition and it is there that we will take a gander at the lives, and one sonnet each. Therefore, the fundamental characteristics of Romanticism in American literature will be examined first. The main trademark that separates the American Romanticism from the English one is "creative mind". The industrial revolution was taking place in American society at the time, The world was moving quickly at the time. As they tried to imagine what would happen next, people began to move through major cities. Also, as the nation kept on creating urban areas began to be "dirtier" which drove individuals to get away from the terrible circumstance they were living in.
That is the reason, creators likewise were impacted by influences of transformation and it was clear in their work in which they could get away from their uninspiring reality into a superior world." ⁶
Characters in the Romanticism in English writing got away from the human progress and current life and went to nature searching for opportunity and virtue. " One of the best examples of imaginative use can be found in "Rip Van Winkle" by Washington Irving (1783–1859). In this short story, the main character escapes responsibility and civilization and goes to the woods, where he sleeps for a long time. He discovers his wife's death and the shift in society when he wakes up and returns to his previous life. Through this short story, Irving represents the American people's hopes that they will one day be able to change their lives. This connotative meaning is what gives "Rip Van Winkle" its power to capture our imaginations. in it are the ramifications. Everything considered or in prospect, Tear's free youth, delayed rest, whimsical dreams, and it are our own to frustrate return. The delicate piece merits study for its obligation to German writing, to American legend, to Thomas the Rhymer, to Walter Scott, and to Irving's own childhood, for its revolutionary use of a great stylist and its arresting adaptation in song, theater, Spanish, and Russian. However, its heart is in the symbolic distillation of a common mood.
“All of Irving's literary manipulation of his reading, his wandering life, and his sadness were concentrated in a passion that drove him to write the story in a single night, pouring into it everything he had ever felt about man's insatiable foe, "time." Stories told by Dutch friends, memories, familiarity, and parody make "Rip Van Winkle" a part of literature that will never be lost. Irving was accused of plagiarism even though he spoke through Diedrich Knickerbocker. The tale of Rip Van Winkle was one of blatant theft. The passages from Irving and the old German tale "Peter Klaus," taken one after the other, are so closely copied that the majority of Rip's unfortunate adventures appear to be almost literal translations. However, if we limit our study of Irving's books to this detective work, we run the risk of greatly misinterpreting the author's true intentions, as he once stated: I wish I could write in such a way that my work would be recommended for something other than just the story's interest, for something difficult, something that, if I may use that term, I would classify as a "classical value", that is to say, based on style, which gives the work a chance to last beyond the moment's fad or fashion.
However, it hasn't just been the fashion that has kept "Rip Van Winkle" alive in books, films, and in the minds and hearts of his fellow countrymen. Tear has turned into their "dream of memory". Hart Crane once said that Tear was his "divine messenger in an excursion into the past", nevertheless today he remains his soul, a still, small voice which, simultaneously denounces them and entertains them.
In the United States, romanticism was becoming more mature by the 1840s, and the initial nativist enthusiasm was giving way to other moods. However, nativism as a whole did not go away at all, and it continues to be one of the important literary traditions in the United States.
The subsequent stage is Adult English Romanticism (1840s-1850s). Edgar Allan Poe, Hawthorne, Melville, Longfellow, and Simms all wrote during this time. The mind boggling and problematic truth of America in these years caused recognizable contrasts in the mentality and position of the sentimental people of the 40s and 50s. The majority of writers of this era are deeply dissatisfied with the country's progress. In the US, bondage perseveres in the South, in the West, connected at the hip with the courage of the trailblazers is the boorish obliteration of the local populace of the landmass - the Indians and savage pillaging of regular assets. The chasm that exists between the romantic ideal and reality grows wider. It is no mishap that among the sentimental people of the Developed time frame there are such countless misconstrued and unnoticed craftsmen dismissed by common America: Melville, Henry David Thoreau, and the poet E. Dickinson, among others,
A typical definition of Romanticism as a literary revolution is: Romanticism is a literary and philosophical theory that places the individual at the center of all life and places the individual at the center of art. This makes literature valuable as an expression of unique feelings and attitudes and values literature's faithful portrayal of experiences. Although romanticism sometimes views nature as alien, it more often views nature as a revelation of truth... and a more suitable subject for art than those aspects of the world that are tainted by artifice. Romanticism looks to find, without a doubt the, the ideal, by rising above the real". ⁷
Late English romanticism from the 1960s is the third stage. The romanticism of the United States is experiencing a crisis at this time. The method of romanticism is becoming increasingly incapable of reflecting the new reality. The period of severe creative crisis begins for those previous stage writers who continue in literature. The fate of Melville, who voluntarily remained spiritually isolated for many years, is the most striking example. The North-South Civil War caused a significant division within romanticism during this time period. From one viewpoint, there is the writing of abolitionism, which, inside the structure of heartfelt feel, fights bondage from moral, General humanistic positions. On the other hand, the literature of the South defends the traditional way of life by romanticizing and equating "southern chivalry." A heartfelt Standpoint - currently past the ordered system of Romanticism - saturated crafted by Dickinson. The creative method of F. naturally incorporates romantic motives. Bret Garth, M. Twain, A. Bierce, D. London and different us authors of the late XIX - early XX 100 years.
“Developing an understanding of the nature and effects of the Romantic imagination that Babbitt identified is made possible by studying Twain. The romantic and Twain's critical portrayal of romanticism will be examined in this article. Twain offers significant knowledge into heartfelt effects on human way of behaving, it will be shown that he by the by neglects to have the sort of traditional or moral creative mind which describes the "soul of Burke" and that a careless perusing of Twain's writing can lead the peruser to a moral and philosophical impasse. The study of Twain is important not only because it sheds light on the influence romanticism can have on politics, but also because it raises the possibility that he influenced American politics and society in the same way that literature shapes the imagination. 5, 15].


1. 2. Characteristics of Romanticism in English Literature
A heartfelt work is portrayed by an extraordinary close to home environment of high sentiments and interests, genuineness and suddenness of feelings, and a free structure.
It is commonly held that humor is absent from romantic art. To be sure, the comic among sentimental people gives way to awful subjects. However, the essays of Charles Lamb and a number of Byron and Shelley poems contain humor. Heartfelt craftsmanship generally reflects current life, answers the issues of time. In English literature, the main characteristics of romanticism are as follows:
Carol Scheidenhelm, an English professor in Chicago, claims that romantic writers emphasized the imaginative and subjective aspects of human nature. Considerations, sentiments, conflicts under the surface, suppositions, dreams, interests and any desires for the characters rule. For instance, in William Wordsworth's sonnet "preface", the storyteller is disheartened by his experience of crossing the Alps and envisions impossible regular peculiarities on his way, like strong cascades. Romantic writers don't let facts or truths stop them from coming up with new ideas, especially about nature. The poem "Prelude" took several decades to create and perfect, and its narrative has a complex pattern in its fabric. It explains how England's mentality and spirit changed between the end of the XVIIIth century and the beginning of the XIXth. Against this foundation, the development of an individual of an imaginative mentality, who delicately sees every one of the occasions within recent memory. Wordsworth demonstrates which philosophical models predominated at various stages of its development. The poet uses associative philosophy models from the XVIIIth century (D. Hartley) to describe his childhood, his youth passes under the sign, and his creative development is directly linked to the creation of a romantic aesthetic of "imagination," which we will specifically discuss.
"Heartfelt writing investigates the extreme excellence of nature, and heartfelt scholars supply regular occasions and items with a heavenly presence, recommends Lilia Melani, a Teacher of English at Brooklyn School. In the poem "Song of Self" by Walt Whitman, for instance, the grass is referred to as a "handkerchief of the Lord" and a "hieroglyph." What exactly is the "self" that the speaker sings about in the poem "The Song of Self" by Walt Whitman? In the poem, Whitman describes the "I" as the part of us that is separate from society (or at least from its miseries and rules), but it is also connected to everything that is natural and rhythmic in nature, society, and its diversity. In essence, it establishes a path "how to find yourself" and describes the tranquility of comprehending these connections. The Song of Self had an unfathomable impact on American poetry. Because You are the owner of every atom that belongs to me. author) - many poets have found their own Word through these words. In point of fact, modern poets like S. K. Williams and Rogers, as well as William Carlos Williams discovering "the purest product of America," Theodore embarking on "the long journey beyond himself," and Alan Ginsberg writing "the Scream" would be impossible without Whitman. In point of fact, we all view life through the eyes of the pioneer, who commands in the song's final lines to search for it "under their shoes." Romantic writers valued natural beauty more than urbanization, commercialism, or materialism, even though they were aware of progress and the shifting trend toward industrialization
Romanticism emphasizes individualism rather than collectivism or generally accepted standards. For instance, the monster in Mary Shelley's Frankenstein is a romantic hero because it represents independence and nonconformity. When the hero reveals their ambivalence in a dramatic way, Shelley discusses the traditional romantic opposition of good and evil. She also discusses the situation of "God within man," or the absence of it, and the problem of the painful genius of a person who professes the idea of unlimited personal freedom, which, when it is completely and deliberately separated from society, either willingly or unwittingly generates evil. At the same time, the author challenges the boundless faith in the human mind by "believing" the human thinker for good and evil on the "touchstone of rationality." The image of a person who "hides the meaning of his being" (I. F. Volkov), which is very typical of romanticism (remember Byron's Manfred), receives from M. Shelley a tragic coloring almost like that of Shakespeare. This is because the tragedy of a hero who is acutely individually aware of the abyss into which he falls is so psychologically and morally deep. This lets you feel how the author views the hero, who broke the balance between personal freedom and the objective necessity of social existence, in a critical way. It is portrayed by Victor Frankenstein's family, who suffer the most from the evil that his genius brought to the world in order, as he believed, to glorify them. In this section, it is essential to keep in mind two literary influences: Ovid's "Metamorphoses," in which the figure of Prometheus is interpreted as the image of the Creator, and Milton's "Paradise Lost," in which the concept of a "fallen angel" is brilliantly portrayed. Shelley wanted readers to sympathize with the monster's situation and commend it for its originality, simplicity, and simplicity. Readers view Frankenstein as the true representation of humanity, even if he lives alone and is rejected. Heartfelt creators esteemed autonomous reasoning, inventiveness, and autonomy.
Legends of books and sonnets of the heartfelt period experience profound, close to home, enthusiastic love. They rarely get married out of convenience or stay in a relationship that doesn't move forward, and if they do, they are very unhappy. Love that is romantic is very thoughtful and funny. For instance, in the Emily Bronte film "Wuthering Heights," Heathcliff, the main character, tears open the body of his deceased lover to lie next to her. The film was shot very well, capturing the special atmosphere of Wuthering Heights and the surrounding natural beauty of wild rocks and Moors. I liked the cast a lot, and Heathcliff looks just like he should — a little wild, but still attractive, and not too crazy, which is nice. Charlotte Riley as Katie was sweet, beautiful, and real. Personally, I liked her a lot more than Juliette Binoche did in the 1992 movie. This is not simply a love story movie. Everything is entwined here — love, scorn, frantic energy, savagery… What struck me more than anything was the manner by which Heathcliff's feelings were conveyed, his craving for vengeance, which at this point brings no help, his enthusiasm, which brings just misery, his aggravation, which he can not do anything to smother, and love, with the exception of which nothing exists for him… A decent film about a genuine, practically crazy energy. This deplorable showcase of adoration and dedication, as indicated by Melanie, exhibits the unrestrained enthusiasm of heartfelt characters.