Introduction to Romanticism Essay -- essays research papers

For many years, this period and these writers were known as the American Renaissance, a coin termed by F.O. Matthiessen in his book of that name in 1941. This book set the parameters of how to read and connect these writers until relatively recently, when its limitations, especially in terms of defining the "canon" of literary giants and what made them (all male) "giants" have been recognized and challenged. However, the term is still useful to some degree. It is a misnomer, if one thinks of the period as a time of rebirth of some earlier literary greatness, as the European Renaissance, because there was nothing to be "reborn." The great writers of this period, roughly 1840-1865 although more particularly 1850-1855, marked the first maturing of American letters. It was a Renaissance in the sense of a flowering, excitement over human possibilities, and a high regard for individual ego. It was definitely and even defiantly American, as these writers strugg led to understand what "American" could possibly mean, especially in terms of a literature which was distinctively American and not British. Their inability to resolve this struggle--and it was even more a personal one than a nationalistic one, for it questioned their identity and place in society--did much to fire them creatively. However, we will call this American romanticism, though it shares many characteristics with British romanticism. It flourished in the glow of Wordsworth's poetic encounter with nature and himself in The Prelude, Coleridge's literary theories about the reconciliation of opposites, the romantic posturings and irony of Byron, the lush imagery of Keats, and the transcendental lyricism of Shelley, even the Gothicism of Mary Shelley and the Bronte sisters. Growing from the rhetoric of salvation, guilt, and providential visions of Puritanism, the wilderness reaches of this continent, and the fiery rhetoric of freedom and equality, though, the American brand of romanticism developed its own character, especially as these writers tried self-consciously to be new and original. The glory years were 1850-1855. What was it in American culture and British influences that led to the incredible flowering of masterpieces in this era: Emerson's Representative Men, Hawthorne's The Scarlet Letter, The House of Seven Gables, Melville's Moby-Dick and Pierre,... ...arative contact, but they are useful and important ones. Perhaps we will risk some confusion here and certainly we will have to neglect some biographical context as we "mix and match" writers. But we will be able to focus on those ideas which united (and even divided) them that makes us able to call them all "romantics." After we have read a work, we will "revive" it in discussions of later topics, taking the different perspective, for there must a certain arbitrariness in "assigning" a work to only one theme. Great and complex works must not be limited like that! So rather than progressing through time and historical/biographical contexts, we will keep circling recursively (as Emerson says we must), seeing how the different works and writers explore the major aspects of romantic thought and art. Our base is necessarily Emerson, the literary giant of his time in America, for better or worse. Though his writing is often difficult to read, it was, in fact, the match that lit all of the creative fires of his time. He put his pen on all of the sensitive spots in the American creative psyche; Whitman was not the only one to "boil."