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The Romantic movement
The last quarter of the 18th century was a time of social and political turbulence, with revolutions in the United States, France, Ireland and elsewhere. In Great Britain, movement for social change and a more inclusive sharing of power was also growing. This was 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. The birth of English Romanticism is often dated to the publication in 1798 of Wordsworth and Coleridge's Lyrical Ballads. However, Blake had been publishing since the early 1780s. Much of the focus on Blake only came about during the last century when Northrop Frye discussed his work in his book Anatomy of Criticism. Shelley is most famous for such classic anthology verse works as Ozymandias, and long visionary poems which include Prometheus Unbound. Shelley's groundbreaking poem The Masque of Anarchy calls for nonviolence in protest and political action. It is perhaps the first modern statement of the principle of nonviolent protest. Mahatma Gandhi's passive resistance was influenced and inspired by Shelley's verse, and would often quote the poem to vast audiences.

In poetry, the Romantic movement emphasized the creative expression of the individual and the need to find and formulate new forms of expression. The Romantics, with the partial exception of Byron, rejected the poetic ideals of the 18th century, and each of them returned to Milton for inspiration, though each drew something different from Milton. They also put a good deal of stress on their own originality.

To the Romantics, the moment of creation was the most important in poetic expression and could not be repeated once it passed. Because of this new emphasis, poems that were not complete were nonetheless included in a poet's body of work (such as Coleridge's "Kubla Khan" and "Christabel"). This argument has, however, been challenged in Zachary Leader's study Revision and Romantic Authorship (1996).

A common theme amongst Romantic era poets was transcendentalism. Author’s of this time period attempted to bridge the major pillars of mankind including nature, God, man, and concepts of infinity versus finite. Poets like Wordsworth added much to this concept of transcendentalism as he tried to take the natural world and make it whimsical with fantastical elements.

Additionally, the Romantic movement marked a shift in the use of language. Attempting to express the "language of the common man", Wordsworth and his fellow Romantic poets focused on employing poetic language for a wider audience, countering the mimetic, tightly constrained Neo-Classic poems (although it's important to note that the poet wrote first and foremost for his/her own creative, expression). In Shelley's "Defense of Poetry", he contends that poets are the "creators of language" and that the poet's job is to refresh language for their society.

The Romantics were not the only poets of note at this time. In the work of John Clare the late Augustan voice is blended with a peasant's first-hand knowledge to produce arguably some of the finest nature poetry in the English language. Another contemporary poet who does not fit into the Romantic group was Walter Savage Landor. Landor was a classicist whose poetry forms a link between the Augustans and Robert Browning, who much admired it.