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November 2009

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John Keats

"To Autumn" is a poem by English Romantic poet John Keats (31

October 1795 – 23 February 1821).

"To Autumn" is the final work in a group of poems known as

Keats's "1819 odes".

"To Autumn" is a poem of three stanzas, each of eleven lines. Written

in 1819, the structure is that of an odal hymn, having three clearly

defined sections corresponding to the Classical divisions of strophe,

antistrophe, and epode

The imagery is richly achieved through the personification of

Autumn

Poem

Season of mists and mellow fruitfulness,

Close bosom-friend of the maturing sun;

Conspiring with him how to load and bless

With fruit the vines that round the thatch-eves run;

To bend with apples the moss'd cottage-trees,

And fill all fruit with ripeness to the core;

To swell the gourd, and plump the hazel shells

With a sweet kernel; to set budding more,

And still more, later flowers for the bees,

Until they think warm days will never cease,

For Summer has o'er-brimm'd their clammy cells.

Who hath not seen thee oft amid thy store?

Sometimes whoever seeks abroad may find

Thee sitting careless on a granary floor,

Thy hair soft-lifted by the winnowing wind

Or on a half-reap’d furrow sound asleep,

Drowsed with the fume of poppies, while thy hook

Spares the next swath and all its twinèd flowers:

And sometimes like a gleaner thou dost keep

Welcome Back

November 2009

Internet marketing, SEO, Social Networks and more…

Getting the best from the web

John Keats

"To Autumn" is a poem by English Romantic poet John Keats (31

October 1795 – 23 February 1821).

"To Autumn" is the final work in a group of poems known as

Keats's "1819 odes".

"To Autumn" is a poem of three stanzas, each of eleven lines. Written

in 1819, the structure is that of an odal hymn, having three clearly

defined sections corresponding to the Classical divisions of strophe,

antistrophe, and epode

The imagery is richly achieved through the personification of

Autumn

Poem

Season of mists and mellow fruitfulness,

Close bosom-friend of the maturing sun;

Conspiring with him how to load and bless

With fruit the vines that round the thatch-eves run;

To bend with apples the moss'd cottage-trees,

And fill all fruit with ripeness to the core;

To swell the gourd, and plump the hazel shells

With a sweet kernel; to set budding more,

And still more, later flowers for the bees,

Until they think warm days will never cease,

For Summer has o'er-brimm'd their clammy cells.

Who hath not seen thee oft amid thy store?

Sometimes whoever seeks abroad may find

Thee sitting careless on a granary floor,

Thy hair soft-lifted by the winnowing wind

Or on a half-reap’d furrow sound asleep,

Drowsed with the fume of poppies, while thy hook

Spares the next swath and all its twinèd flowers:

And sometimes like a gleaner thou dost keep

Steady thy laden head across a brook;

Or by a cyder-press, with patient look,

Thou watchest the last oozings, hours by hours.

Where are the songs of Spring? Ay, where are they?

Think not of them, thou hast thy music too,—

While barrèd clouds bloom the soft-dying day

And touch the stubble-plains with rosy hue;

John Keats

"To Autumn" is a poem by English Romantic poet John Keats (31

October 1795 – 23 February 1821).

"To Autumn" is the final work in a group of poems known as

Keats's "1819 odes".

"To Autumn" is a poem of three stanzas, each of eleven lines. Written

in 1819, the structure is that of an odal hymn, having three clearly

defined sections corresponding to the Classical divisions of strophe,

antistrophe, and epode

The imagery is richly achieved through the personification of

Autumn

Poem

Season of mists and mellow fruitfulness,

Close bosom-friend of the maturing sun;

Conspiring with him how to load and bless

With fruit the vines that round the thatch-eves run;

To bend with apples the moss'd cottage-trees,

And fill all fruit with ripeness to the core;

To swell the gourd, and plump the hazel shells

With a sweet kernel; to set budding more,

And still more, later flowers for the bees,

Until they think warm days will never cease,

For Summer has o'er-brimm'd their clammy cells.

Who hath not seen thee oft amid thy store?

Sometimes whoever seeks abroad may find

Thee sitting careless on a granary floor,

Thy hair soft-lifted by the winnowing wind

Or on a half-reap’d furrow sound asleep,

Drowsed with the fume of poppies, while thy hook

Spares the next swath and all its twinèd flowers:

And sometimes like a gleaner thou dost keep

Steady thy laden head across a brook;

Or by a cyder-press, with patient look,

Thou watchest the last oozings, hours by hours.

Where are the songs of Spring? Ay, where are they?

Think not of them, thou hast thy music too,—

While barrèd clouds bloom the soft-dying day

And touch the stubble-plains with rosy hue;

Then in a wailful choir the small gnats mourn

Among the river-sallows, borne aloft

Or sinking as the light wind lives or dies;sinking

And full-grown lambs loud bleat from hilly bourn;

Hedge-crickets sing; and now with treble soft

The redbreast whistles from a garden-croft;

And gathering swallows twitter in the skies.

Then in a wailful choir the small gnats mourn

Among the river-sallows, borne aloft

A Quick Tour

of Logos

The Logical Appeal

So what exactly is logic? Who cares?Informally, logic is about saying things that make sense. You can think of it in that way if you like.

“It's pretty sunny today, so you should wear sunscreen.”

Formally, logic is the art of arguing – not like a fight or debate, but by using the information we already know to draw new and useful conclusions.

“If it's sunny today, you should wear sunscreen.Indeed it is sunny today.

Therefore, you should wear sunscreen.”

“But wait. That just looked like the exact same thing you said before, you

hack.”Well, yes. But that's how an argument looks in standardform! You can break down any argument into this form;that makes it easier to think about.

If it's sunny today, you should wear sunscreen.

It is sunny today.___________________________________________

Therefore, you should wear sunscreen.

Premises/givens

Conclusion(Premises always come first, and the conclusion always comes last.)

How about a more complex argument?

1. This piece of fresh fruit is fuzzy.2. It also has seeds.

3. If a fruit is fuzzy, it's either a kiwi or a peach.4. Peaches have a pit; they don't have seeds.

5. So the fruit can't be a peach.6. So the fruit must be a kiwi.

Which of the above sentences is a conclusion?

How about a more complex argument?

1. This piece of fresh fruit is fuzzy.2. It also has seeds.

3. If a fruit is fuzzy, it's either a kiwi or a peach.4. Peaches have a pit; they don't have seeds.

5. So the fruit can't be a peach.6. So the fruit must be a kiwi.

Good logic lets us cobble together lots ofdifferent pieces of information, and tell from

them what's probably or definitely true.

But what counts as “good logic”?

That argument was good (made sense), because the conclusion followed from the premises. We'll see what this means in a moment.

Why don't we look at a bad argument?

But what counts as “good logic”?

Some people have fallen off cliffs and lived.

Therefore, if I jump off this cliff, I will definitely be fine.

“Come on.What couldpossibly gowrong?”

But what counts as “good logic”?

Some people have fallen off cliffs and lived.

Therefore, if I jump off this cliff, I will definitely be fine.

This argument is weak. Although the premise is true,it's easy to think of ways (very painful ways) that theconclusion could be false. The easiest way to spot badlogic is to do just that: try to think of another way out.

(Philosophers call these counterexamples).

But what counts as “good logic”?

Let's look at two kinds of arguments.1. Deductive reasoning: All interns can breathe fire. So

Philip can breathe fire.

Is there a piece of the puzzle missing?

But what counts as “good logic”?

Let's look at two kinds of arguments.1. Deductive reasoning: All interns can breathe fire. Philip is

an intern. So Philip can breathe fire.

Sometimes you may encounter “hidden” statementsand ideas, which the writer sneaks in but doesn'tsay outright.

But what counts as “good logic”?

Let's look at two kinds of arguments.1. Deductive reasoning:

All interns can breathe fire. Philip is an intern. So Philip can breathe fire.

Are the premises true?If so, then the conclusion's100% guaranteed true.No getting around it!

But what counts as “good logic”?

Let's look at two kinds of arguments.2. Inductive reasoning:

I touched a stove and it burned me. I did this fifty times, and the same thing happened. So

the next time I touch the stove, it will burn me.

Are the premises true?If so, then the conclusion'sprobably true. There mightstill be exceptions.

LIKE WHAT?

How is this useful to me?

Like Mr. Morgan said, the ability to make strong logical arguments will become more and more important later on in high school and college.

Pathos and ethos are still valuable! But your audience will be a lot better at questioning them. Logos is handy because, if you use it well, it can't really be disproved.

How is this useful to me?But even better is the superpower to spot weak logic.

Next time you watch TV or go online (with your parents' permission, of course), try to keep track of how many different arguments are being pitched to you by ads. How much info is given to you? How much is left out?

What time is it?Adven- wait, no. Activity time!

Pair off into groups of four. Each group will receive an exampleof a poor argument (these may be either inductive or deductive).

With your group, you will have 5 minutes to try to come up withone counterexample - one way in which the argumentcould be wrong, even if the premises are definitely true.Poke it full of holes!Also, choose a group representative to tell us your reasoning.

(It's OK to imagine unlikely or weird explanations;don't be afraid to think outside the box.Oddly enough, logic has very little to do with facts.)

Some examples:ARGUMENT: “I pulled an all-nighter studying for last week's bigtest, and I ended up with an A. Tiredness must make me smart!”

COUNTER: What if you got an A because you actually studied?Or maybe the test was going to be easy for you all along?

ARGUMENT: “If I play with Dad's power tools, he'll yell at me.But Dad is yelling at me for something. So I guess I must haveplayed with the power tools.”

COUNTER: What if he's yelling at you for a different reason:scratching the car, or hammer-throwing the cat onto the roof?

Or sinking as the light wind lives or dies;sinking

And full-grown lambs loud bleat from hilly bourn;

Hedge-crickets sing; and now with treble soft

The redbreast whistles from a garden-croft;

And gathering swallows twitter in the skies.

John Keats

"To Autumn" is a poem by English Romantic poet John Keats (31

October 1795 – 23 February 1821).

"To Autumn" is the final work in a group of poems known as

Keats's "1819 odes".

"To Autumn" is a poem of three stanzas, each of eleven lines. Written

in 1819, the structure is that of an odal hymn, having three clearly

defined sections corresponding to the Classical divisions of strophe,

antistrophe, and epode

The imagery is richly achieved through the personification of

Autumn

Poem

Season of mists and mellow fruitfulness,

Close bosom-friend of the maturing sun;

Conspiring with him how to load and bless

With fruit the vines that round the thatch-eves run;

To bend with apples the moss'd cottage-trees,

And fill all fruit with ripeness to the core;

To swell the gourd, and plump the hazel shells

With a sweet kernel; to set budding more,

And still more, later flowers for the bees,

Until they think warm days will never cease,

For Summer has o'er-brimm'd their clammy cells.

Who hath not seen thee oft amid thy store?

Sometimes whoever seeks abroad may find

Thee sitting careless on a granary floor,

Thy hair soft-lifted by the winnowing wind

Or on a half-reap’d furrow sound asleep,

Drowsed with the fume of poppies, while thy hook

Spares the next swath and all its twinèd flowers:

And sometimes like a gleaner thou dost keep

Steady thy laden head across a brook;

Or by a cyder-press, with patient look,

Thou watchest the last oozings, hours by hours.

Where are the songs of Spring? Ay, where are they?

Think not of them, thou hast thy music too,—

While barrèd clouds bloom the soft-dying day

And touch the stubble-plains with rosy hue;

Then in a wailful choir the small gnats mourn

Among the river-sallows, borne aloft

Or sinking as the light wind lives or dies;sinking

And full-grown lambs loud bleat from hilly bourn;

Hedge-crickets sing; and now with treble soft

The redbreast whistles from a garden-croft;

And gathering swallows twitter in the skies.

Romanticism

Historical and Social BackgroundThe industrial townThe industrial town

The industrialization changed radically the landscape of Great Britain. In the first half of the XIX century the Midlands had already gained the name of “nack country”. It was an area of gloomy buildings, small towns full of smoke, streets that created a sense of confusion and dismay and canals to which the railway was added.The Industrial Revolution caused an uncontrolled growth of the city. Small towns called “mushroom towns” were constructed for the workers. They were called in this way because they sprang up suddenly and multiplied rapidly around the factories.For workers, living in the city meant long working hours and appalling living conditions. Industrial cities lacked elementary public services (water supply, sanitation, street-cleaning, open spaces). The air and the water were polluted by smoke and filth. The houses, built in endless rows, were over crowded.

BRITISH SOCIETYPOLITICAL REFORMS

Prosperity and confidence in 1700’sAmerican and French revolutionsdisappointment in bitter and violent ends - NapoleonIndustrial Revolutiondirty, unorganized cities emergehuge class shift

British Society• The population was

divided into three social classes:THE LANDOWNERS AND ARISTOCRACY:

this class had ruled the country for centuries and held most of the wealt.THE BUSINESSMEN AND INDUSTRIALISTS:

thanks to their hard work the british economy was thriving.THE MASSES: they worked in the factories and were poor.

Historical and Social Background

Political Reforms

The Factory Act of 1833 limited working hours and children under nine could not work.

In 1825 Trade Unions were recognized.Factory owners formed their own associations

Businessmen and industrialists were given the vote in 1832. A police force was established in 1829. A local government was established in every town. A system of national primary education was set up in

1834. Historical and Social Background

The French Revolution• as the French Revolution started, the whole

idea of nationalism changed, and so did the romantic view; it consisted then in self-determination and a pride in the national origins and unity; they said that every human being should be pride of his origins and nation, but at the same time he should develop as an individual; they claimed that there should be a balance in the development of each person between the common interest of the nation and his own personal goals

• the accent was put on the national history and folklore, and furthermore, the values of tradition and customs were put at the center of the romantic movement

• inspired by this view upon the country, the peoples of Europe had the power to redraw the map of their continent and free themselves

English Romanticism can be understood as a return to Renaissance (to  the poetry of Spencer, Shakespeare and Milton). This return is anticipated by Cowper, Gray, Collins and Thomson.•CHARACTERISTICS:- Revival of instinctual life (reason was not so important).- The search of the love and the beauty.- Importance of Revolutions (American, French, the figure of Napoleon).- New role of imagination.- The realization of the sublime, the half way between real and supernatural world, time and space.- Nature as a source of inspiration.- Revaluation of myths.- Philosophers: J.J Rousseau is the first to use the word “romantique” in one of his works (“Reveries du promemuer solitaire”). Romance has french origins. Schlegel used the word “romantisch” speaking about creativity and sentimental themes, in a critic work “Sturm und Drang” (in English: “Storm and Stress”, in which  there is an exaltation of nature, uniqueness and freedom of the individual, ideal of genius).

Menu

Selected Works & Analysis of

• FIRST GENERATION

• SECOND GENERATION

Menu

• WILLIAM BLAKE •WILLIAM WORDSWORTH

•SAMUEL T. COLERIDGE

Romantic Poets

William BlakeBlake’s life was spent in rebellion and the

restrictive influences of institutions such as government and the church. Blake was

aware of the negative effects of the rapidly developing industrial

and commercial society.

“The Lamb” And

“The Tyger” Menu Poets

“To see a World in a Grain of Sand And a Heaven

in a Wild Flower, Hold Infinity in the palm of your hand

And Eternity in an hour.”

William Blake was born in London, where he spent most of his life. His father was a successful London hosier and attracted by the doctrines of Emmanuel Swedenborg. Blake was first educated at home, chiefly by his mother. His parents encouraged him to collect prints of the Italian masters, and in 1767 sent him to Henry Pars' drawing school. From his early years, he experienced visions of angels and ghostly monks, he saw and conversed with the angel Gabriel, the Virgin Mary, and various historical figures. Independent through his life, Blake left no debts at his death on August 12, 1827. He was buried in an unmarked grave at the public cemetery of Bunhill Fields.

- Auguries of InnocenceWilliam Blake

Back to Index Onward to ByronAnalysis of“Auguries of Innocence”

“Auguries of Innocence”Full Poem

The Lamb and The TygerBlake wrote two books: “ Songs of Innocence”and “Songs of Experience”.In “The Lamb” from the Songs of Innocence Blake presented with an image of a gentle, benevolent, loving God.In “The Tyger” from Songs of Experience, God is vindictive and terrifying.

I travelled among unknown men, In lands beyond the sea;

Nor England did I know till then,What love I bore to thee.

'Tis past, that melancholy dream!Nor will I quit thy shore

A second time, for still I seemTo love thee more and more.

Among thy mountains did I feelthe joy of my desire;

And she I cherished, turned the wheel,

Beside an English fire.Thy mornings showed, thy nights

concealedthe bowers where Lucy played;And thine is too the last green

fieldThat Lucy's eyes surveyed.

- I Travelled Among Unknown MenWilliam Wordsworth

William Wordsworth was born on April 7, 1770, at Cockermouth on the River Derwent, in the heart of the Lake District that would come to be immortalized in his poetry. The son of a lawyer named John Wordsworth, he was the second of five children. His father was the personal attorney of Sir James Lowther, Earl of Lonsdale, the most powerful (and perhaps the most hated) man in the area. His first formal education was at Anne Birkett's school at Penrith, where one of his classmates was his future wife Mary Hutchinson. Wordsworth died on April 13, 1850.

Analysis of “I Travelled Among Unknown Men”

Back to Index Go to Analysis Index

William WordsworthWilliam Wordsworth’s poetry emphasies the

value of childhood experience an the

celebration of nature. He glorifies the spirit

of man, living in armony with his

natural environment, far from the spiritually

bankrupt city. Him being pantheistic

identified the nature with god.

I Wandered Lonely As A Cloud Menu Poets

Romanticism in Literature (cont.)

• There is pleasure in beauty, Wordsworth writes. And in this sense, poetry should gratify the senses.

• In striving to capture the eternal beauty, the poet gives rise to romantic expression in all human beings.

• Wordsworth is best known as a nature poet who found beauty, comfort and moral strength in the natural world. If he were alive today he would probably be a member of an organisation that campaigns to protect the evironment. For him the World of nature is free from corruption and stress, and offers man a means of escape from industrialised society.

Samuel T. ColeridgeColeridge’s poetry often

deals with the mysterious, the

supernatural and the extraordinary. While

Wordsworth looked for the spiritual in everyday

subjects, Coleridge wanted to give the

supernatural a colouring of everyday reality.

The Rime of the Ancient Mariner Menu Poets

• Coleridge describes the natural and

supernatural events that occur during the adventurous

voyage.The events of the poem take place in an eerie,

ghostly atmosphere and the reader often feels he is

moving from a real to an unreal world

and back again.

• GEORGE BYRON

• PERCY BYSSHE SHELLEY

• JOHN KEATS

Romantic Poets

George ByronByron was the

prototype of the Romantic poet. He

was heavily involved with contemporary

social issues. He like the heroes of his long narrative poems, was

a melancholy and solitary figure whose actions often defiend social convections.

Don Juan Menu Poets

The Assyrian came down like the wolf on the fold,And his cohorts were gleaming in purple and gold;

And the sheen of their spears was like stars on the sea,When the blue wave rolls nightly on deep Galilee.

Like the leaves of the forest when Summer is green,That host with their banners at sunset were seen:

Like the leaves of the forest when Autumn hath blown,That host on the morrow lay withered and strown.

And there lay the rider distorted and pale,With the dew on his brow, and the rust on his mail:

And the tents were all silent, the banners alone,The lances unlifted, the trumpet unblown.

And the widows of Ashur are loud in their wail,And the idols are broke in the temple of Baal;

And the might of the Gentile, unsmote by the sword,Hath melted like snow in the glance of the Lord!

- The Destruction of SennacheribGeorge Gordon Byron

The most notorious Romantic poet and satirist. Byron was famous in his lifetime for his love affairs with women and Mediterranean boys. He created his own cult of personality, the concept of the 'Byronic hero' - a defiant, melancholy young man, brooding on some mysterious, unforgivable in his past. Byron's influence on European poetry, music, novel, opera, and painting has been immense, although the poet was widely condemned on moral grounds by his contemporaries.Back to Index Onward to Poe Analysis of

“The Destruction of Sennacherib”

Don Juan• Don Juan is seduced by

the beautiful and older Donna Julia. She is typical of Byron’s splendid female

portraits: sensual and apparently innocent;

always on the verge of tears or ready to faint

and yet strong and aggressive. Above all,

she is much more intelligent and cunning than the average man

(especially if he is a husband). No

character, not even Don Juan, is free of narrator’s irony.

I met a traveller from an antique landWho said: Two vast and trunkless legs of stoneStand in the desert. . . Near them, on the sand,Half sunk, a shattered visage lies, whose frown,And wrinkled lip, and sneer of cold command,Tell that its sculptor well those passions read

Which yet survive, stamped on these lifeless things,The hand that mocked them and the heart that fed.

And on the pedestal these words appear:"My name is Ozymandias, king of kings:

Look on my works, ye Mighty, and despair!"Nothing beside remains. Round the decay

Of that colossal wreck, boundless and bare.The lone and level sands far away.

- OzymandiasPercy Bysshe Shelley

Percy Bysshe Shelley was an English Romantic poet who rebelled against English politics and conservative values. Shelley was considered with his friend Lord Byron a pariah for his life style. He drew no essential distinction between poetry and politics, and his work reflected the radical ideas and revolutionary optimism of the era. Like many poets of his day, Shelley employed mythological themes and figures from Greek poetry that gave an exalted tone for his visions. Shelley died July 8, 1822.

Back to Index Onward toWordsworthAnalysis of “Ozymandias”

Percy Bysshe ShelleyShelley was the most

revoluctionary and non-conformist of the

Romantic poet. He was an individualist and idealist who rejected

the istitutions of, family,church, marriage and the Christian faith and rebelled against all

forms of tyranny.

Defence of Poetry Menu Poets

Defence of Poetry• Defence of poetry contains some

of the finest quotes about the anture of poetry and the role of the poet in the English language.

“A poet is the author to others of the highest wisdom, virtue, pleasure and glory”

John KeatsKeats’s life makes his literary achievements

even more astonishing. The main theme of his poetry is: the conflict

betwenn the real world of suffering, death and

decay and the ideal world of beauty,

immagination and eternal youth.

Ode on a Grecian Urn Menu Poets

Ode on a Grecian Urn• The Ode describes an ancient

greek urn decorated with classical motifs:A Dionysian festival with music and ecstatic dances, a piper under the trees in a pastoral setting, a young man in love pursuing a girl and almost reaching her, a procession of townspeople and priest leading a cow to the sacrifice.Keats is fascinated by the fact that art is able to present an ideal world because it can freeze actions and emotions: the lover depicted on the urn will never actually reach the girl he is following, the pipers will never end their song, the streets of the little town will always be desert and silent. The beauty of the girl, the ardent passion of her lover, the pleasure of the music and the boughs in bloom will never fade.

• Hugo was the one who wrote the literary manifesto of the romanticism in the preface to his tragedy called Cromwell

• he says that the new doctrine is the “liberalism in literature” and that “there are neither rules, nor models” for romantics

• as Hugo presents it, Romanticism evolves as an opposition to Classicism and Romantic Parnassianism, offering literature freedom of expression through the dismission of norms.

Hugo and the Romanticism

Classicism Romanticism

• presents an ideal, static, objective world

• has ideal categories and eternal types of characters

• has an abstract, equilibrated and dominated by morals character

• simply observes the nature • preaches rationality • the rule of the 3 entities: of

time, space and plot     

• presents a universe determined by the movements of history, which is fantastical, subjective

• the nature overwhelms the character

• has a dynamic, sentimental hero, who is in a constant search for the absolute

• artists reinterpret the nature through their own subjectivity

• emphasizes sentiments, passions

• abolishes the rule of the 3 entities

Romantic character

• is an exceptional character put in exceptional situations(hero, genius)

• is confused, unsatisfied • is continually fighting himself and his limits • can belong to any social class • has good and bad traits, like any human being • the artist is the supreme being, who doesn’t have to

comply to the rules

Characteristics

• promotes antithetical constructions, contrasts, extremes • distinguishes artistic values in the less esthetical parts of reality and

therefore anticipates the Symbolism which will found a true “esthetic of the ugly”

• symbols: the sky, the stars, the ocean, the sea, the lake, the spring, the woods

• rediscovers the folkloric creation, the history and the nature • has a predilection for the fantastic, tragic, grotesque, macabre,

mystery, occult, diseased and even satanic • places the individual at the centre of all things, of life and of all

experiences

Romanticism & painting

• Eugène Delacroix, Liberty Leading the People

Romanticism & sculpture

• François Rude, La Marseillaise

“Romantic”• From “Roman” – a poetic or prose heroic narrative, in late medieval literature• Term is revived to describe a “movement”or set of shared beliefs and themes…• …growing out of late 18th and early 19th C• …and present as a continuing influence or tendency

Four Principal Ideas• Nature• Equality/egalitarianism• Imagination • “Sensibility”

Nature• In Nature, Humanity is– Inspired– Informed– Redeemed– Transformed– Idealized

Equality• Egalitarian view of society• The “social union” among people• Nationalism (loyalty to “nation” v. “rulers”)• Revolution and reform• Humanity can be perfected

Sensibility”• Idealism• Intensity of emotions• Significance of actions• Worthiness of common person• Humanity’s best is glorified in the– Classical – Medieval

Imagination• Power of imagination to “transport”• Mind heals, condemns itself• Subjective nature of truth• Spontaneous response

Perhaps the most striking feature of the poets of the Romantic Movement is their attitude to nature. The solitude of real nature is alien, immeasurable, inhuman; the Romantic solitude is a vision of nature which reflects the solitude of the poet. The Romantic finds everywhere in nature his own image.-Stephen Spender

The [Romantic] poet. . .loves to escape from the heat and pressure of humanity, and so from himself as a social being, and to lose himself in the freedom of lonely places.- Joseph Warren Beach

What the Romantics beheld when they looked at life was a radical difference between the world of appearances and the world of reality. What seemed important in the world of appearances (the world as it looks to the ordinary man, the man of “common” sense) was revealed as unimportant or false when it was observed by the man of true imagination. ... Thus freed from unimaginative blindness, the Romantic saw Nature and Man in their true light, their essential character, and in their genuine worth. - Ernest Bernbaum

The most universal image [in Romantic poetry] is perhaps that of light, a fit symbol of spiritual illumination, of the transcendental vision, of the work of the imagination, of the ideal to which the poet aspires.- R.A. Foakes

Romanticism - Characteristics:•The predominance of imagination over reason and formal rules •Primitivism •Love of nature •An interest in the past •Mysticism•Interest in the Gothic

•Individualism•Human rights•Idealization of rural life •Enthusiasm for the wild, irregular, Gothic or grotesque in nature •Enthusiasm for the uncivilized or “natural”

Principles of Romanticism:

• Romanticism was a reaction against convention.• Romanticism asserted the power of the individual.• Romanticism reflected a deep appreciation of the

beauties of nature.• Romanticism emphasized the importance of the

subjective experience.• Romanticism was idealistic.

Romanticism was a reaction against convention:

• As a political movement, this reaction was reflected in the new democratic ideals that opposed monarchy and feudalism.

• In art, it meant a turn away from Neoclassicism and the ancient models of Greek perfection and Classical correctness.

• Philosophically, romanticism would contend with Rationalism—the belief that truth could be discerned by logic and reason.

Romanticism asserted the power of the individual:

• Romanticism marked an era characterized by an idealization of the individual.

• Politically, the movement influenced democratic ideals and the revolutionary principles of social equality.

• Philosophically, it meant that the idea of objective reality would give way to subjective experience; thus, all truth became a matter of human perception.

• In the art world, romanticism marked a fascination with the individual genius, and elevated the artist, philosopher, and poet above all others.

Romanticism reflected a deep appreciation of the beauties of

nature:• For the romantics, nature was how the spirit was

revealed to humankind.• The romantic philosophers believed in the metaphysical

or spiritual nature of reality.• They thought that a higher reality existed behind the

appearance of things in the physical world. • Nature appeared to people as a material reality;

however, because it evoked such strong feelings in humankind, it revealed itself as containing a higher, spiritual truth.

• Romantic artists tried to capture in their art the same feelings nature inspired in them.

Romanticism emphasized the importance of the subjective

experience:• The romantics believed that emotion and the senses

could lead to higher truths than either reason or the intellect could.

• Romantics supposed that feelings, such as awe, fear, delight, joy, and wonder, were keys that could unlock the mysteries of the world.

• The result was a literature that continually explored the inward experiences of the self.

• The imagination became one of the highest faculties of human perception, for it was through the imagination that individuals could experience transcendent or spiritual truths.

Romanticism was idealistic:• On one hand, romanticism was philosophically rooted in

idealism.• Reality existed primarily in the ideal world—that is, in

the mind—while the material world merely reflected that universe.

• In other words, the ideal world was “more real” than the real world.

• On the other hand, romanticism was literally idealistic; it tended to be optimistic in its outlook on life.

• Political and social romantics asserted that human beings could live according to higher principles, such as the beliefs in social equality, freedom, and human rights.

Philosophical Roots of Romanticism

• The French philosopher Jean Jacques Rousseau (1712 – 1778) argued that civilization was creating a race that was out of step with nature.

• Civilization stripped people of their natural instincts.

• “Everything is good when it leaves the creator,” he argued, “everything degenerates in the hands of men.”

• Rousseau believed human beings had innate intuitive powers; that is, they instinctively knew how to deal with the outside world.

• He felt that so-called “primitive” people, those who lived closer to and in harmony with nature, had a greater, more refined intuition than “civil” human beings.

• Rousseau believed that there were basic principles, such as liberty and equality, which were innate to human beings.

• Civilization and governments, however, had conditioned man to endure life without them.

• Rousseau’s ideas were influential to many, from the American and French revolutionaries to romantic writers.

• His ideas of nature and intuition were taken even further in the philosophy of Kant.

Philosophical Roots of Romanticism (cont.)

• Philosophy before Kant was largely based on rationalism and empiricism.

• Rationalism was the belief that knowledge of the world could be obtained only through reason.

• Reason could know reality independently from sense of experience; that is, logic, not emotion led to truth.

• Empiricism was the exact opposite. English philosophers, such as John Locke and David Hume, argued that sense was the only way of arriving at knowledge. To get at the truth, one had to go by experience—by scientifically weighing the evidence.

Romanticism in the Visual Arts

• In the visual arts, English artists such as J.M.W. Turner (1775-1851) and John Constable (1776-1837) established the visual romantic genre through their landscapes of sea and countryside.

• Using rich, almost impressionistic colors and tones, they painted with a deep appreciation of the beauties of nature.

• Both reflected the contemporary literary and romantic movements in Europe.

• Their art conveyed the romantic ideal; that is, they supported the romantic belief that reflections on the beauty of nature could initiate a heightened personal awareness of the senses, and thus approach the spirit of the divine.

Romanticism in Literature

• In literature, romanticism was dominated by the English poets William Wordsworth (1770-1850) and Samuel Taylor Coleridge (1772-1834).

• In 1798 Coleridge and Wordsworth published a joint volume of poetry called Lyrical Ballads and in doing so launched the English Romantic Movement.

Romanticism in Literature (cont.)

• In his Preface to the Lyrical Ballads Wordsworth professes all the basic principles of romanticism: he announces the break with tradition; he exults the power of the romantic poet to give voice to individual feeling; he speaks of the power of nature to show the way of the spirit; he praises the faculty of the imagination to give voice to the subjective experience; and he speaks of the ennobling effects poetry has on the moral condition of humankind.

Romanticism in Literature (cont.)• Wordsworth felt the imagination could take the experiences of everyday men

and women and turn them into art.• By thus highlighting the ordinary, Wordsworth points to the deeper spirit that

lives in all things; the problem, as he sees it, is that human habit has made these wonders too familiar.

• Unlike Coleridge, who saw the imagination as the “living power and prime agent of all human perception,” Wordsworth felt language and poetry were secondary to the actual experiences of human beings. In other words, it was the object of poetry to uncover these realities, not to pose as realities themselves.

• Wordsworth defends the romantic poet’s reliance on personal feelings and, like Rousseau, claims that human beings have become too distant from their nature.

• Civilization has stolen their insight into nature away. In other words, the over-stimulation of the senses (even in an age without video games) keeps men and women from appreciating the quiet beauty of nature, and with it the opportunity for meditative thought and introspection.

• “Voices and Visions”• “Literature and Anthology in the

English Language”

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Where are we?

Targetometer

Agenda• Part One

– Introduction and background– Search Engine Optimisation (on site)– Generating Traffic Online (but off site)

• Break

• Part Two– Social Networking (on and off site)– Proactive Traffic Generation (Offline)– Integrated Marketing Campaigns

• Question time

What is Web 2.0 & Social Media?

• Hype (or jargon)?• Technology?• Change in attitude of users or the attitude of Web

managers?• A web cop out or a way to give freedom to users?• A good thing or a bad thing?• Just another thing?• A fad?

Influential Opinions

Web 2.0 & Social Media & Social Networking

• Hard to define • Favourite “human interaction in a virtual world”• Technology / Attitude / Free

• Web 2.0 technology provides instant communication• This technology and new attitude allows user generated

content (UGC)• Social Media are the new online tools• Social Networking is what we do

Get on board now or be left behind

Get aboard or be left behind

Loads x Lots of people

We say…

• Don’t ignore it• Great opportunity• Don’t let it dazzle

• Keep a business focus and marketing perspective

• Remember the Golden Rules

Who’s using Social Networks? (Ofcom)

• 30% of British adults have a Social Networking profile (up from 21% in 2007)

• 50% of users have a Facebook account – 6 hours per month from 4 hours last year

• BUT…• 5% drop in 15 – 24 year olds using Social Network sites

• Usage is increasing and getting older

User types (Forrester – Sean Corcoran)

• Creators

• Collectors

• Critics

• Joiners

• Spectators

Strengths

• Personal

• Validated

• Credible

• Engaging

• Viral

Increasing importance in SEO of:

• External Linking

• Web Footprint / Presence

• Authority

• Theme and Relevance

• Social Networking sites are seen to rank highly

What do we use Social Networks for?

• Collaboration

• Recruitment

• Marketing and Focus groups

Marketing

• Traffic generation and search

• Marketing– Brand positioning– PR– Leads– Sales– Customer interaction– Retention and reinforcement– Feedback

Some (Social) Networks

• Blog (with links to your site)• Squidoo lens• MySpace• Facebook group• LinkedIn• Tagging (delicious, stumbleupon, Digg)• You Tube• Slideshare• Flickr• Twitter• Article Sites• PR Sites• Tradespace• Niche - Home Business Network / Mothers / etc..

StumbleUpon

digg

delicious

Blog and blogging

• Easy to build - Wordpress• On site or off site?• Blog Directories/ Other blogs/ Your own

site• Be interesting and not too salesy• Searchable Content• Couple of times a month

Facebook• Business to Consumer• Mass market• “Give me a poke” or “Throw me a

sheep”, “dude”• Fan Pages and Group Pages• Highly targeted advertising

• Be personal but reflect your brand• Be interactive and get visitors involved

Linked in

• Older, but less well known?• Professionals• Business to Business

• Company Profile Page• LinkedIn Answers

• Market Research• Sales

Twitter for business• Young(er), professional, new media savvy• Tweets: 140 characters, @username• Follow and Followers• Search and Retweet• Network!• Be first to know• Brand building, Support• Island bridge• Bio, reply to people, add links • Promote your feed

Tweetdeck

Innocent Facebook Search

Innocent facebook videos

Innocent on facebook

M&S Network Links

M&S Facebook

M&S facebook discussions

M&S facebook offers

M&S Twitter

Dell Community Pages

Dell Social Network Links

Dell Linkedin

Dell Twitter Groups

Dell Outlet Twitter

Dell Facebook

Dell facebook

Dell flickr

E&Y Careers facebook

GM Blog

Marmite Facebook

Marmite Facebook

Marmite facebook games

Marmite facebook promos

Marmite Website

Marmite on Youtube

Youtube

• All you need– Camera– Aston Martin– Pair of trainers

• http://www.youtube.com/watch?v=yURa9T0-Rjk&feature=player_embedded

• http://www.youtube.com/user/blendtec?blend=1&ob=4

What does this tell us?

• Problem driven

• Objectives

• Creative

• Relevance

• Resource

• It Works!!

Who

• Fans

• Interested customers

• Regular users

• Niche

• We turn them into advocates

A Small Holiday Company

• Website• Rich Content• Pages for long tail Search Terms• Blogs relating to this• Links from relevant blogs• Videos on YouTube• Adwords• Directories• Tags• Facebook• Articles sites• PR Sites

Tail wagging the dog?

• We’re not talking about a Website anymore we’re talking about a Web Presence

How to start

• Remember these are SOCIAL networks• Try before you buy!• You may be experimenting• You will need to be committed• You need objectives• You need relevance and places to link to• Team of enthusiasts• Measure

Groundswell – Forrester Research - POST

• Groundswell – Forrester Research - POST– People– Objectives– Strategy– Technology

• MBL Solutions – WEBSITE– Watch– Evaluate– Become an active believer– Strategy– Implementation– Technology– Evolve

Carly Herron

Web Promotion – Off Line

Now where are we?

Targetometer

Let’s go get ‘em…

Let’s just ring them?

A typical decision process

Awareness of the need

Awareness of suppliers

Build relationship with suppliers (brands)

SALE!

Aftersales and support

Detail information stage

Confirmation and reassurance

Advertising

Cold DM – traditional +

Email DM

• Responsive• Cost effective• Directs traffic

to your site• Builds

membership• Fantastic stats

Public Relations• Regular website review

columns

• News editorial– Exciting picture– Web traffic news– Changing trends– Feedback– New web service

Incentivise the visit• Information or

white papers• Join club• Offers and

discounts• Opinions and

blogs• Editorial and

comment

Marketing Rule Number 1

• Marketing now is very much about good data and building relationships

• Good data beats everything

• Best data is the data you collect (websites [and events] are great at this)

• Then you’re in control of communications and relationship building

Registration

Campaign elements• Initial Communications and traffic generation

– Online and offline– Keywords and Adwords

• Targeted landing page

• Data Capture– Registration page

• Action

• Follow up

• Measurement– Review

Sainsbury’s Business Direct

Sale!and ongoing

communications

Targeted Adwords & SEO & SM

Email shots

Summary of our journey

• Searching:– SEO– Adwords

• Passing By– Social Networks– Bookmarking– Blogs– Affiliate

• At Home– Email– Direct mail– Advertising– PR

Simple Summary

Relevance

Content

Interaction

Connections

Actions

• This takes time and focus• Make someone responsible• Make sure that there is a team involved• Have an agreed timescale to review and

change• Measure the results

Thank You

• Any questions?

The Golden Dozen1. Define your Site objectives2. Who, What, Where, Action3. Search Engine Optimisation = Visitor Optimisation4. Benchmark your best competitors5. SEO takes time – so get it right asap6. Remember that a website is dynamic – keep it changing7. Make sure your site caters for each stage of the decision process8. Don’t forget to be proactive in your website promotion9. Make your site integral to your campaigns – use offline methods as well

– online and offline are not exclusive10. Make sure your campaigns are circular – no dead-ends11. Capture prospect data, register visitors and use email (at least) to

continue the communications12. Plan your site management and measurement

A typical decision process

Awareness of the need

Awareness of suppliers

Build relationship with suppliers (brands)

SALE!

Aftersales and support

Detail information stage

Confirmation and reassurance

Campaign elements• Initial Communications and traffic generation

– Online and offline (press ads, mailshots, email shots, PR)– Social Networking– Keywords and Adwords

• Targeted landing page

• Data Capture– Registration page

• Action

• Follow up

• Measurement– Review

Sainsbury’s Business Direct

Sale!and ongoing

communications

Targeted Adwords , SEO, Social

Email shots

Simple Summary

Objectives

Relevance

Content

Interaction

Connections

Thank You

• Any questions?

John Keats

"To Autumn" is a poem by English Romantic poet John Keats (31

October 1795 – 23 February 1821).

"To Autumn" is the final work in a group of poems known as Keats's

"1819 odes".

"To Autumn" is a poem of three stanzas, each of eleven lines. Written

in 1819, the structure is that of an odal hymn, having three clearly

defined sections corresponding to the Classical divisions of strophe,

antistrophe, and epode

The imagery is richly achieved through the personification of

Autumn

Poem

Season of mists and mellow fruitfulness,

Close bosom-friend of the maturing sun;

Conspiring with him how to load and bless

With fruit the vines that round the thatch-eves run;

To bend with apples the moss'd cottage-trees,

And fill all fruit with ripeness to the core;

To swell the gourd, and plump the hazel shells

With a sweet kernel; to set budding more,

And still more, later flowers for the bees,

Until they think warm days will never cease,

For Summer has o'er-brimm'd their clammy cells.

Who hath not seen thee oft amid thy store?

Sometimes whoever seeks abroad may find

Thee sitting careless on a granary floor,

Thy hair soft-lifted by the winnowing wind

Or on a half-reap’d furrow sound asleep,

Drowsed with the fume of poppies, while thy hook

Spares the next swath and all its twinèd flowers:

And sometimes like a gleaner thou dost keep

Steady thy laden head across a brook;

Or by a cyder-press, with patient look,

Thou watchest the last oozings, hours by hours.

Where are the songs of Spring? Ay, where are they?

Think not of them, thou hast thy music too,—

While barrèd clouds bloom the soft-dying day

And touch the stubble-plains with rosy hue;

Then in a wailful choir the small gnats mourn

Among the river-sallows, borne aloft

Or sinking as the light wind lives or dies;sinking

And full-grown lambs loud bleat from hilly bourn;

Hedge-crickets sing; and now with treble soft

The redbreast whistles from a garden-croft;

And gathering swallows twitter in the skies.

Steady thy laden head across a brook;

Or by a cyder-press, with patient look,

Thou watchest the last oozings, hours by hours.

Where are the songs of Spring? Ay, where are they?

Think not of them, thou hast thy music too,—

While barrèd clouds bloom the soft-dying day

And touch the stubble-plains with rosy hue;

Then in a wailful choir the small gnats mourn

Among the river-sallows, borne aloft

Or sinking as the light wind lives or dies;sinking

And full-grown lambs loud bleat from hilly bourn;

Hedge-crickets sing; and now with treble soft

The redbreast whistles from a garden-croft;

And gathering swallows twitter in the skies.

John Keats

"To Autumn" is a poem by English Romantic poet John Keats (31

October 1795 – 23 February 1821).

"To Autumn" is the final work in a group of poems known as

Keats's "1819 odes".

"To Autumn" is a poem of three stanzas, each of eleven lines. Written

in 1819, the structure is that of an odal hymn, having three clearly

defined sections corresponding to the Classical divisions of strophe,

antistrophe, and epode

The imagery is richly achieved through the personification of

Autumn

Poem

Season of mists and mellow fruitfulness,

Close bosom-friend of the maturing sun;

Conspiring with him how to load and bless

With fruit the vines that round the thatch-eves run;

To bend with apples the moss'd cottage-trees,

And fill all fruit with ripeness to the core;

To swell the gourd, and plump the hazel shells

With a sweet kernel; to set budding more,

And still more, later flowers for the bees,

Until they think warm days will never cease,

For Summer has o'er-brimm'd their clammy cells.

Who hath not seen thee oft amid thy store?

Sometimes whoever seeks abroad may find

Thee sitting careless on a granary floor,

Thy hair soft-lifted by the winnowing wind

Or on a half-reap’d furrow sound asleep,

Drowsed with the fume of poppies, while thy hook

Spares the next swath and all its twinèd flowers:

And sometimes like a gleaner thou dost keep

Steady thy laden head across a brook;

Or by a cyder-press, with patient look,

Thou watchest the last oozings, hours by hours.

Where are the songs of Spring? Ay, where are they?

Think not of them, thou hast thy music too,—

While barrèd clouds bloom the soft-dying day

And touch the stubble-plains with rosy hue;

Then in a wailful choir the small gnats mourn

Among the river-sallows, borne aloft

Or sinking as the light wind lives or dies;sinking

And full-grown lambs loud bleat from hilly bourn;

Hedge-crickets sing; and now with treble soft

The redbreast whistles from a garden-croft;

And gathering swallows twitter in the skies.

Romanticism

Historical and Social BackgroundThe industrial townThe industrial town

The industrialization changed radically the landscape of Great Britain. In the first half of the XIX century the Midlands had already gained the name of “nack country”. It was an area of gloomy buildings, small towns full of smoke, streets that created a sense of confusion and dismay and canals to which the railway was added.The Industrial Revolution caused an uncontrolled growth of the city. Small towns called “mushroom towns” were constructed for the workers. They were called in this way because they sprang up suddenly and multiplied rapidly around the factories.For workers, living in the city meant long working hours and appalling living conditions. Industrial cities lacked elementary public services (water supply, sanitation, street-cleaning, open spaces). The air and the water were polluted by smoke and filth. The houses, built in endless rows, were over crowded.

BRITISH SOCIETYPOLITICAL REFORMS

Prosperity and confidence in 1700’sAmerican and French revolutionsdisappointment in bitter and violent ends - NapoleonIndustrial Revolutiondirty, unorganized cities emergehuge class shift

British Society• The population was

divided into three social classes:THE LANDOWNERS AND ARISTOCRACY:

this class had ruled the country for centuries and held most of the wealt.THE BUSINESSMEN AND INDUSTRIALISTS:

thanks to their hard work the british economy was thriving.THE MASSES: they worked in the factories and were poor.

Historical and Social Background

Political Reforms

The Factory Act of 1833 limited working hours and children under nine could not work.

In 1825 Trade Unions were recognized.Factory owners formed their own associations

Businessmen and industrialists were given the vote in 1832. A police force was established in 1829. A local government was established in every town. A system of national primary education was set up in

1834. Historical and Social Background

The French Revolution• as the French Revolution started, the whole

idea of nationalism changed, and so did the romantic view; it consisted then in self-determination and a pride in the national origins and unity; they said that every human being should be pride of his origins and nation, but at the same time he should develop as an individual; they claimed that there should be a balance in the development of each person between the common interest of the nation and his own personal goals

• the accent was put on the national history and folklore, and furthermore, the values of tradition and customs were put at the center of the romantic movement

• inspired by this view upon the country, the peoples of Europe had the power to redraw the map of their continent and free themselves

English Romanticism can be understood as a return to Renaissance (to  the poetry of Spencer, Shakespeare and Milton). This return is anticipated by Cowper, Gray, Collins and Thomson.•CHARACTERISTICS:- Revival of instinctual life (reason was not so important).- The search of the love and the beauty.- Importance of Revolutions (American, French, the figure of Napoleon).- New role of imagination.- The realization of the sublime, the half way between real and supernatural world, time and space.- Nature as a source of inspiration.- Revaluation of myths.- Philosophers: J.J Rousseau is the first to use the word “romantique” in one of his works (“Reveries du promemuer solitaire”). Romance has french origins. Schlegel used the word “romantisch” speaking about creativity and sentimental themes, in a critic work “Sturm und Drang” (in English: “Storm and Stress”, in which  there is an exaltation of nature, uniqueness and freedom of the individual, ideal of genius).

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Selected Works & Analysis of

• FIRST GENERATION

• SECOND GENERATION

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• WILLIAM BLAKE •WILLIAM WORDSWORTH

•SAMUEL T. COLERIDGE

Romantic Poets

William BlakeBlake’s life was spent in rebellion and the

restrictive influences of institutions such as government and the church. Blake was

aware of the negative effects of the rapidly developing industrial

and commercial society.

“The Lamb” And

“The Tyger” Menu Poets

“To see a World in a Grain of Sand And a Heaven

in a Wild Flower, Hold Infinity in the palm of your hand

And Eternity in an hour.”

William Blake was born in London, where he spent most of his life. His father was a successful London hosier and attracted by the doctrines of Emmanuel Swedenborg. Blake was first educated at home, chiefly by his mother. His parents encouraged him to collect prints of the Italian masters, and in 1767 sent him to Henry Pars' drawing school. From his early years, he experienced visions of angels and ghostly monks, he saw and conversed with the angel Gabriel, the Virgin Mary, and various historical figures. Independent through his life, Blake left no debts at his death on August 12, 1827. He was buried in an unmarked grave at the public cemetery of Bunhill Fields.

- Auguries of InnocenceWilliam Blake

Back to Index Onward to ByronAnalysis of“Auguries of Innocence”

“Auguries of Innocence”Full Poem

The Lamb and The TygerBlake wrote two books: “ Songs of Innocence”and “Songs of Experience”.In “The Lamb” from the Songs of Innocence Blake presented with an image of a gentle, benevolent, loving God.In “The Tyger” from Songs of Experience, God is vindictive and terrifying.

I travelled among unknown men, In lands beyond the sea;

Nor England did I know till then,What love I bore to thee.

'Tis past, that melancholy dream!Nor will I quit thy shore

A second time, for still I seemTo love thee more and more.

Among thy mountains did I feelthe joy of my desire;

And she I cherished, turned the wheel,

Beside an English fire.Thy mornings showed, thy nights

concealedthe bowers where Lucy played;And thine is too the last green

fieldThat Lucy's eyes surveyed.

- I Travelled Among Unknown MenWilliam Wordsworth

William Wordsworth was born on April 7, 1770, at Cockermouth on the River Derwent, in the heart of the Lake District that would come to be immortalized in his poetry. The son of a lawyer named John Wordsworth, he was the second of five children. His father was the personal attorney of Sir James Lowther, Earl of Lonsdale, the most powerful (and perhaps the most hated) man in the area. His first formal education was at Anne Birkett's school at Penrith, where one of his classmates was his future wife Mary Hutchinson. Wordsworth died on April 13, 1850.

Analysis of “I Travelled Among Unknown Men”

Back to Index Go to Analysis Index

William WordsworthWilliam Wordsworth’s poetry emphasies the

value of childhood experience an the

celebration of nature. He glorifies the spirit

of man, living in armony with his

natural environment, far from the spiritually

bankrupt city. Him being pantheistic

identified the nature with god.

I Wandered Lonely As A Cloud Menu Poets

Romanticism in Literature (cont.)

• There is pleasure in beauty, Wordsworth writes. And in this sense, poetry should gratify the senses.

• In striving to capture the eternal beauty, the poet gives rise to romantic expression in all human beings.

• Wordsworth is best known as a nature poet who found beauty, comfort and moral strength in the natural world. If he were alive today he would probably be a member of an organisation that campaigns to protect the evironment. For him the World of nature is free from corruption and stress, and offers man a means of escape from industrialised society.

Samuel T. ColeridgeColeridge’s poetry often

deals with the mysterious, the

supernatural and the extraordinary. While

Wordsworth looked for the spiritual in everyday

subjects, Coleridge wanted to give the

supernatural a colouring of everyday reality.

The Rime of the Ancient Mariner Menu Poets

• Coleridge describes the natural and

supernatural events that occur during the adventurous

voyage.The events of the poem take place in an eerie,

ghostly atmosphere and the reader often feels he is

moving from a real to an unreal world

and back again.

• GEORGE BYRON

• PERCY BYSSHE SHELLEY

• JOHN KEATS

Romantic Poets

George ByronByron was the

prototype of the Romantic poet. He

was heavily involved with contemporary

social issues. He like the heroes of his long narrative poems, was

a melancholy and solitary figure whose actions often defiend social convections.

Don Juan Menu Poets

The Assyrian came down like the wolf on the fold,And his cohorts were gleaming in purple and gold;

And the sheen of their spears was like stars on the sea,When the blue wave rolls nightly on deep Galilee.

Like the leaves of the forest when Summer is green,That host with their banners at sunset were seen:

Like the leaves of the forest when Autumn hath blown,That host on the morrow lay withered and strown.

And there lay the rider distorted and pale,With the dew on his brow, and the rust on his mail:

And the tents were all silent, the banners alone,The lances unlifted, the trumpet unblown.

And the widows of Ashur are loud in their wail,And the idols are broke in the temple of Baal;

And the might of the Gentile, unsmote by the sword,Hath melted like snow in the glance of the Lord!

- The Destruction of SennacheribGeorge Gordon Byron

The most notorious Romantic poet and satirist. Byron was famous in his lifetime for his love affairs with women and Mediterranean boys. He created his own cult of personality, the concept of the 'Byronic hero' - a defiant, melancholy young man, brooding on some mysterious, unforgivable in his past. Byron's influence on European poetry, music, novel, opera, and painting has been immense, although the poet was widely condemned on moral grounds by his contemporaries.Back to Index Onward to Poe Analysis of

“The Destruction of Sennacherib”

Don Juan• Don Juan is seduced by

the beautiful and older Donna Julia. She is typical of Byron’s splendid female

portraits: sensual and apparently innocent;

always on the verge of tears or ready to faint

and yet strong and aggressive. Above all,

she is much more intelligent and cunning than the average man

(especially if he is a husband). No

character, not even Don Juan, is free of narrator’s irony.

I met a traveller from an antique landWho said: Two vast and trunkless legs of stoneStand in the desert. . . Near them, on the sand,Half sunk, a shattered visage lies, whose frown,And wrinkled lip, and sneer of cold command,Tell that its sculptor well those passions read

Which yet survive, stamped on these lifeless things,The hand that mocked them and the heart that fed.

And on the pedestal these words appear:"My name is Ozymandias, king of kings:

Look on my works, ye Mighty, and despair!"Nothing beside remains. Round the decay

Of that colossal wreck, boundless and bare.The lone and level sands far away.

- OzymandiasPercy Bysshe Shelley

Percy Bysshe Shelley was an English Romantic poet who rebelled against English politics and conservative values. Shelley was considered with his friend Lord Byron a pariah for his life style. He drew no essential distinction between poetry and politics, and his work reflected the radical ideas and revolutionary optimism of the era. Like many poets of his day, Shelley employed mythological themes and figures from Greek poetry that gave an exalted tone for his visions. Shelley died July 8, 1822.

Back to Index Onward toWordsworthAnalysis of “Ozymandias”

Percy Bysshe ShelleyShelley was the most

revoluctionary and non-conformist of the

Romantic poet. He was an individualist and idealist who rejected

the istitutions of, family,church, marriage and the Christian faith and rebelled against all

forms of tyranny.

Defence of Poetry Menu Poets

Defence of Poetry• Defence of poetry contains some

of the finest quotes about the anture of poetry and the role of the poet in the English language.

“A poet is the author to others of the highest wisdom, virtue, pleasure and glory”

John KeatsKeats’s life makes his literary achievements

even more astonishing. The main theme of his poetry is: the conflict

betwenn the real world of suffering, death and

decay and the ideal world of beauty,

immagination and eternal youth.

Ode on a Grecian Urn Menu Poets

Ode on a Grecian Urn• The Ode describes an ancient

greek urn decorated with classical motifs:A Dionysian festival with music and ecstatic dances, a piper under the trees in a pastoral setting, a young man in love pursuing a girl and almost reaching her, a procession of townspeople and priest leading a cow to the sacrifice.Keats is fascinated by the fact that art is able to present an ideal world because it can freeze actions and emotions: the lover depicted on the urn will never actually reach the girl he is following, the pipers will never end their song, the streets of the little town will always be desert and silent. The beauty of the girl, the ardent passion of her lover, the pleasure of the music and the boughs in bloom will never fade.

• Hugo was the one who wrote the literary manifesto of the romanticism in the preface to his tragedy called Cromwell

• he says that the new doctrine is the “liberalism in literature” and that “there are neither rules, nor models” for romantics

• as Hugo presents it, Romanticism evolves as an opposition to Classicism and Romantic Parnassianism, offering literature freedom of expression through the dismission of norms.

Hugo and the Romanticism

Classicism Romanticism

• presents an ideal, static, objective world

• has ideal categories and eternal types of characters

• has an abstract, equilibrated and dominated by morals character

• simply observes the nature • preaches rationality • the rule of the 3 entities: of

time, space and plot     

• presents a universe determined by the movements of history, which is fantastical, subjective

• the nature overwhelms the character

• has a dynamic, sentimental hero, who is in a constant search for the absolute

• artists reinterpret the nature through their own subjectivity

• emphasizes sentiments, passions

• abolishes the rule of the 3 entities

Romantic character

• is an exceptional character put in exceptional situations(hero, genius)

• is confused, unsatisfied • is continually fighting himself and his limits • can belong to any social class • has good and bad traits, like any human being • the artist is the supreme being, who doesn’t have to

comply to the rules

Characteristics

• promotes antithetical constructions, contrasts, extremes • distinguishes artistic values in the less esthetical parts of reality and

therefore anticipates the Symbolism which will found a true “esthetic of the ugly”

• symbols: the sky, the stars, the ocean, the sea, the lake, the spring, the woods

• rediscovers the folkloric creation, the history and the nature • has a predilection for the fantastic, tragic, grotesque, macabre,

mystery, occult, diseased and even satanic • places the individual at the centre of all things, of life and of all

experiences

Romanticism & painting

• Eugène Delacroix, Liberty Leading the People

Romanticism & sculpture

• François Rude, La Marseillaise

“Romantic”• From “Roman” – a poetic or prose heroic narrative, in late medieval literature• Term is revived to describe a “movement”or set of shared beliefs and themes…• …growing out of late 18th and early 19th C• …and present as a continuing influence or tendency

Four Principal Ideas• Nature• Equality/egalitarianism• Imagination • “Sensibility”

Nature• In Nature, Humanity is– Inspired– Informed– Redeemed– Transformed– Idealized

Equality• Egalitarian view of society• The “social union” among people• Nationalism (loyalty to “nation” v. “rulers”)• Revolution and reform• Humanity can be perfected

Sensibility”• Idealism• Intensity of emotions• Significance of actions• Worthiness of common person• Humanity’s best is glorified in the– Classical – Medieval

Imagination• Power of imagination to “transport”• Mind heals, condemns itself• Subjective nature of truth• Spontaneous response

Perhaps the most striking feature of the poets of the Romantic Movement is their attitude to nature. The solitude of real nature is alien, immeasurable, inhuman; the Romantic solitude is a vision of nature which reflects the solitude of the poet. The Romantic finds everywhere in nature his own image.-Stephen Spender

The [Romantic] poet. . .loves to escape from the heat and pressure of humanity, and so from himself as a social being, and to lose himself in the freedom of lonely places.- Joseph Warren Beach

What the Romantics beheld when they looked at life was a radical difference between the world of appearances and the world of reality. What seemed important in the world of appearances (the world as it looks to the ordinary man, the man of “common” sense) was revealed as unimportant or false when it was observed by the man of true imagination. ... Thus freed from unimaginative blindness, the Romantic saw Nature and Man in their true light, their essential character, and in their genuine worth. - Ernest Bernbaum

The most universal image [in Romantic poetry] is perhaps that of light, a fit symbol of spiritual illumination, of the transcendental vision, of the work of the imagination, of the ideal to which the poet aspires.- R.A. Foakes

Romanticism - Characteristics:•The predominance of imagination over reason and formal rules •Primitivism •Love of nature •An interest in the past •Mysticism•Interest in the Gothic

•Individualism•Human rights•Idealization of rural life •Enthusiasm for the wild, irregular, Gothic or grotesque in nature •Enthusiasm for the uncivilized or “natural”

Principles of Romanticism:

• Romanticism was a reaction against convention.• Romanticism asserted the power of the individual.• Romanticism reflected a deep appreciation of the

beauties of nature.• Romanticism emphasized the importance of the

subjective experience.• Romanticism was idealistic.

Romanticism was a reaction against convention:

• As a political movement, this reaction was reflected in the new democratic ideals that opposed monarchy and feudalism.

• In art, it meant a turn away from Neoclassicism and the ancient models of Greek perfection and Classical correctness.

• Philosophically, romanticism would contend with Rationalism—the belief that truth could be discerned by logic and reason.

Romanticism asserted the power of the individual:

• Romanticism marked an era characterized by an idealization of the individual.

• Politically, the movement influenced democratic ideals and the revolutionary principles of social equality.

• Philosophically, it meant that the idea of objective reality would give way to subjective experience; thus, all truth became a matter of human perception.

• In the art world, romanticism marked a fascination with the individual genius, and elevated the artist, philosopher, and poet above all others.

Romanticism reflected a deep appreciation of the beauties of

nature:• For the romantics, nature was how the spirit was

revealed to humankind.• The romantic philosophers believed in the metaphysical

or spiritual nature of reality.• They thought that a higher reality existed behind the

appearance of things in the physical world. • Nature appeared to people as a material reality;

however, because it evoked such strong feelings in humankind, it revealed itself as containing a higher, spiritual truth.

• Romantic artists tried to capture in their art the same feelings nature inspired in them.

Romanticism emphasized the importance of the subjective

experience:• The romantics believed that emotion and the senses

could lead to higher truths than either reason or the intellect could.

• Romantics supposed that feelings, such as awe, fear, delight, joy, and wonder, were keys that could unlock the mysteries of the world.

• The result was a literature that continually explored the inward experiences of the self.

• The imagination became one of the highest faculties of human perception, for it was through the imagination that individuals could experience transcendent or spiritual truths.

Romanticism was idealistic:• On one hand, romanticism was philosophically rooted in

idealism.• Reality existed primarily in the ideal world—that is, in

the mind—while the material world merely reflected that universe.

• In other words, the ideal world was “more real” than the real world.

• On the other hand, romanticism was literally idealistic; it tended to be optimistic in its outlook on life.

• Political and social romantics asserted that human beings could live according to higher principles, such as the beliefs in social equality, freedom, and human rights.

Philosophical Roots of Romanticism

• The French philosopher Jean Jacques Rousseau (1712 – 1778) argued that civilization was creating a race that was out of step with nature.

• Civilization stripped people of their natural instincts.

• “Everything is good when it leaves the creator,” he argued, “everything degenerates in the hands of men.”

• Rousseau believed human beings had innate intuitive powers; that is, they instinctively knew how to deal with the outside world.

• He felt that so-called “primitive” people, those who lived closer to and in harmony with nature, had a greater, more refined intuition than “civil” human beings.

• Rousseau believed that there were basic principles, such as liberty and equality, which were innate to human beings.

• Civilization and governments, however, had conditioned man to endure life without them.

• Rousseau’s ideas were influential to many, from the American and French revolutionaries to romantic writers.

• His ideas of nature and intuition were taken even further in the philosophy of Kant.

Philosophical Roots of Romanticism (cont.)

• Philosophy before Kant was largely based on rationalism and empiricism.

• Rationalism was the belief that knowledge of the world could be obtained only through reason.

• Reason could know reality independently from sense of experience; that is, logic, not emotion led to truth.

• Empiricism was the exact opposite. English philosophers, such as John Locke and David Hume, argued that sense was the only way of arriving at knowledge. To get at the truth, one had to go by experience—by scientifically weighing the evidence.

Romanticism in the Visual Arts

• In the visual arts, English artists such as J.M.W. Turner (1775-1851) and John Constable (1776-1837) established the visual romantic genre through their landscapes of sea and countryside.

• Using rich, almost impressionistic colors and tones, they painted with a deep appreciation of the beauties of nature.

• Both reflected the contemporary literary and romantic movements in Europe.

• Their art conveyed the romantic ideal; that is, they supported the romantic belief that reflections on the beauty of nature could initiate a heightened personal awareness of the senses, and thus approach the spirit of the divine.

Romanticism in Literature

• In literature, romanticism was dominated by the English poets William Wordsworth (1770-1850) and Samuel Taylor Coleridge (1772-1834).

• In 1798 Coleridge and Wordsworth published a joint volume of poetry called Lyrical Ballads and in doing so launched the English Romantic Movement.

Romanticism in Literature (cont.)

• In his Preface to the Lyrical Ballads Wordsworth professes all the basic principles of romanticism: he announces the break with tradition; he exults the power of the romantic poet to give voice to individual feeling; he speaks of the power of nature to show the way of the spirit; he praises the faculty of the imagination to give voice to the subjective experience; and he speaks of the ennobling effects poetry has on the moral condition of humankind.

Romanticism in Literature (cont.)• Wordsworth felt the imagination could take the experiences of everyday men

and women and turn them into art.• By thus highlighting the ordinary, Wordsworth points to the deeper spirit that

lives in all things; the problem, as he sees it, is that human habit has made these wonders too familiar.

• Unlike Coleridge, who saw the imagination as the “living power and prime agent of all human perception,” Wordsworth felt language and poetry were secondary to the actual experiences of human beings. In other words, it was the object of poetry to uncover these realities, not to pose as realities themselves.

• Wordsworth defends the romantic poet’s reliance on personal feelings and, like Rousseau, claims that human beings have become too distant from their nature.

• Civilization has stolen their insight into nature away. In other words, the over-stimulation of the senses (even in an age without video games) keeps men and women from appreciating the quiet beauty of nature, and with it the opportunity for meditative thought and introspection.

• “Voices and Visions”• “Literature and Anthology in the

English Language”

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Where are we?

Targetometer

Agenda• Part One

– Introduction and background– Search Engine Optimisation (on site)– Generating Traffic Online (but off site)

• Break

• Part Two– Social Networking (on and off site)– Proactive Traffic Generation (Offline)– Integrated Marketing Campaigns

• Question time

What is Web 2.0 & Social Media?

• Hype (or jargon)?• Technology?• Change in attitude of users or the attitude of Web

managers?• A web cop out or a way to give freedom to users?• A good thing or a bad thing?• Just another thing?• A fad?

Influential Opinions

Web 2.0 & Social Media & Social Networking

• Hard to define • Favourite “human interaction in a virtual world”• Technology / Attitude / Free

• Web 2.0 technology provides instant communication• This technology and new attitude allows user generated

content (UGC)• Social Media are the new online tools• Social Networking is what we do

Get on board now or be left behind

Get aboard or be left behind

Loads x Lots of people

We say…

• Don’t ignore it• Great opportunity• Don’t let it dazzle

• Keep a business focus and marketing perspective

• Remember the Golden Rules

Who’s using Social Networks? (Ofcom)

• 30% of British adults have a Social Networking profile (up from 21% in 2007)

• 50% of users have a Facebook account – 6 hours per month from 4 hours last year

• BUT…• 5% drop in 15 – 24 year olds using Social Network sites

• Usage is increasing and getting older

User types (Forrester – Sean Corcoran)

• Creators

• Collectors

• Critics

• Joiners

• Spectators

Strengths

• Personal

• Validated

• Credible

• Engaging

• Viral

Increasing importance in SEO of:

• External Linking

• Web Footprint / Presence

• Authority

• Theme and Relevance

• Social Networking sites are seen to rank highly

What do we use Social Networks for?

• Collaboration

• Recruitment

• Marketing and Focus groups

Marketing

• Traffic generation and search

• Marketing– Brand positioning– PR– Leads– Sales– Customer interaction– Retention and reinforcement– Feedback

Some (Social) Networks

• Blog (with links to your site)• Squidoo lens• MySpace• Facebook group• LinkedIn• Tagging (delicious, stumbleupon, Digg)• You Tube• Slideshare• Flickr• Twitter• Article Sites• PR Sites• Tradespace• Niche - Home Business Network / Mothers / etc..

StumbleUpon

digg

delicious

Blog and blogging

• Easy to build - Wordpress• On site or off site?• Blog Directories/ Other blogs/ Your own

site• Be interesting and not too salesy• Searchable Content• Couple of times a month

Facebook• Business to Consumer• Mass market• “Give me a poke” or “Throw me a

sheep”, “dude”• Fan Pages and Group Pages• Highly targeted advertising

• Be personal but reflect your brand• Be interactive and get visitors involved

Linked in

• Older, but less well known?• Professionals• Business to Business

• Company Profile Page• LinkedIn Answers

• Market Research• Sales

Twitter for business• Young(er), professional, new media savvy• Tweets: 140 characters, @username• Follow and Followers• Search and Retweet• Network!• Be first to know• Brand building, Support• Island bridge• Bio, reply to people, add links • Promote your feed

Tweetdeck

Innocent Facebook Search

Innocent facebook videos

Innocent on facebook

M&S Network Links

M&S Facebook

M&S facebook discussions

M&S facebook offers

M&S Twitter

Dell Community Pages

Dell Social Network Links

Dell Linkedin

Dell Twitter Groups

Dell Outlet Twitter

Dell Facebook

Dell facebook

Dell flickr

E&Y Careers facebook

GM Blog

Marmite Facebook

Marmite Facebook

Marmite facebook games

Marmite facebook promos

Marmite Website

Marmite on Youtube

Youtube

• All you need– Camera– Aston Martin– Pair of trainers

• http://www.youtube.com/watch?v=yURa9T0-Rjk&feature=player_embedded

• http://www.youtube.com/user/blendtec?blend=1&ob=4

What does this tell us?

• Problem driven

• Objectives

• Creative

• Relevance

• Resource

• It Works!!

Who

• Fans

• Interested customers

• Regular users

• Niche

• We turn them into advocates

A Small Holiday Company

• Website• Rich Content• Pages for long tail Search Terms• Blogs relating to this• Links from relevant blogs• Videos on YouTube• Adwords• Directories• Tags• Facebook• Articles sites• PR Sites

Tail wagging the dog?

• We’re not talking about a Website anymore we’re talking about a Web Presence

How to start

• Remember these are SOCIAL networks• Try before you buy!• You may be experimenting• You will need to be committed• You need objectives• You need relevance and places to link to• Team of enthusiasts• Measure

Groundswell – Forrester Research - POST

• Groundswell – Forrester Research - POST– People– Objectives– Strategy– Technology

• MBL Solutions – WEBSITE– Watch– Evaluate– Become an active believer– Strategy– Implementation– Technology– Evolve

Carly Herron

Web Promotion – Off Line

Now where are we?

Targetometer

Let’s go get ‘em…

Let’s just ring them?

A typical decision process

Awareness of the need

Awareness of suppliers

Build relationship with suppliers (brands)

SALE!

Aftersales and support

Detail information stage

Confirmation and reassurance

Advertising

Cold DM – traditional +

Email DM

• Responsive• Cost effective• Directs traffic

to your site• Builds

membership• Fantastic stats

Public Relations• Regular website review

columns

• News editorial– Exciting picture– Web traffic news– Changing trends– Feedback– New web service

Incentivise the visit• Information or

white papers• Join club• Offers and

discounts• Opinions and

blogs• Editorial and

comment

Marketing Rule Number 1

• Marketing now is very much about good data and building relationships

• Good data beats everything

• Best data is the data you collect (websites [and events] are great at this)

• Then you’re in control of communications and relationship building

Registration

Campaign elements• Initial Communications and traffic generation

– Online and offline– Keywords and Adwords

• Targeted landing page

• Data Capture– Registration page

• Action

• Follow up

• Measurement– Review

Sainsbury’s Business Direct

Sale!and ongoing

communications

Targeted Adwords & SEO & SM

Email shots

Summary of our journey

• Searching:– SEO– Adwords

• Passing By– Social Networks– Bookmarking– Blogs– Affiliate

• At Home– Email– Direct mail– Advertising– PR

Simple Summary

Relevance

Content

Interaction

Connections

Actions

• This takes time and focus• Make someone responsible• Make sure that there is a team involved• Have an agreed timescale to review and

change• Measure the results

Thank You

• Any questions?

The Golden Dozen1. Define your Site objectives2. Who, What, Where, Action3. Search Engine Optimisation = Visitor Optimisation4. Benchmark your best competitors5. SEO takes time – so get it right asap6. Remember that a website is dynamic – keep it changing7. Make sure your site caters for each stage of the decision process8. Don’t forget to be proactive in your website promotion9. Make your site integral to your campaigns – use offline methods as well

– online and offline are not exclusive10. Make sure your campaigns are circular – no dead-ends11. Capture prospect data, register visitors and use email (at least) to

continue the communications12. Plan your site management and measurement

A typical decision process

Awareness of the need

Awareness of suppliers

Build relationship with suppliers (brands)

SALE!

Aftersales and support

Detail information stage

Confirmation and reassurance

Campaign elements• Initial Communications and traffic generation

– Online and offline (press ads, mailshots, email shots, PR)– Social Networking– Keywords and Adwords

• Targeted landing page

• Data Capture– Registration page

• Action

• Follow up

• Measurement– Review

Sainsbury’s Business Direct

Sale!and ongoing

communications

Targeted Adwords , SEO, Social

Email shots

Simple Summary

Objectives

Relevance

Content

Interaction

Connections

Thank You

• Any questions?

John Keats

"To Autumn" is a poem by English Romantic poet John Keats (31

October 1795 – 23 February 1821).

"To Autumn" is the final work in a group of poems known as Keats's

"1819 odes".

"To Autumn" is a poem of three stanzas, each of eleven lines. Written

in 1819, the structure is that of an odal hymn, having three clearly

defined sections corresponding to the Classical divisions of strophe,

antistrophe, and epode

The imagery is richly achieved through the personification of

Autumn

Poem

Season of mists and mellow fruitfulness,

Close bosom-friend of the maturing sun;

Conspiring with him how to load and bless

With fruit the vines that round the thatch-eves run;

To bend with apples the moss'd cottage-trees,

And fill all fruit with ripeness to the core;

To swell the gourd, and plump the hazel shells

With a sweet kernel; to set budding more,

And still more, later flowers for the bees,

Until they think warm days will never cease,

For Summer has o'er-brimm'd their clammy cells.

Who hath not seen thee oft amid thy store?

Sometimes whoever seeks abroad may find

Thee sitting careless on a granary floor,

Thy hair soft-lifted by the winnowing wind

Or on a half-reap’d furrow sound asleep,

Drowsed with the fume of poppies, while thy hook

Spares the next swath and all its twinèd flowers:

And sometimes like a gleaner thou dost keep

Steady thy laden head across a brook;

Or by a cyder-press, with patient look,

Thou watchest the last oozings, hours by hours.

Where are the songs of Spring? Ay, where are they?

Think not of them, thou hast thy music too,—

While barrèd clouds bloom the soft-dying day

And touch the stubble-plains with rosy hue;

Then in a wailful choir the small gnats mourn

Among the river-sallows, borne aloft

Or sinking as the light wind lives or dies;sinking

And full-grown lambs loud bleat from hilly bourn;

Hedge-crickets sing; and now with treble soft

The redbreast whistles from a garden-croft;

And gathering swallows twitter in the skies.

Romanticism

Historical and Social BackgroundThe industrial townThe industrial town

The industrialization changed radically the landscape of Great Britain. In the first half of the XIX century the Midlands had already gained the name of “nack country”. It was an area of gloomy buildings, small towns full of smoke, streets that created a sense of confusion and dismay and canals to which the railway was added.The Industrial Revolution caused an uncontrolled growth of the city. Small towns called “mushroom towns” were constructed for the workers. They were called in this way because they sprang up suddenly and multiplied rapidly around the factories.For workers, living in the city meant long working hours and appalling living conditions. Industrial cities lacked elementary public services (water supply, sanitation, street-cleaning, open spaces). The air and the water were polluted by smoke and filth. The houses, built in endless rows, were over crowded.

BRITISH SOCIETYPOLITICAL REFORMS

Prosperity and confidence in 1700’sAmerican and French revolutionsdisappointment in bitter and violent ends - NapoleonIndustrial Revolutiondirty, unorganized cities emergehuge class shift

British Society• The population was

divided into three social classes:THE LANDOWNERS AND ARISTOCRACY:

this class had ruled the country for centuries and held most of the wealt.THE BUSINESSMEN AND INDUSTRIALISTS:

thanks to their hard work the british economy was thriving.THE MASSES: they worked in the factories and were poor.

Historical and Social Background

Political Reforms

The Factory Act of 1833 limited working hours and children under nine could not work.

In 1825 Trade Unions were recognized.Factory owners formed their own associations

Businessmen and industrialists were given the vote in 1832. A police force was established in 1829. A local government was established in every town. A system of national primary education was set up in

1834. Historical and Social Background

The French Revolution• as the French Revolution started, the whole

idea of nationalism changed, and so did the romantic view; it consisted then in self-determination and a pride in the national origins and unity; they said that every human being should be pride of his origins and nation, but at the same time he should develop as an individual; they claimed that there should be a balance in the development of each person between the common interest of the nation and his own personal goals

• the accent was put on the national history and folklore, and furthermore, the values of tradition and customs were put at the center of the romantic movement

• inspired by this view upon the country, the peoples of Europe had the power to redraw the map of their continent and free themselves

English Romanticism can be understood as a return to Renaissance (to  the poetry of Spencer, Shakespeare and Milton). This return is anticipated by Cowper, Gray, Collins and Thomson.•CHARACTERISTICS:- Revival of instinctual life (reason was not so important).- The search of the love and the beauty.- Importance of Revolutions (American, French, the figure of Napoleon).- New role of imagination.- The realization of the sublime, the half way between real and supernatural world, time and space.- Nature as a source of inspiration.- Revaluation of myths.- Philosophers: J.J Rousseau is the first to use the word “romantique” in one of his works (“Reveries du promemuer solitaire”). Romance has french origins. Schlegel used the word “romantisch” speaking about creativity and sentimental themes, in a critic work “Sturm und Drang” (in English: “Storm and Stress”, in which  there is an exaltation of nature, uniqueness and freedom of the individual, ideal of genius).

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Selected Works & Analysis of

• FIRST GENERATION

• SECOND GENERATION

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• WILLIAM BLAKE •WILLIAM WORDSWORTH

•SAMUEL T. COLERIDGE

Romantic Poets

William BlakeBlake’s life was spent in rebellion and the

restrictive influences of institutions such as government and the church. Blake was

aware of the negative effects of the rapidly developing industrial

and commercial society.

“The Lamb” And

“The Tyger” Menu Poets

“To see a World in a Grain of Sand And a Heaven

in a Wild Flower, Hold Infinity in the palm of your hand

And Eternity in an hour.”

William Blake was born in London, where he spent most of his life. His father was a successful London hosier and attracted by the doctrines of Emmanuel Swedenborg. Blake was first educated at home, chiefly by his mother. His parents encouraged him to collect prints of the Italian masters, and in 1767 sent him to Henry Pars' drawing school. From his early years, he experienced visions of angels and ghostly monks, he saw and conversed with the angel Gabriel, the Virgin Mary, and various historical figures. Independent through his life, Blake left no debts at his death on August 12, 1827. He was buried in an unmarked grave at the public cemetery of Bunhill Fields.

- Auguries of InnocenceWilliam Blake

Back to Index Onward to ByronAnalysis of“Auguries of Innocence”

“Auguries of Innocence”Full Poem

The Lamb and The TygerBlake wrote two books: “ Songs of Innocence”and “Songs of Experience”.In “The Lamb” from the Songs of Innocence Blake presented with an image of a gentle, benevolent, loving God.In “The Tyger” from Songs of Experience, God is vindictive and terrifying.

I travelled among unknown men, In lands beyond the sea;

Nor England did I know till then,What love I bore to thee.

'Tis past, that melancholy dream!Nor will I quit thy shore

A second time, for still I seemTo love thee more and more.

Among thy mountains did I feelthe joy of my desire;

And she I cherished, turned the wheel,

Beside an English fire.Thy mornings showed, thy nights

concealedthe bowers where Lucy played;And thine is too the last green

fieldThat Lucy's eyes surveyed.

- I Travelled Among Unknown MenWilliam Wordsworth

William Wordsworth was born on April 7, 1770, at Cockermouth on the River Derwent, in the heart of the Lake District that would come to be immortalized in his poetry. The son of a lawyer named John Wordsworth, he was the second of five children. His father was the personal attorney of Sir James Lowther, Earl of Lonsdale, the most powerful (and perhaps the most hated) man in the area. His first formal education was at Anne Birkett's school at Penrith, where one of his classmates was his future wife Mary Hutchinson. Wordsworth died on April 13, 1850.

Analysis of “I Travelled Among Unknown Men”

Back to Index Go to Analysis Index

William WordsworthWilliam Wordsworth’s poetry emphasies the

value of childhood experience an the

celebration of nature. He glorifies the spirit

of man, living in armony with his

natural environment, far from the

spiritually bankrupt city. Him being

pantheistic identified the nature with god.

I Wandered Lonely As A Cloud Menu Poets

Romanticism in Literature (cont.)

• There is pleasure in beauty, Wordsworth writes. And in this sense, poetry should gratify the senses.

• In striving to capture the eternal beauty, the poet gives rise to romantic expression in all human beings.

• Wordsworth is best known as a nature poet who found beauty, comfort and moral strength in the natural world. If he were alive today he would probably be a member of an organisation that campaigns to protect the evironment. For him the World of nature is free from corruption and stress, and offers man a means of escape from industrialised society.

Samuel T. ColeridgeColeridge’s poetry

often deals with the mysterious, the

supernatural and the extraordinary. While

Wordsworth looked for the spiritual in

everyday subjects, Coleridge wanted to

give the supernatural a colouring of everyday

reality.

The Rime of the Ancient Mariner Menu Poets

• Coleridge describes the natural and

supernatural events that occur during the adventurous

voyage.The events of the poem take place in an eerie,

ghostly atmosphere and the reader often feels he is

moving from a real to an unreal world

and back again.

• GEORGE BYRON

• PERCY BYSSHE SHELLEY

• JOHN KEATS

Romantic Poets

George ByronByron was the

prototype of the Romantic poet. He

was heavily involved with contemporary

social issues. He like the heroes of his long narrative poems, was

a melancholy and solitary figure whose actions often defiend social convections.

Don Juan Menu Poets

The Assyrian came down like the wolf on the fold,And his cohorts were gleaming in purple and gold;

And the sheen of their spears was like stars on the sea,When the blue wave rolls nightly on deep Galilee.

Like the leaves of the forest when Summer is green,That host with their banners at sunset were seen:

Like the leaves of the forest when Autumn hath blown,That host on the morrow lay withered and strown.

And there lay the rider distorted and pale,With the dew on his brow, and the rust on his mail:

And the tents were all silent, the banners alone,The lances unlifted, the trumpet unblown.

And the widows of Ashur are loud in their wail,And the idols are broke in the temple of Baal;

And the might of the Gentile, unsmote by the sword,Hath melted like snow in the glance of the Lord!

- The Destruction of SennacheribGeorge Gordon Byron

The most notorious Romantic poet and satirist. Byron was famous in his lifetime for his love affairs with women and Mediterranean boys. He created his own cult of personality, the concept of the 'Byronic hero' - a defiant, melancholy young man, brooding on some mysterious, unforgivable in his past. Byron's influence on European poetry, music, novel, opera, and painting has been immense, although the poet was widely condemned on moral grounds by his contemporaries.Back to Index Onward to Poe Analysis of

“The Destruction of Sennacherib”

Don Juan• Don Juan is seduced by

the beautiful and older Donna Julia. She is typical of Byron’s splendid female

portraits: sensual and apparently innocent;

always on the verge of tears or ready to faint

and yet strong and aggressive. Above all,

she is much more intelligent and cunning than the average man

(especially if he is a husband). No

character, not even Don Juan, is free of narrator’s irony.

I met a traveller from an antique landWho said: Two vast and trunkless legs of stoneStand in the desert. . . Near them, on the sand,Half sunk, a shattered visage lies, whose frown,And wrinkled lip, and sneer of cold command,Tell that its sculptor well those passions read

Which yet survive, stamped on these lifeless things,The hand that mocked them and the heart that fed.

And on the pedestal these words appear:"My name is Ozymandias, king of kings:

Look on my works, ye Mighty, and despair!"Nothing beside remains. Round the decay

Of that colossal wreck, boundless and bare.The lone and level sands far away.

- OzymandiasPercy Bysshe Shelley

Percy Bysshe Shelley was an English Romantic poet who rebelled against English politics and conservative values. Shelley was considered with his friend Lord Byron a pariah for his life style. He drew no essential distinction between poetry and politics, and his work reflected the radical ideas and revolutionary optimism of the era. Like many poets of his day, Shelley employed mythological themes and figures from Greek poetry that gave an exalted tone for his visions. Shelley died July 8, 1822.

Back to Index Onward toWordsworthAnalysis of “Ozymandias”

Percy Bysshe ShelleyShelley was the most

revoluctionary and non-conformist of the

Romantic poet. He was an individualist and idealist who rejected

the istitutions of, family,church,

marriage and the Christian faith and rebelled against all forms of tyranny.

Defence of Poetry Menu Poets

Defence of Poetry• Defence of poetry contains some

of the finest quotes about the anture of poetry and the role of the poet in the English language.

“A poet is the author to others of the highest wisdom, virtue, pleasure and glory”

John KeatsKeats’s life makes his literary achievements

even more astonishing. The main theme of his poetry is: the conflict

betwenn the real world of suffering, death and

decay and the ideal world of beauty,

immagination and eternal youth.

Ode on a Grecian Urn Menu Poets

Ode on a Grecian Urn• The Ode describes an ancient

greek urn decorated with classical motifs:A Dionysian festival with music and ecstatic dances, a piper under the trees in a pastoral setting, a young man in love pursuing a girl and almost reaching her, a procession of townspeople and priest leading a cow to the sacrifice.Keats is fascinated by the fact that art is able to present an ideal world because it can freeze actions and emotions: the lover depicted on the urn will never actually reach the girl he is following, the pipers will never end their song, the streets of the little town will always be desert and silent. The beauty of the girl, the ardent passion of her lover, the pleasure of the music and the boughs in bloom will never fade.

• Hugo was the one who wrote the literary manifesto of the romanticism in the preface to his tragedy called Cromwell

• he says that the new doctrine is the “liberalism in literature” and that “there are neither rules, nor models” for romantics

• as Hugo presents it, Romanticism evolves as an opposition to Classicism and Romantic Parnassianism, offering literature freedom of expression through the dismission of norms.

Hugo and the Romanticism

Classicism Romanticism

• presents an ideal, static, objective world

• has ideal categories and eternal types of characters

• has an abstract, equilibrated and dominated by morals character

• simply observes the nature • preaches rationality • the rule of the 3 entities: of

time, space and plot     

• presents a universe determined by the movements of history, which is fantastical, subjective

• the nature overwhelms the character

• has a dynamic, sentimental hero, who is in a constant search for the absolute

• artists reinterpret the nature through their own subjectivity

• emphasizes sentiments, passions

• abolishes the rule of the 3 entities

Romantic character

• is an exceptional character put in exceptional situations(hero, genius)

• is confused, unsatisfied • is continually fighting himself and his limits • can belong to any social class • has good and bad traits, like any human being • the artist is the supreme being, who doesn’t have to

comply to the rules

Characteristics

• promotes antithetical constructions, contrasts, extremes • distinguishes artistic values in the less esthetical parts of reality and

therefore anticipates the Symbolism which will found a true “esthetic of the ugly”

• symbols: the sky, the stars, the ocean, the sea, the lake, the spring, the woods

• rediscovers the folkloric creation, the history and the nature • has a predilection for the fantastic, tragic, grotesque, macabre,

mystery, occult, diseased and even satanic • places the individual at the centre of all things, of life and of all

experiences

Romanticism & painting

• Eugène Delacroix, Liberty Leading the People

Romanticism & sculpture

• François Rude, La Marseillaise

“Romantic”• From “Roman” – a poetic or prose heroic narrative, in late medieval literature• Term is revived to describe a “movement”or set of shared beliefs and themes…• …growing out of late 18th and early 19th C• …and present as a continuing influence or tendency

Four Principal Ideas• Nature• Equality/egalitarianism• Imagination • “Sensibility”

Nature• In Nature, Humanity is– Inspired– Informed– Redeemed– Transformed– Idealized

Equality• Egalitarian view of society• The “social union” among people• Nationalism (loyalty to “nation” v. “rulers”)• Revolution and reform• Humanity can be perfected

Sensibility”• Idealism• Intensity of emotions• Significance of actions• Worthiness of common person• Humanity’s best is glorified in the– Classical – Medieval

Imagination• Power of imagination to “transport”• Mind heals, condemns itself• Subjective nature of truth• Spontaneous response

Perhaps the most striking feature of the poets of the Romantic Movement is their attitude to nature. The solitude of real nature is alien, immeasurable, inhuman; the Romantic solitude is a vision of nature which reflects the solitude of the poet. The Romantic finds everywhere in nature his own image.-Stephen Spender

The [Romantic] poet. . .loves to escape from the heat and pressure of humanity, and so from himself as a social being, and to lose himself in the freedom of lonely places.- Joseph Warren Beach

What the Romantics beheld when they looked at life was a radical difference between the world of appearances and the world of reality. What seemed important in the world of appearances (the world as it looks to the ordinary man, the man of “common” sense) was revealed as unimportant or false when it was observed by the man of true imagination. ... Thus freed from unimaginative blindness, the Romantic saw Nature and Man in their true light, their essential character, and in their genuine worth. - Ernest Bernbaum

The most universal image [in Romantic poetry] is perhaps that of light, a fit symbol of spiritual illumination, of the transcendental vision, of the work of the imagination, of the ideal to which the poet aspires.- R.A. Foakes

Romanticism - Characteristics:•The predominance of imagination over reason and formal rules •Primitivism •Love of nature •An interest in the past •Mysticism•Interest in the Gothic

•Individualism•Human rights•Idealization of rural life •Enthusiasm for the wild, irregular, Gothic or grotesque in nature •Enthusiasm for the uncivilized or “natural”

Principles of Romanticism:

• Romanticism was a reaction against convention.• Romanticism asserted the power of the individual.• Romanticism reflected a deep appreciation of the

beauties of nature.• Romanticism emphasized the importance of the

subjective experience.• Romanticism was idealistic.

Romanticism was a reaction against convention:

• As a political movement, this reaction was reflected in the new democratic ideals that opposed monarchy and feudalism.

• In art, it meant a turn away from Neoclassicism and the ancient models of Greek perfection and Classical correctness.

• Philosophically, romanticism would contend with Rationalism—the belief that truth could be discerned by logic and reason.

Romanticism asserted the power of the individual:

• Romanticism marked an era characterized by an idealization of the individual.

• Politically, the movement influenced democratic ideals and the revolutionary principles of social equality.

• Philosophically, it meant that the idea of objective reality would give way to subjective experience; thus, all truth became a matter of human perception.

• In the art world, romanticism marked a fascination with the individual genius, and elevated the artist, philosopher, and poet above all others.

Romanticism reflected a deep appreciation of the beauties of

nature:• For the romantics, nature was how the spirit was revealed

to humankind.• The romantic philosophers believed in the metaphysical or

spiritual nature of reality.• They thought that a higher reality existed behind the

appearance of things in the physical world. • Nature appeared to people as a material reality; however,

because it evoked such strong feelings in humankind, it revealed itself as containing a higher, spiritual truth.

• Romantic artists tried to capture in their art the same feelings nature inspired in them.

Romanticism emphasized the importance of the subjective

experience:• The romantics believed that emotion and the senses could

lead to higher truths than either reason or the intellect could.

• Romantics supposed that feelings, such as awe, fear, delight, joy, and wonder, were keys that could unlock the mysteries of the world.

• The result was a literature that continually explored the inward experiences of the self.

• The imagination became one of the highest faculties of human perception, for it was through the imagination that individuals could experience transcendent or spiritual truths.

Romanticism was idealistic:• On one hand, romanticism was philosophically rooted in

idealism.• Reality existed primarily in the ideal world—that is, in the

mind—while the material world merely reflected that universe.

• In other words, the ideal world was “more real” than the real world.

• On the other hand, romanticism was literally idealistic; it tended to be optimistic in its outlook on life.

• Political and social romantics asserted that human beings could live according to higher principles, such as the beliefs in social equality, freedom, and human rights.

Philosophical Roots of Romanticism

• The French philosopher Jean Jacques Rousseau (1712 – 1778) argued that civilization was creating a race that was out of step with nature.

• Civilization stripped people of their natural instincts.

• “Everything is good when it leaves the creator,” he argued, “everything degenerates in the hands of men.”

• Rousseau believed human beings had innate intuitive powers; that is, they instinctively knew how to deal with the outside world.

• He felt that so-called “primitive” people, those who lived closer to and in harmony with nature, had a greater, more refined intuition than “civil” human beings.

• Rousseau believed that there were basic principles, such as liberty and equality, which were innate to human beings.

• Civilization and governments, however, had conditioned man to endure life without them.

• Rousseau’s ideas were influential to many, from the American and French revolutionaries to romantic writers.

• His ideas of nature and intuition were taken even further in the philosophy of Kant.

Philosophical Roots of Romanticism (cont.)

• Philosophy before Kant was largely based on rationalism and empiricism.

• Rationalism was the belief that knowledge of the world could be obtained only through reason.

• Reason could know reality independently from sense of experience; that is, logic, not emotion led to truth.

• Empiricism was the exact opposite. English philosophers, such as John Locke and David Hume, argued that sense was the only way of arriving at knowledge. To get at the truth, one had to go by experience—by scientifically weighing the evidence.

Romanticism in the Visual Arts

• In the visual arts, English artists such as J.M.W. Turner (1775-1851) and John Constable (1776-1837) established the visual romantic genre through their landscapes of sea and countryside.

• Using rich, almost impressionistic colors and tones, they painted with a deep appreciation of the beauties of nature.

• Both reflected the contemporary literary and romantic movements in Europe.

• Their art conveyed the romantic ideal; that is, they supported the romantic belief that reflections on the beauty of nature could initiate a heightened personal awareness of the senses, and thus approach the spirit of the divine.

Romanticism in Literature

• In literature, romanticism was dominated by the English poets William Wordsworth (1770-1850) and Samuel Taylor Coleridge (1772-1834).

• In 1798 Coleridge and Wordsworth published a joint volume of poetry called Lyrical Ballads and in doing so launched the English Romantic Movement.

Romanticism in Literature (cont.)

• In his Preface to the Lyrical Ballads Wordsworth professes all the basic principles of romanticism: he announces the break with tradition; he exults the power of the romantic poet to give voice to individual feeling; he speaks of the power of nature to show the way of the spirit; he praises the faculty of the imagination to give voice to the subjective experience; and he speaks of the ennobling effects poetry has on the moral condition of humankind.

Romanticism in Literature (cont.)• Wordsworth felt the imagination could take the experiences of everyday men

and women and turn them into art.• By thus highlighting the ordinary, Wordsworth points to the deeper spirit that

lives in all things; the problem, as he sees it, is that human habit has made these wonders too familiar.

• Unlike Coleridge, who saw the imagination as the “living power and prime agent of all human perception,” Wordsworth felt language and poetry were secondary to the actual experiences of human beings. In other words, it was the object of poetry to uncover these realities, not to pose as realities themselves.

• Wordsworth defends the romantic poet’s reliance on personal feelings and, like Rousseau, claims that human beings have become too distant from their nature.

• Civilization has stolen their insight into nature away. In other words, the over-stimulation of the senses (even in an age without video games) keeps men and women from appreciating the quiet beauty of nature, and with it the opportunity for meditative thought and introspection.

• “Voices and Visions”• “Literature and Anthology in the

English Language”

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