Wednesday, 5 February 2025

Differences between Enlightenment and Romantic thought

Enlightenment Literature was heavily indebted to the contemporary trends in philosophical and scientific thinking: as such, it emphasised logical and rational discourse, as a way of understanding the world. Philosophers like Kant and Voltaire opposed both faith based governance and morality, in favour of reason. This led to a heavy emphasis on epistolary literature, like Richardson's Clarissa, an abundance of Odes to figures like Newton and the first dictionaries and encyclopaediae.

In contrast, the Romantic period kicked back against this. Instead of reason and Kantian ethics, the Romantics found morality to be mutable and individualistic; the scientific values of the enlightenment and the industrial revolution were disavowed in favour of the naturalism of Wordsworth's 'Prelude' and Keats' 'To Autumn.' Natural spaces in these poems are liminal, exploring the boundaries of human endevour, where Enlightenment works, satires, political essays, etc., firmly entrenched themselves in society. In short, Romanticism seeks to find the role of the individual in a chaotic and mutable world, while the Enlightenment looks for the empirical and justifiable strictures of such a world.

Some more interesting ideas here:

https://medium.com/illumination/enlightenment-and-romanticism-89f9d65f186d

Abstract from a new(ish) book by Robert D Hume called:

Gothic Versus Romantic: A Revaluation of The Gothic Novel

"The Gothic novel is defined not by its stock devices—ruined abbeys and the like—but by its use of a particular atmosphere for essentially psychological purposes. Mary Shelley, Maturin, Melville, and Faulkner develop a form crudely forged by Walpole, Mrs. Radcliffe, and M. G. Lewis. Their Gothic novels attempt to immerse the reader in an extraordinary world in which ordinary standards and moral judgments become meaningless and good and evil are seen as inextricably intertwined. Gothic writing is closely related to romantic: both are the product of a profound reaction against everyday reality and conventional religious explanations of existence. But while romantic writing is the product of faith in an ultimate order, Gothic writing is a gloomy exploration of the limitations of man. The one attempts to transcend the flux of the purely temporal to find joy and security in a higher beauty; the other is mired in the temporal and within it can find only absurdities and unresolvable ambiguities."

Friday, 12 March 2021

Frankenstein: AO3 and AO4 quotes


‘Everything must have a beginning ... and that beginning must be linked to something that went before ... Invention, it must be humbly admitted, does not consist in creating out of void, but out of chaos.’

Mary Shelley, from her Introduction to Frankenstein, 1831
 

 

‘My imagination, unbidden, possessed and guided me, gifting the successive images that arose in my mind with a vividness far beyond the usual bounds of reverie.’

Mary Shelley, from her Introduction to Frankenstein, 1831
 

 

‘It is ironic but entirely appropriate that ... the nameless monster seems to have usurped the name of his creator.’

M.K. Joseph, Introduction to Frankenstein, Oxford World Classics Edition, 1998
 

 

‘Horace Walpole ... attempts to blend imagination and probability.  Other writers of Gothic narratives do the same, placing the reader in that liminal state between our real world and the world of imagined fears and horrors.  They also, through their narrative methods, provide an unsettling fragmentation of perspective, an unnerving sense of dark truths hidden below, or embedded in, our everyday lives ...’

Bernard O’Keeffe, ‘Strange But True?’, The English Review, February 2011
 

 

‘Man was born free, and he is everywhere in chains.  One man thinks himself the master of others, but remains more of a slave than they.’

Jean Jacques Rousseau, The Social Contract, 1762
 

 

‘Mary Shelley is not an anti-Enlightenment figure.  Her novel is not an out-and-out rejection of Godwin or Percy Shelley – to say that is to insult her as an intellectual.  It is better to think of Frankenstein as an analysis of the dangers attendant on an exclusively intellectual approach to society.’

Dr Mike Rossington, in an interview with Jerome Monahan, ‘A Critic’s Perspective on Frankenstein’, emagazine 2010
 

 

‘... the monster is, in a literal sense, a projection of Frankenstein’s mind, and an embodiment of his guilt in withdrawing from his kind and pursuing knowledge which, though not forbidden, is still dangerous.’

M.K. Joseph, Introduction to Frankenstein, Oxford World Classics Edition, 1998

Tuesday, 24 November 2020

Malfi:interpretations

Dan Horrigan's version of the play on youtube, 2016

https://www.youtube.com/watch?v=2p2EjIt8Ohw


There was a great version at the Sam Wanamaker Playhouse around the same time, here's a clip from it. You can watch the full thing with a subscription to Globe PLayer.


https://www.youtube.com/watch?v=NnV54axNsw8



Tuesday, 17 November 2020

Elizabethan clothing

 http://www.shakespeare-online.com/biography/elizabethanclothes.html