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Romantic irony is closely related to cosmic irony, and sometimes the two terms are treated interchangeably. [9] Romantic irony is distinct, however, in that it is the author who assumes the role of the cosmic force. The narrator in Tristram Shandy is one early example. [31]
Romantic poetry is the poetry of the Romantic era, an artistic, literary, musical and intellectual movement that originated in Europe towards the end of the 18th century. It involved a reaction against prevailing Neoclassical ideas of the 18th century, [ 1 ] and lasted approximately from 1800 to 1850.
The Romantic movement in English literature of the early 19th century has its roots in 18th-century poetry, the Gothic novel and the novel of sensibility. [6] [7] This includes the pre-Romantic graveyard poets from the 1740s, whose works are characterized by gloomy meditations on mortality, "skulls and coffins, epitaphs and worms". [8]
The Romantic movement in America created a new literary genre that continues to influence American writers. Novels, short stories, and poems replaced the sermons and manifestos of yore. Romantic literature was personal, intense, and portrayed more emotion than ever seen in neoclassical literature.
Perhaps the most famous example of irony in Austen is the opening line of Pride and Prejudice: "It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife." At first glance, the sentence is straightforward and plausible, but the plot of the novel contradicts it: it is women without ...
"September 1913" functions also as an iconic example of Yeats's own fidelity to the literary traditions of the 19th century British Romantic poets. A devoted reader of both William Blake and Percy Shelley, Yeats's repetition of the phrase "Romantic Ireland" connects the politically motivated ideals of the Romantics "to an Irish national landscape."
The six best-known English male authors are, [citation needed] in order of birth and with an example of their work: William Blake – The Marriage of Heaven and Hell; William Wordsworth – The Prelude; Samuel Taylor Coleridge – The Rime of the Ancient Mariner; George Gordon, Lord Byron – Don Juan, "Childe Harold's Pilgrimage"
The irony of Meredith's title points to the fact that "modern love" is of this different and more demanding kind after the decay of the old attitude of male matrimonial complaisance. Beyond marriage as the arrangement of a social contract connected with wealth and position, emotional fidelity is a new and impossible requirement.