Romantic Quests vs. New Romantic Quests vs. New CriticismCriticism

Wordsworth, Keats, Tennyson Wordsworth, Keats, Tennyson and Felicia Hemans and Felicia Hemans

OutlineOutline Starting Questions Starting Questions & & Romantic Quest DefinedRomantic Quest Defined “ “TinturnTinturn Abbey Abbey” & ” & WordsworthWordsworthJohn Keats & “John Keats & “La Belle Dame Sans MerciLa Belle Dame Sans Merci”; th”; the e imagesimagesTennysonTennyson & “The Lady of Shalott” & “The Lady of Shalott” New Criticism New Criticism Keats and New Criticism – “Ode on MelancholKeats and New Criticism – “Ode on Melancholy” as an exampley” as an exampleFelicia HemansFelicia Hemans

Starting QuestionsStarting Questions

What do you think about the poems youWhat do you think about the poems you’ve read ’ve read (“Tinturn Abbey” “La Belle Dam(“Tinturn Abbey” “La Belle Dame Sans Merci” “Lady of Shalott”)e Sans Merci” “Lady of Shalott”)? Do you ? Do you appreciate their concerns or find them bappreciate their concerns or find them boring? oring? What does “Quest” mean? Are you in What does “Quest” mean? Are you in any kind of quest? any kind of quest?

Romantic QuestsRomantic Quests

The poets

Beauty

The Sublime;

Transcending the “human”

Truth –in Nature, Democracy

Art

Women, Nature, Medievalism

Romanticism Defined

Wordsworth’s “Tinturn Abbey” Wordsworth’s “Tinturn Abbey” What is it about? How is this poem What is it about? How is this poem similar to “I Wandered Lonely as a Cloud”? similar to “I Wandered Lonely as a Cloud”?

To understand the poem, you need to To understand the poem, you need to

1)1) pay attention to changes of tenses;pay attention to changes of tenses;

2)2) Syntax (where subjects and verbs are) and Syntax (where subjects and verbs are) and conjunctions (e.g. such as, so that, nor)conjunctions (e.g. such as, so that, nor)

readingreading

Visualization Visualization Cliffs Cliffs

Visualization Visualization Cottages, Orchards, Hedgerow Cottages, Orchards, Hedgerow

““Tinturn Abbey”: StructureTinturn Abbey”: Structure1. Re-Visiting1. Re-Visiting2. The influences of memories of the natural sc2. The influences of memories of the natural scenes; --from sensations to vision on life; enes; --from sensations to vision on life; 3. Addressing the Wye river; 3. Addressing the Wye river; 4. Back to the present moment, to think over t4. Back to the present moment, to think over the future and the past.he future and the past.5. Turn to his sister, to find hope in his sister a5. Turn to his sister, to find hope in his sister and to strengthen her against future decay. nd to strengthen her against future decay.

Wordsworth’s “Tinturn Abbey”Wordsworth’s “Tinturn Abbey” 1. Pay attention to the many repetitions in 1. Pay attention to the many repetitions in this poem. Do they correspond to the this poem. Do they correspond to the content of the poem? Are there beautiful content of the poem? Are there beautiful lines in this poem?lines in this poem?2. What do you think about the speaker’s 2. What do you think about the speaker’s views of views of 1) nature’s influence on us (ll. 122-134), and1) nature’s influence on us (ll. 122-134), and2) our different experiences of nature at different 2) our different experiences of nature at different

ages of our lives (stanza 3)? ages of our lives (stanza 3)?

3. What role does the sister play in this 3. What role does the sister play in this poem?poem?

Wordsworth’s Quests in “TinturWordsworth’s Quests in “Tinturn Abbey”n Abbey”

Functions of repetition Functions of repetition – 1) (once again, how oft, ) to show changes; 1) (once again, how oft, ) to show changes; – 2) (in which, in thy voice, so … so…) to reinforce his beli2) (in which, in thy voice, so … so…) to reinforce his beli

efs efs – 3) alternates with the vivid descriptions. 3) alternates with the vivid descriptions.

Attempts to deal with aging, losses and even deatAttempts to deal with aging, losses and even death. h. Seeks comfort in nature, but ultimately in the sistSeeks comfort in nature, but ultimately in the sister’s remembering him. In this way, ‘Nature’ ier’s remembering him. In this way, ‘Nature’ is finally displaced. s finally displaced. Actually, there are more displacements in this poeActually, there are more displacements in this poem. m.

““Tinturn Abbey” in ContextTinturn Abbey” in ContextFrench revolution in French revolution in 17891789, which inspired , which inspired Wordsworth to visit France in 1791. He Wordsworth to visit France in 1791. He returned in despair in returned in despair in 17921792. . Two visits 1793 & 1798: Two visits 1793 & 1798: W’s trip to Salisbury W’s trip to Salisbury Plain and North Wales in the summer of Plain and North Wales in the summer of 1793, and his return visit particularly to the 1793, and his return visit particularly to the abbey, on July 13, 1798.abbey, on July 13, 1798.1793 1793 – the publication of his first poems.– the publication of his first poems.17981798 – the conception of the idea for – the conception of the idea for Lyrical Lyrical Ballads and then its publicationBallads and then its publication. . The The poem, in this sense, is an important example poem, in this sense, is an important example of his poetic quest (for Nature or for Poetic of his poetic quest (for Nature or for Poetic Self). Self).

Wordsworth & “Tinturn Abbey”Wordsworth & “Tinturn Abbey”

In the poem not a word is said about – In the poem not a word is said about – the French Revolution, the French Revolution, the impoverished and country poor, or—the impoverished and country poor, or—

least of all—that this event and these coleast of all—that this event and these conditions might be structurally related to nditions might be structurally related to each other. (J. McGann 85-86) each other. (J. McGann 85-86)

Tinturn Abbey in 1790sTinturn Abbey in 1790sA favorite haunt of transients and displaced perA favorite haunt of transients and displaced persons—sons—of beggars and vagrants of various sorts, of beggars and vagrants of various sorts, including “female vagrants.”including “female vagrants.” Wordsworth observes the tranquil orderlineWordsworth observes the tranquil orderliness of the nearby “pastoral farms” and draws tss of the nearby “pastoral farms” and draws these views into a relation with the hese views into a relation with the “vagrant dw“vagrant dwellers in the houseless woods”ellers in the houseless woods” of the abbey. of the abbey. The poem’s method: to replace an image and lThe poem’s method: to replace an image and landscape of contradiction with one dominated andscape of contradiction with one dominated by “the power/Of harmoney”; or a picture of tby “the power/Of harmoney”; or a picture of the mind. he mind.

John Keats (1795-1821 John Keats (1795-1821 age 26age 26))His poetic quest is both difficult and brief. His poetic quest is both difficult and brief.

Family: His father died in a riding accident; Family: His father died in a riding accident; his mother involved in a lawsuit against his mother involved in a lawsuit against her own mother over inheritance. Keats her own mother over inheritance. Keats nursed her mother when she was ill with nursed her mother when she was ill with T.B., and, later, his brother with T.B. Then T.B., and, later, his brother with T.B. Then finally he contracted the disease.finally he contracted the disease.

clip on clip on KeatsKeats

John Keats (1795-1821 John Keats (1795-1821 age 26age 26))1810 -- Keats started out as an apprentice to a1810 -- Keats started out as an apprentice to an apothecary (pharmacist). n apothecary (pharmacist). 1813 -- He was inspired by Spenser and Homer.1813 -- He was inspired by Spenser and Homer. 1816 – promoted to assistant surgeon but also 1816 – promoted to assistant surgeon but also started to publish his poems.started to publish his poems.1817 – publishes his first book; met Wordswort1817 – publishes his first book; met Wordsworth, but didn't like him. h, but didn't like him. 1818 – nursed his brother; met Fanny Browne1818 – nursed his brother; met Fanny Browne18191819 – The Great Odes, and several other poe – The Great Odes, and several other poems. Engaged to Fanny Brown; Fell ill. ms. Engaged to Fanny Brown; Fell ill.

Keats: Main Concerns in his Keats: Main Concerns in his Poetic QuestPoetic Quest

Truth and Beauty vs. Mortality (“vale Truth and Beauty vs. Mortality (“vale of soul-making”)of soul-making”)

Intense but Transient Sensual Intense but Transient Sensual Pleasures in Nature Pleasures in Nature

He is always keenly aware of, or He is always keenly aware of, or even relishes, the possible even relishes, the possible contradictions.contradictions.

““La Belle DameLa Belle Dame” ” readingreading

1. 1. Plot & Theme:Plot & Theme: Is the Is the woman woman real or not? Wha real or not? What does she represent? Can you think of any similt does she represent? Can you think of any similar experience to this? In other words, can the war experience to this? In other words, can the woman be symbolic of some ideal you pursue? oman be symbolic of some ideal you pursue? 2. 2. Plot & Theme:Plot & Theme: What are the functions of the What are the functions of the d dreamream(s)? (s)? 3. 3. Structure:Structure: Beginning, middle and end? Beginning, middle and end?4. 4. Narration/Narrative Frames:Narration/Narrative Frames: Why doesn’t th Why doesn’t the knight tell the story to us directly in a first-pere knight tell the story to us directly in a first-person narrative? Why is there son narrative? Why is there another speakeranother speaker in in the poem? What does this speaker add to the pthe poem? What does this speaker add to the poem?oem?

““La Belle Dame sans Merci?”La Belle Dame sans Merci?”

Theme: Unrequited love, or obsession Theme: Unrequited love, or obsession in an impossible quest?in an impossible quest?– The woman – beautiful and weak, to be The woman – beautiful and weak, to be

protected and decorated, love,. protected and decorated, love,. – Impossible quest – offers sweetness & Impossible quest – offers sweetness &

love; a fairy’s child; ‘as’ she did love; love; a fairy’s child; ‘as’ she did love; strange language; sigh full sore. ‘sweet strange language; sigh full sore. ‘sweet moan’? moan’?

Images of la Belle Dame Images of la Belle Dame

The latter painting reveals Waterhouse's growing interest in themes associated with the Pre-Raphaelites, particularly tragic or powerful femmes fatales.

John William Waterhouse

Images of la Belle Dame Images of la Belle Dame

Left: Sir Frank Dicksee (British, 1853-1928) Right: Arthur Hughes (British, 1832-1915) Pre-Raphaelite Painter.

Images of la Belle Dame Images of la Belle Dame

Frank Cadogan Cowper, the last of the Pre-Raphaelites

““La Belle Dame”: theme & structureLa Belle Dame”: theme & structure

The ‘latest’ dream –not the only The ‘latest’ dream –not the only dream, not only dreamed by him. dream, not only dreamed by him.

The stranger– describes the knight as The stranger– describes the knight as well as the environment, thus well as the environment, thus provides a sense of reality (which can provides a sense of reality (which can be abundant). be abundant).

““La Belle Dame” vs. La Belle Dame” vs. traditional balladstraditional ballads

Traditional ballads (“Thomas the RhymTraditional ballads (“Thomas the Rhymer”): lack of self-consciousness.er”): lack of self-consciousness.Keats: Keats: estranged personsestranged persons—the knight by —the knight by virtue of his experience with the elfin ladvirtue of his experience with the elfin lady, and the balladeer by virtue of his narry, and the balladeer by virtue of his narration of that experience. ation of that experience. the irrevocathe irrevocable loss of an entire area of significant hble loss of an entire area of significant human experience as well as its meaninguman experience as well as its meaning. .

TennysonTennysonRepresentative of the Victorian views of literatRepresentative of the Victorian views of literature/art’s social functions. ure/art’s social functions. ““The Lady of Shalott”The Lady of Shalott” significance: significance: – ––reflects “The Woman’s Question” reflects “The Woman’s Question” – Two versions: Two versions: 1833 and 18421833 and 1842 – The most favoured of all Tennysonian subjects amoThe most favoured of all Tennysonian subjects amo

ng the PRB. ng the PRB. Question I: what is the story about and how doQuestion I: what is the story about and how does the form help convey its meaning? es the form help convey its meaning?

““The Lady of Shalott”The Lady of Shalott”1. Structure: 1. Structure:

Part 1 – 1) Setting: the river & the fields, the road Part 1 – 1) Setting: the river & the fields, the road and the island; and the island;

2) Lady of Shalott observed and listened to;2) Lady of Shalott observed and listened to;

3) Form: alternation of short and long lines. 3) Form: alternation of short and long lines. Part 2 – Shalott in her tower, weaving and lookinPart 2 – Shalott in her tower, weaving and lookin

g at the shadows on the mirror; sick when seeig at the shadows on the mirror; sick when seeing funeral procession or lovers pass by. ng funeral procession or lovers pass by.

Form: long lines with mellifluous sounds.Form: long lines with mellifluous sounds.

““The Lady of Shalott”The Lady of Shalott”1. Structure: 1. Structure:

Part 3 –Lancelot passes by and Shalott turns to sPart 3 –Lancelot passes by and Shalott turns to see him. ee him.

Form: explosives + alliteration; images of light; eForm: explosives + alliteration; images of light; ends with rep. of ‘she’ in action. nds with rep. of ‘she’ in action.

Part 4 – Shalott leaves her tower to go to CameloPart 4 – Shalott leaves her tower to go to Camelot. Action (writing her name and singing). t. Action (writing her name and singing).

Form: explosives + mellifluous sounds and feminForm: explosives + mellifluous sounds and feminine rhymes.ine rhymes.

““The Lady of Shalott”The Lady of Shalott”1. Theme: What can the mirror be symbolic of? 1. Theme: What can the mirror be symbolic of? What does the lady want? What does the lady want? 2. Does it matter why we don’t know why the 2. Does it matter why we don’t know why the lady is cursed? lady is cursed? 3. There are two versions of this poem: 3. There are two versions of this poem: 18331833 a and 1842 versions. Compare the endings of thesnd 1842 versions. Compare the endings of these two versions.e two versions.4. Compare this poem with “La Belle Dame” 4. Compare this poem with “La Belle Dame” by Keats. What aspects of Quest are presenteby Keats. What aspects of Quest are presented in these two poems? Does gender make a difd in these two poems? Does gender make a difference here?ference here?

““The Lady of Shalott”The Lady of Shalott”1833 version: the ending.1833 version: the ending.

They cross’d themselves, their stars they blest, They cross’d themselves, their stars they blest, Knight, minstrel, abbot, squire, and guest. Knight, minstrel, abbot, squire, and guest. There lay a parchment on her breast, There lay a parchment on her breast, That puzzled more than all the rest, That puzzled more than all the rest, The wellfed wits at Camelot. The wellfed wits at Camelot. ’’The web was woven curiously, The web was woven curiously, The charm is broken utterly, The charm is broken utterly, Draw near and fear not,--this is I, Draw near and fear not,--this is I, The Lady of Shalott.’The Lady of Shalott.’

Images of ShalottImages of Shalott

allegorical allegorical elementselements:  :  Please pay attention to the Please pay attention to the wall's dark tapestries, "upon wall's dark tapestries, "upon which swirl the twisting which swirl the twisting bodies of angelic and bodies of angelic and allegorical figures, while the allegorical figures, while the two roundels supporting the two roundels supporting the great mirror feature scenes great mirror feature scenes of of the Fall and the nativitythe Fall and the nativity [Wadsworth]" (Pearce 79) [Wadsworth]" (Pearce 79) exotic elements: exotic elements:  sandals & samovars sandals & samovars (Russian urn)(Russian urn)

William Holman Hunt, William Holman Hunt, ThThe Lady of Shalotte Lady of Shalott, ,

Images of ShalottImages of ShalottWilliam Holman Hunt, William Holman Hunt, ThThe Lady of Shalotte Lady of Shalott, ,

Images of ShalottImages of ShalottElizabeth Siddal, The LElizabeth Siddal, The Lady of Shalottady of Shalott

Images of ShalottImages of ShalottDante Gabriel Rossetti, TDante Gabriel Rossetti, The Lady of Shallott, 1857 he Lady of Shallott, 1857 Wood engraving, 35/16 x Wood engraving, 35/16 x 31/16 in. 31/16 in. Victoria and Albert MuseVictoria and Albert Museum, Londonum, London

PartsParts Figurative LanguageFigurative Language

Denotations, Denotations,

connotations connotations

and etymological roots and etymological roots

AllusionsAllusions

ProsodyProsody

RelationshipsRelationships

among among

the various elementsthe various elements

Whole

Themespattern, tension,

ambiguities, paradox,

contradictions

New Criticism: New Criticism:

Methodology (1) PoetryMethodology (1) Poetry

PartsParts Narrator Narrator

(Point of view), (Point of view), dialogue, dialogue, setting, setting, Plot Plot CharacterizationCharacterizationRelationshipsRelationships

among among the various elementsthe various elements

Whole

Themesharmonized

pattern, tension, ambiguities, paradox,

contradictions

New Criticism: Methodology (2) New Criticism: Methodology (2)

NarrativeNarrative

John Keats -- & the New CriticsJohn Keats -- & the New CriticsT.S. Eliot cited “Ode to a Nightingale” a case T.S. Eliot cited “Ode to a Nightingale” a case of “impersonal” art that he elevated over thof “impersonal” art that he elevated over the Wordsworthian effect of expressing a “perse Wordsworthian effect of expressing a “personality.”onality.”Keats: poet as camelian Keats: poet as camelian

Wordsworth—egotistical sublime;Wordsworth—egotistical sublime;Keats: negative capability (an ability to negate Keats: negative capability (an ability to negate self-interest) self-interest) The Great Odes – “integration of intellect and The Great Odes – “integration of intellect and emotion”; form and content.emotion”; form and content.

Ode on MelancholyOde on Melancholy

Note: Note: To the Romantics, the word no To the Romantics, the word no longer signified a state of clinical longer signified a state of clinical gloominess, strangeness, and gloominess, strangeness, and solitary wanderings. It implied a solitary wanderings. It implied a positive, heightened sensibility which positive, heightened sensibility which could, of course, bring inspiration to could, of course, bring inspiration to the artist. the artist.

Ode on MelancholyOde on Melancholy3 parts3 partsPart I: Do not use drugs or poison (traditional sPart I: Do not use drugs or poison (traditional symbols of death & melancholy) to ease your pymbols of death & melancholy) to ease your pains; ains; Part II: Rather savor melancholy to the fullest Part II: Rather savor melancholy to the fullest (through appreciating transient natural beauti(through appreciating transient natural beauties or the mistress’s anger). es or the mistress’s anger). Part III. Because melancholy is inseparable froPart III. Because melancholy is inseparable from transient beauty, joy, painful pleasure, apprm transient beauty, joy, painful pleasure, appreciated only by the one with fine palate. eciated only by the one with fine palate.

Ode on MelancholyOde on MelancholyParadoxesParadoxes

1. Negative imperative + active verbs; 1. Negative imperative + active verbs; “active pursuit” of these easy means of “active pursuit” of these easy means of escape will, in the end, get the soul escape will, in the end, get the soul ‘drowned.’‘drowned.’

2. Paradox of birth+ death; beauty + 2. Paradox of birth+ death; beauty + transience; observation + eating;transience; observation + eating;

3. 3. Active pursuit of pleasures and pains Active pursuit of pleasures and pains turns the poet into something passive.turns the poet into something passive.

Keats’ Odes in the Eyes of Keats’ Odes in the Eyes of New CriticsNew Critics & & DeconstructionistDeconstructionistIts density suitable for close analysis; Its density suitable for close analysis; ““a totalizing principlea totalizing principle as the guiding impulse as the guiding impulse” ” Ironies—” Ironies—” a discontinuous world of reflective a discontinuous world of reflective irony and ambiguityirony and ambiguity” ” Paul De Man: “Almo Paul De Man: “Almost in spite of itself, this unitarian criticism finallst in spite of itself, this unitarian criticism finally becomes a criticism of ambiguity, y becomes a criticism of ambiguity, an ironic ran ironic reflection of the absence of the unity it has posteflection of the absence of the unity it has postulated.ulated.” (Wolfson 191-92)” (Wolfson 191-92)

Keats’ Odes in the Eyes of Keats’ Odes in the Eyes of New CriticsNew Critics & & DeconstructionistDeconstructionist

Example: Example: ‘‘Ode to a Nightingale’—Ode to a Nightingale’—an organic an organic form, a unity encompassing the form, a unity encompassing the ‘interrelation’ of its parts, its ‘formal ‘interrelation’ of its parts, its ‘formal elements’ and its subject.elements’ and its subject. (Brooks) (Brooks)““a turmoil” of “disintegration” a turmoil” of “disintegration” (Wasserman)(Wasserman)Keats’ Odes – engagement with “a Keats’ Odes – engagement with “a state of perpetual indeterminacy”state of perpetual indeterminacy”

Women’s Roles in Romantic Women’s Roles in Romantic Quests?Quests?

Felicia Hemans-- seen as angel by her contemporaries “She seems to me to represent and unite as purely and completely as any other writer in our literature the peculiar and specific qualities of the female mind. . . The delicacy, the softness, the pureness, the quick observant vision, the ready sensibility, the devotedness, the faith of woman's nature” (source: http://digital.library.upenn.edu/women/hemans/rf-hemans.html )

-- Poetess, whose duties are to sing of domestic bliss e.g. “The Homes of England”-- exception “Casabianca”

Note: RomanticismNote: RomanticismA movement in art and literature in the eighteenth and

nineteenth centuries in revolt against the Neoclassicism of the previous centuries… . . Imagination, emotion, and freedom are certainly the focal points of romanticism. Any list of particular characteristics of the literature of romanticism includes subjectivity and an emphasis on individualism; spontaneity; freedom from rules; solitary life rather than life in society; the beliefs that imagination is superior to reason and devotion to beauty; love of and worship of nature; and fascination with the past, especially the myths and mysticism of the middle ages.

(source: http://www.uh.edu/engines/romanticism/ )

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ReferencesReferencesWalfson, Susan J. Formal Charges: The ShapinWalfson, Susan J. Formal Charges: The Shaping of Poetry in British Romanticism. Stanford 1g of Poetry in British Romanticism. Stanford 1997.997.McGann, Jerome. The Romantic Ideology: A CrMcGann, Jerome. The Romantic Ideology: A Critical Investigation. Chicago: U of Chicago P, 1itical Investigation. Chicago: U of Chicago P, 1983. 983. Pearce, Lynn. Pearce, Lynn. Women/Image/TextWomen/Image/Text. London: H. London: Harvester/Wheatsheaf, 1991.arvester/Wheatsheaf, 1991.Images of “La Belle Dame Sans Meric” Images of “La Belle Dame Sans Meric” http://wwwhttp://www.artmagick.artmagick.com/themes/theme4.com/themes/theme4.aspx.aspx