In their critique of modern society the Lake poets, in common with so many nineteenth-century critics, tended to idealize the medieval period. The new industrialism they believed carried with it a dehumanization, a loss of many values that the Middle Ages had honored by preserving the religious heritage of Europe. The ramshackle, crowded, and noisome tenements in the modern industrial towns compared badly with what they imagined to be the felicities of the stone cottages of previous centuries. Pride in work well done had given way to shoddy goods sold at the highest possible prices [Chandler, A Dream of Order, ].
Its History, Literature and Influence on Civilization, vol. Historical Publishing Company, Ceosio During the latter part of the eighteenth century the drama in France had steadily declined from the glorious position which it had achieved in the reign of Louis XIV. The genius of Voltaireby its stage-reforms and innovations, had partially stayed the downward movement in tragedy, and the philosophic Diderot had sought to substitute for mirthful comedy a new species--the serious--which should be an agent of social reform, and in fact the consummation of dramatic art as a mirror of life.
Classical tragedy had been weighted down by the artificiality of the court in every direction, and thus made a beautiful monster.
The plays of the new style, vaguely called drames, were intended to be true to life and to inculcate the proper principles of society.
The idea had already been advanced in the dreams of various social philosophers, but for obvious reasons no attempt had been made to reduce it to practice. Diderot, though an able writer in other departments, failed as a dramatist, but some who had adopted his idea had better success. The most remarkable dramatist of the period, however, was Beaumarchaiswho boldly revived the old Spanish comedy of intrigue.
He not only surpassed his predecessor in the skillful framing of plots, but drew his characters with peculiar truth. His dialogue was brilliant with flashes of wit, and his plays were charged with social satire. But taken altogether, the drama of this period is rather of historic interest than actual value.
It consists of imitations of the great works of the classic age, themselves imitations of antiquity, or imperfect attempts at reform and extension.
It became thoroughly mechanical and lost artistic value. The Revolution proclaimed, among other liberties, that of theatres, and fifty were soon open in Paris. The tragic poet of the period was M.
Under the empire the theatres came under the direct control of the government. The number in Paris was limited to nine, and each was restricted to a certain class of plays. Minor theatres might produce melodramas, vaudevilles or operas-comiques.
Napoleon wished to encourage the drama, and offered prizes for the best tragedy, but he failed to secure a great dramatist to give lustre to his reign. In spite of the glory which Napoleon's victories won for France, and with which its people were intoxicated, their intellectual condition under his rule was pitiful in the extreme.
The grand ideals to which their noblest minds had so recently aspired became a laughing-stock.
From those pure and lofty visions of humanity and the noble motto--Liberty, Equality, Fraternity--which they had cherished for themselves and even sought to impose on a reluctant world, their leaders now turned away with foolish contempt. Liberty, so highly prized, so dearly purchased, was crushed under an accumulation of mischances and adversities which seemed to be the natural outcome of the Revolution.
Statesmen declared the Directory, the Consulate, the Empire the logical result of the Revolution. The philosophic historian sees in them the inevitable backward swing of the mighty pendulum of human government.
His envy was kindled by the seventeenth century, that golden age of literature and art, and he trusted to renew and surpass its beauty and fertility, as he was able to enact a new and better code of laws. But the conqueror of Italy and Germany could not restore life to the noble victims of the guillotine nor renew the inspiration of departed genius.Philosophy of Art Romanticism—3 Main Features of Romanticism which had significant influence on later aesthetics 1) artistic production conceived as self-expression some basic change in aesthetic values—eyes opened to new aesthetic vistas.
Unit IV: Romanticism, Nature, Ecology finds us at last in a position to turn our attention to the Romantic poetry and prose, beginning with a comparison of the figuration of nature's agency and the web of interdependence in Malthus and Wordsworth, both of whom have had a powerful influence upon our contemporary discussions of the vexed.
In the most basic sense, Romanticism, which is loosely identified as spanning the years of , 1 2 can be distinguished from the preceding period called the Enlightenment by observing that the one elevated the role of spirit, soul, instinct, and emotion, while the other advocated a cool, detached scientific approach to most human endeavors and dilemmas.
3 In short, Romanticism . Nov 08, · Enviro-Romanticism Alert: Obama Won, But Can He Shake the Anti-Innovation, Junk Science Beliefs of His Base? Jane Austen lived at a time when novel reading had become one of the major forms of entertainment for the middle classes.
New works were prohibitively expensive to buy, but there were various methods of sharing and borrowing the latest fiction through circulating libraries, . Carlson 1 Micah K.
Carlson Dr. Rhonda Taube Art 6H - Riverside City College 31 March Effort to Influence: Romanticism of Pop Culture and the Industrialized World The industrial age is the beginning of the modern era—a time when new development, innovation, and new ideas in science and industry became the leading aim of society.