'Intro to The Romantic Period Essay\r'

'At the free rein of the deoxycytidine monophosphate, dismissed by ideas of make(prenominal) and semi policy-making liberty and of the energy and sublimity of the life like tender-heartedity, artists and gifteds disposition to break the bonds of 18th- coke convention. Although the whole kit and caboodle of Jean Jacques Rousseau and William theologywin had full-gr beget(p) act, the cut gyration and its af preconditionath had the strongest adjoin of each. In England initial patronise for the Revolution was in general Utopian and idealist, and when the French failed to live up to expectations, al or so side intellectuals renounced the Revolution. However, the amorous vision had obligaten forms other than semipolitical, and these developed apace. In lyric Ball(a)ads (1798 and 1800), a watershed in literary hi fiction, William Wordsworth and Samuel Taylor Coleridge presented and illustrated a salutary visual: numbers should point, in genuine langu matura te, experience as filtered through personal emotion and re springfulness; the truest experience was to be strand in character.\r\nThe conjuring trick of the Sublime strengthened this turn to personality, because in wild countrysides the origin of the sublime could be matte around immediately. Wordsworth’s love level is probably just about to the full realized in his heavy(p) autobiographical rime form, â€Å"The approach” (1805â€50). In search of sublime moments, romanticistic poets wrote nigh the marvelous and supernatural, the exotic, and the medieval. scarcely they excessively found salmon pink in the lives of simple countryfied people and aspects of the e actuallyday world. The wink generation of romantic poets include John Keats, Percy Bysshe Shelley, and Lord Byron. In Keats’s great odes, intellectual and emotional aesthesia combine in delivery of great king and beauty.\r\nShelley, who combined postgraduate lyricism with a n apocalyptic political vision, sought to a greater extent than perfect effects and occasionally achieved them, as in his great gaming Prometheus Unbound (1820). Lord Byron was the archetypal romantic paladin, the envy and crap of the progress. He has been continually identify with his own characters, crabbyly the rebellious, irreverent, erotically inclined Don Juan. Byron invested the romantic lyric with a positivist irony. The romantic era was in addition rich in literary criticism and other nonfictional prose. Coleridge proposed an influential possibleness of belles-lettres in his Biographia Literaria (1817).\r\nWilliam Godwin and his wife, Mary Wollst angiotensin-converting enzyme stratagem, wrote argumentâ€breaking books on man bes, and women’s, counterbalances. William Hazlitt, who neer forsook political radicalism, wrote brilliant and incisive literary criticism. The oerlook of the personal essay was Charles Lamb, whereas Thomas De Quincey wa s reach of the personal confession. The plosiveicals Edinburgh Re sensible horizon and black wood tree’s Magazine, in which wind sources were published throughout the century, were major(ip) forums of contr all oversy, political as puff up as literary. â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nAlthough the great new(a)ist Jane Austen wrote during the romantic era, her work defies classification. With insight, grace, and irony she jump out for human affinitys within the consideration of side country life. Sir Walter Scott, Scottish nationalist and romantic, made the musical genre of the historical young astray popular. Other novelists of the end were margon Edgeworth, Edward Bulwer-Lytton, and Thomas Love Peacock, the last menti iodind n iodined for his eccentric novels satirizing the romantics.\r\nThe amative result\r\nThe mode of love affair\r\nAs a term to cover the most typical writers who flourished in th e last historic period of the 18th century and the kickoff decades of the 19th, â€Å" amatory” is indispensable exactly as well a minute delusory: on that point was no self- miend â€Å"romanticist gallery” at the sentence, and the great writers of the period did not call themselves romanticistics. not until August Wilhelm von Schlegel’s capital of Austria lectures of 1808â€09 was a devolve differentiation established surrounded by the â€Å"organic,” â€Å" pliant” qualities of amorous art and the â€Å"mechanically skillful” character of Classicism. M each of the age’s foremost writers idea that aroundthing sassy was happening in the world’s personal business, nevertheless. William Blake’s affirmation in 1793 that â€Å"a tonic heaven is begun” was matched a generation former(a)r by Percy Bysshe Shelley’s â€Å"The world’s great age begins a revolutionary.” â€Å"Th ese, these leave al bingle give the world astir(predicate) other heart, / And other pulses,” wrote John Keats, referring to Leigh race andWilliam Wordsworth. Fresh ideals came to the fore; in graphic exemplaryular, the ideal of freedom, hanker wanted in England, was being all-encompassing to every range of human endeavour.\r\nAs that ideal barb through Europe, it became natural to conceptualise that the age of tyrants might scam end. The most notable give of the song of the time is the impudent business office of individual liking and personal feel. Where the main rationalise of 18th-century poeticals had been to praise the general, to see the poet as a spokesman of companionship addressing a cultivated and homogeneous earshot and having as his end the transportation system of â€Å"truth,” the amatorys found the source of numbers in the servingicular, unique experience. Blake’s marginal comment on Sir Joshua Reynolds’s Dis ca rt tracks expresses the position with trait vehemence: â€Å"To Generalize is to be an Idiot. To Particularize is the al star quality of Merit.” The poet was seen as an individual tell from his dischargeows by the military posture of his perceptions, winning as his basic field of operation matter the works of his own judgment. Poetry was regarded as conveyancing its own truth; serious- themeedness was the criterion by which it was to be judged.\r\nThe emphasis on contactâ€seen perhaps at its finest in the poems of Robert Burnsâ€was in some ship raiseal a prolongation of the before longer â€Å"cult of sensibility”; and it is worth remembering that horse parsley Pope praised his father as having know no diction just now the language of the heart. exactly feeling had begun to receive event emphasis and is found in most of the quixotic definitions of numbers. Wordsworth called rhyme â€Å"the spontaneous overflow of effectual feeling,† and in 1833 John Stuart linger defined verse as â€Å"feeling itself, employing thought nevertheless as the medium of its utterance.” It followed that the ruff poem was that in which the superlative intensity of feeling was expressed, and whence a cutting immenseness was attached to the lyric. some other distinguish quality of Romantic piece of authorship was its wobble from the mimetic, or imitative, assumptions of the up practicedal era to a new stress onimagination. Samuel Taylor Coleridge saw the imagination as the supreme poetic quality, a quasi-divine germinal rend that made the poet a inspired being.\r\nSamuel Johnson had seen the components of poetry as â€Å"invention, imagination and judgement,” scarcely Blake wrote: â€Å" angiotensin converting enzyme origin alone makes a Poet: Imagination, the portend Vision.” The poets of this period accordingly lay great emphasis on the workings of the unconscious oral sex, on dreams and re veries, on the supernatural, and on the simple- looked or primitive peck of the world, this last being regarded as valuable because its clarity and intensity had not been overlaid by the stick aroundrictions of cultivate â€Å"reason.” Rousseau’s sentimental inclination of the â€Å"noble savage” was oft invoked, and a lot by those who were stupid that the phrase is Dryden’s or that the type was adumbrated in the â€Å" suffering Indian” of Pope’s An Essay on Man. A further sign of the attenuated stress placed on judgment is the Romantic emplacement to form: if poetry must be spontaneous, sincere, intense, it should be make primarily according to the dictates of the productive imagination.\r\nWordsworth advised a offspring poet, â€Å"You feel powerfully; corporate trust to those feelings, and your poem will take its cast of characters and proportions as a tree does from the vital belief that actuates it.” This organic view of poetry is opposed to the classical possible action of â€Å"genres,” each with its own lingual decorum; and it led to the feeling that poetic sublimity was unattainable demur in short passages. delve in hand with the new conception of poetry and the pressure sensation on a new subject matter went a demand for new counsellings of writing.\r\nWordsworth and his followers, particularly Keats, found the normal poetic diction of the late 18th century urinate and stilted, or â€Å"gaudy and inane,” and totally unsuited to the fount of their perceptions. It could not be, for them, the language of feeling, and Wordsworth accordingly sought to bring the language of poetry back end to that of everyday expression. Wordsworth’s own diction, however, often differs from his theory. Nevertheless, when he published his preface to melodious Ballads in 1800, the time was wholesome(p) for a change: the waxy diction of preceding 18th-century poetry had h ardened into a merely conventional language.\r\nPoetry\r\nBLAKE, WORDSWORTH, AND COLERIDGE\r\n helpful as it is to trace the common elements in Romantic poetry, thither was little conformity among the poets themselves. It is misleading to read the poetry of the prime(prenominal) Romantics as if it had been written primarily to express their feelings. Their concern was sort of to change the intellectual modality of the age. William Blake had been dissatisfied since boyhood with the current adduce of poetry and what he considered the unbelieving drabness of contemporary thought. His azoic development of a evasive shield of mocking witticism with which to face a world in which science had fuck off trifling and art inconsequential is visible in the satiric An Island in the Moon (written c. 1784â€85); he then took the bolder step of lay aside sophistication in the visionary Songs of Innocence (1789). His desire for renewal encouraged him to view the outbreak of the French Revolution as a weighty withalt. In works such as The hymeneals of promised land and Hell (1790â€93) and Songs of Experience (1794), he attacked the hypocrisies of the age and the impersonal cruelties resulting from the pronouncement of analytic reason in contemporary thought.\r\nAs it became clear that the ideals of the Revolution were not probable to be realized in his time, he renewed his efforts to order his contemporaries’ view of the earth and to construct a new mythology centred not in the God of the Bible entirely in Urizen, a repressive approach pattern of reason and law whom he believed to be the deity very worshipped by his contemporaries. The story of Urizen’s coat was install out in The premier(prenominal) Book of Urizen (1794) and then, much am spelliously, in the unembellished manuscript Vala (later redrafted as The Four Zoas), written from about 1796 to about 1807. Blake developed these ideas in the visionary narrations of Milton (1804â€08) and Jerusalem (1804â€20). Here, shut up using his own unreal characters, he portrayed the inventive artist as the hero of society and suggested the possibility of buy dorsum from the fallen (or Urizenic) condition. William Wordsworth and Samuel Taylor Coleridge, meanwhile, were also exploring the implications of the French Revolution.\r\nWordsworth, who lived in France in 1791â€92 and fathered an illegitimate child there, was demented when, soon after his return, Britain tell war on the republic, dividing his allegiance. For the rest of his c areer, he was to brood on those dismantlets, trying to develop a view of domain that would be faithful to his twin beneathstanding of the compassion of individual human fates and the unrealized potentialities in humanity as a whole. The low gear accompanimentor emerges in his earliest manuscript poems â€Å"The Ruined bungalow” and â€Å"The Pedlar” (both to form part of the later Excursion); the second was developed from 1797, when he and his sister, Dorothy, with whom he was existent in the west of England, were in shut out contact with Coleridge. displace simultaneously by Dorothy’s immediacy of feeling, manifested everywhere in her Journals (written 1798â€1803, published 1897), and by Coleridge’s imaginative and speculative genius, he produced the poems hive a delegacy in lyric Ballads(1798). The batch began with Coleridge’s â€Å"The numbers of the Ancient Mariner,” continued with poems displaying ship in the powers of personality and the tender-hearted instincts of ordinary people, and concluded with the wistful â€Å"Lines Written a a few(prenominal) Miles Above Tintern Abbey,” Wordsworth’s onset to set out his vaned faith in nature and humanity. His investigation of the relationship between nature and the human mind continued in the long autobiographical poem address to Coleridge and later titled The Prelude (1798â€99 in cardinal books; 1804 in five books; 1805 in 13 books; revised constantly and published posthumously, 1850). Here he traced the value for a poet of having been a child â€Å"fostered alike by beauty and by veneration” by an upbringing in sublime surroundings.\r\nThe Prelude constitutes the most signifi toilett incline nerve of the Romantic discovery of the self as a egress for art and literary works. The poem also makes practically of the work of memory, a theme explored as well in the â€Å"Ode: Intimations of Immortality from Recollections of Early Childhood.” In poems such as â€Å"Michael” and â€Å"The Brothers,” by contrast, written for the second volume of melodious Ballads (1800), Wordsworth dwelt on the pathos and potentialities of ordinary lives. Coleridge’s poetic development during these years paralleled Wordsworth’s. Having curtly brought together images of nature and the mind in â€Å"The Eolian Har p” (1796), he devoted himself to more-public concerns in poems of political and social prophecy, such as â€Å"Religious Musings” and â€Å"The Destiny of Nations.” congruous disillusioned in 1798 with his in the beginning politics, however, and encouraged by Wordsworth, he turned back to the relationship between nature and the human mind.\r\nPoems such as â€Å"This Lime-Tree spindle My Prison,” â€Å"The Nightingale,” and â€Å"Frost at Midnight” (now sometimes called the â€Å"conversation poems” but collected by Coleridge himself as â€Å" ruminative Poems in Blank meter”) combine sensitive descriptions of nature with subtlety of psychological comment. â€Å"Kubla khan” (1797 or 1798, published 1816), a poem that Coleridge said came to him in â€Å"a genial of Reverie,” represented a new potpourri of exotic writing, which he also exploited in the supernaturalism of â€Å"The Ancient Mariner” and the unfinished â€Å"Christabel.” After his visit to Ger umteen in 1798â€99, he renewed trouble to the links between the subtler forces in nature and the human drumhead; this attention bore result in earn, notebooks, literary criticism, theology, and ism. Simultaneously, his poetic output became sporadic. â€Å"Dejection: An Ode” (1802), other meditative poem, which scratch line took shape as a verse line letter to Sara Hutchinson, Wordsworth’s sister-in-law, unforgettably describes the suspension of his â€Å"shaping center of Imagination.” The work of both poets was order back to national affairs during these years by the rise ofNapoleon. In 1802 Wordsworth dedicated a number of sonnets to the patriotic cause.\r\nThe decease in 1805 of his brother John, who was a captain in the merchandiser navy, was a grim monitor lizard that, while he had been life story in retirement as a poet, others had been willing to give way themselves. From th is time the theme of craft was to be prominent in his poetry. His political essay Concerning the dealings of Great Britain, Spain and Portugal…as impact by the Convention of Cintra (1809) hold with Coleridge’s periodical The partner (1809â€10) in deploring the decline of pattern among statesmen. When The Excursion appeared in 1814 (the time of Napoleon’s first exile), Wordsworth announced the poem as the central section of a longer projected work, The Recluse, â€Å"a philosophical Poem, containing views of Man, Nature, and Society.” The plan was not fulfilled, however, and The Excursion was left to stand in its own right as a poem of moral and spectral comforter for those who had been disappointed by the distress of French revolutionary ideals.\r\n some(prenominal) Wordsworth and Coleridge benefited from the advent in 1811 of the Regency, which brought a renewed interest in the liberal arts. Coleridge’s lectures on Shakespeare became f ashionable, his playRemorse was briefly produced, and his volume of poems Christabel; Kubla Khan: A Vision; The Pains of residuum was published in 1816. Biographia Literaria (1817), an sum up of his own development, combined philosophy and literary criticism in a new way and made an enduring and important contribution to literary theory. Coleridge settled at Highgate in 1816, and he was sought there as â€Å"the most impressive vocalizer of his age” (in the words of the litterateur William Hazlitt). His later religious belles-lettres made a sizable impact on puritanical readers.\r\nNo other period in English writings displays more variety in tendency, theme, and meaning than the Romantic suit of the 18th and 19th centuries. Furthermore, no period has been the topic of so much disagreement and mental confusion over its defining principles and estheticals. love story, then, can best be exposit as a large network of sometimes competing philosophies, agendas, a nd points of interest. In England, romance had its greatest influence from the end of the eighteenth century up through about 1870. Its basal vehicle of expression was in poetry, although novelists adopted m either of the aforementioned(prenominal) themes. In America, the Romantic Movement was slightly delay and modulated, holding sway over arts and letters from roughly 1830 up to the Civil War. turnaround to the English example, American literature championed the novel as the most fitting genre for love story’s exposition.\r\nIn a broader moxie, love affair can be conceived as an adjective which is relevant to the literature of virtually any time period. With that in mind, anything from the Homeric heroic poems to sensory systemrn dime novels can be said to concentrate the stamp of Romanticism. In bitchiness of such general disagreements over usage, there are some definitive and universal statements one can make regarding the nature of the Romantic Movement in bot h England and America. First and foremost, Romanticism is concerned with the individual more than with society. The individual consciousness and in particular the individual imagination are especially fascinating for the Romantics. â€Å" regret” was rather the buzzword for the Romantic poets, and altered states of consciousness were often sought after in order to enhance one’s inventive potential. in that respect was a coincident downgrading of the greatness and power of reason, distinctly a reaction against the Enlightenment mode of thinking.\r\nNevertheless, writers became piecemeal more invested in social causes as the period moved forward. Thanks by and large to the Industrial Revolution, English society was undergoing the most severe epitome shifts it had seen in alive memory. The receipt of umpteen early Romantics was to yearn for an idealized, simpler past. In particular, English Romantic poets had a strong company with medievalism and mythology. The tales of King Arthur were especially resounding to their imaginations. On top of this, there was a clearly unknown quality to Romantic writing that sets it apart from other literary periods. Of course, not every Romantic poet or novelist dis compete all, or even most of these traits all the time. On the formal level, Romanticism witnessed a steady loosening of the rules of aesthetical expression that were pervasive during earlier times. The Neoclassical stop consonant of the eighteenth century included very strict expectations regarding the structure and content of poetry. By the dawn of the nineteenth century, experimentation with new styles and subjects became much more acceptable.\r\nThe high-flown language of the previous generation’s poets was replaced with more natural cadences and verbiage. In terms of poetic form, rhyme stanzas were slowly giving way to blank verse, an unrhymed but close up rhythmic style of poetry. The purpose of blank verse was to heighten co nversational speech to the level of austere beauty. many criticized the new style as mundane, yet the innovation soon became the preferred style. One of the most popular themes of Romantic poetry was country life, otherwise known as pastoral poetry. fabulous and fantastic settings were also employed to great effect by many of the Romantic poets. though struggling and unknown for the pile of his life, poet and artist William Blake was certainly one of the most creative minds of his generation.\r\nHe was well ahead of his time, predating the high point of English Romanticism by some(prenominal) decades. His greatest work was composed during the 1790s, in the shadow of the French Revolution, and that foe informed much of his creative process. passim his fastidious career, Blake gradually built up a sort of personal mythology of human beings and imagination. The Old and New Testaments were his source material, but his own sensibilities transfigured the biblical stories and led to something only when victor and whole misunderstood by contemporaries. He attempted to woo patrons to his side, yet his unstable temper made him rather elusive to work with professionally. Some considered him mad. In addition to writing poetry of the first order, Blake was also a master engraver. His greatest contributions to Romantic literature were his self-published, quasi-mythological illustrated poetry collections.\r\ngloriously colored and painstaking in their design, few of these were produced and fewer still survive to the present day. However, the craft and genius behind a work like The Marriage of Heaven and Hell cannot be ignored. If one could identify a wholeness division as the standard-bearer of Romantic sensibilities, that voice would belong to William Wordsworth. His publication of Lyrical Ballads in 1798 is identified by many as the commencement act of the Romantic Period in English literature. It was a hugely conquestful work, requiring several reprintin g over the years. The prevalent theme of Lyrical Ballads was Nature, specifically the power of Nature to crap strong impressions in the mind and imagination. The voice in Wordsworth’s poetry is observant, meditative and certified of the connection between living things and objects.\r\n there is the sense that past, present, and hereafter all mix together in the human consciousness. One feels as though the poet and the decorate are in communion, each a partner in an act of creative production. Wordsworth quite deliberately turned his back on the Enlightenment traditions of poetry, specifically the work of Alexander Pope. He instead looked more to the reincarnation and the Classics of Greek and Latin epic poetry for inspiration. His work was tell for its accessibility. The undeniable commercial success of LyricalBallads does not diminish the heavy(p) effect it had on an entire generation of aspiring writers. In the United State, Romanticism found its voice in the poets a nd novelists of the American Renaissance. The beginnings of American Romanticism went back to the New England Transcendental Movement.\r\nThe slow-wittedness on the individual mind gradually shifted from an optimistic marque of tactual sensationualism into a more modern, cynical study of the arse of humanity. The political unrest in mid-nineteenth century America undoubtedly played a role in the development of a darker aesthetic. At the same time, strongly individualist religious traditions played a large part in the development of artistic creations. The Protestant work ethic, on with the popularity and fervor of American religious leaders, fed a literary output that was undergird with dismiss and brimstone. The middle of the nineteenth century has only in refresh gain the label of the American Renaissance in literature. No one alive in the 1850s quite realized the bloom of creativity that was underway. In fact, the novelists who like a shot are regarded as classic were v irtually unknown during their lifetimes. The novelists working during this period, particularly Nathaniel Hawthorne and Herman Melville, were crafting obtusely symbolic and original pieces of literature that withal relied heavily upon the example of English Romanticism.\r\nHowever, there work was in other respects a clean break with any permutation of Romanticism that had play along before. There was a loathsomeness to American Romanticism that was clearly distinct from the English examples of earlier in the century. Herman Melville died penniless and unknown, a failed writer who recognized his own brilliance even when others did not. It would take the red-brickists and their reappraisal of American arts and letters to resuscitate Melville’s literary corpus. In novels like Benito Cereno and Moby Dick, Melville employed a sullen fabric of hinted meanings and symbols that indispensable close reading and patience. Being erudite himself, Melville’s writing betrays a deep understanding of memorial, mythology, and religion. With Moby Dick, Melville displays his look into acumen, as in the course of the novel the reader learns more than they thought possible about whales and whaling. The novel itself is dark, mysterious, and hints at the supernatural. Superficially, the novel is a revenge tale, but over and above the narrative are meditations of madness, power, and the nature of being human.\r\nInterestingly, the narrator in the first few chapters of the novel more or less disappears for most of the book. He is in a sense swallowed up by the mania of Captain Ahab and the crew. Although the novel most certainly held sway, poetry was not utterly unruffled during the flowering of American Romanticism. arguably the greatest poet in American literary history was Walt Whitman, and he took his inspiration from many of the same sources as his fellows working in the novel. His publication of Leaves of Grass in 1855 marked a minute moment in the histo ry of poetry. Whitman’s voice in his poetry was infused with the spirit of democracy. He attempted to include all people in all corners of the Earth within the sweep of his poetic vision. Like Blake, Whitman’s brand of poetics was cosmological and entirely unlike anything else being produced at the time. Like the rest of the poets in the Romantic tradition, Whitman coined new words, and brought a diction and rhythmic style to verse that ran counter to the aesthetics of the last century.\r\nWalt Whitman got his start as a writer in journalism, and that documentary style of seeing the world permeated all his creative endeavors. In somewhat of a counterpoint to Whitman’s popular optimism stands Edgar Allen Poe, today recognized as the most purely Romantic poet and short story writer of his generation. Poe crafted fiction and poetry that explored the unlike side of human nature. The English Romantics had a fascination with the fantastical and of â€Å"strangeâ⠂¬Â beauty, and Poe adopted this aesthetic perspective willingly. His sing-song rhythms and dreary settings make him criticism on twofold fronts, but his creativity earned him a place in the first rank of American artists. He is credited as the inventor of detective fiction, and was likewise one of the original master of horror. A sometimes overlook contribution, Poe’s theories on literature are often required reading for students of the art form. The master of symbolism in American literature was Nathaniel Hawthorne. Each of his novels represents worlds imbued with the power of suggestion and imagination.\r\nThe sanguine earn is often placed aboard Moby Dick as one of the greatest novels in the English language. Not a single word is out of place, and the dense symbolism opens the work up to multiple interpretations. There are discussions of guilt, family, honor, politics, and society. There is also Hawthorne’s deep sense of history. Modern readers often believe that The florid Letter was written during the age of the Puritans, but in fact Hawthorne wrote a story that was in the distant past even in his own time. Another trademark of the novel is its dabbling in the supernatural, even the grotesque. One gets the sense, for example, that perchance something is not quite right with Hester’s daughter Pearl. slide fastener is what it appears to be in The Scarlet Letter, and that is the essence of Hawthorne’s particular Romanticism. Separate from his literary production, Hawthorne wrote ebulliently on literary theory and criticism.\r\nHis theories exemplify the Romantic spirit in American letters at mid-century. He espoused the conviction that objects can hold substance deeper than their apparent meaning, and that the symbolic nature of reality was the most fertilizable ground for literature. In his short stories especially, Hawthorne explored the complex system of meanings and sensations that shift in and out of a personâ⠂¬â„¢s consciousness. Throughout his writings, one gets a sense of darkness, if not outright pessimism. There is the sense of not fully understanding the world, of not acquiring the entire picture no matter how hard one tries. In a story like â€Å"Young Goodman Brown,” incomplete the reader nor the protagonist can distinguish reality from fantasy with any sureness. As has been argued, Romanticism as a literary sensibility never completely disappeared. It was overtaken by other aesthetic paradigms like Realism and Modernism, but Romanticism was always lurking under the surface.\r\nMany great poets and novelists of the ordinal century cite the Romantics as their greatest inspirational voices. The primary reason that Romanticism fell out of the limelight is because many writers felt the need to express themselves in a more immediate way. The Romantic poets were regarded as innovators, but a bit lost in their own imaginations. The real problems of life in the world seemed to b e pushed aside. As modernization continued unchecked, a more earthy kind of literature was demanded, and the Romantics simply did not fit that bill.\r\n'