Quotes and critical ideas: term and definition to learn (Romanticism)

Come Reason, come!” — each nerve rebellious bind

“O Reason! Vaunted Sovereign” — of the mind

“the ‘magic’ of Reason’s” — meek control

“Phaon’s ‘melodious tongue’” — but ‘murderous eyes’

“Why is rapture” — so allied to pain

“pleasing torture” — of excessive joy

“Slow through each fibre creeps” — the subtle pain

“Wild is the foaming sea!” — The surges roar

“mute on the ground” — my neglected lyre lies

“how can love” — exulting reason queil

“Yet O my country, name beloved” — revered

“Milton’s tones the raptured ear enthrall” — mixt with the roar of Niagara’s fall

“Wide spreads thy race” — from Ganges to the pole

“the mighty city” — in floods of people poured itself abroad

“thy Midas dream” — is over

“the golden tide of commerce” — leaves thy shore

“thou who has shared the guilt” — must share the woe

“written” — in the dust

“arts, arms and wealth” — destroy the fruits they bring

“with frantic man in strife” — glad Nature pours the means

“to other climes” — the genius soars

“England, the seat of arts” — be only known by the gray ruin

“with throbbing bosoms shall the wanderers tread” — the hallowed mansions of the silent dead

“the beadsman’s fingers” — numb were

“it is St Agnes Eve” — yet men will murder upon holy days

“She sighed for Agnes’ dreams” — the sweetest of the year

“burning” — Porphyro

“chaste” — chamber

“those sad eyes were” — spiritual and clear

“these lovers fled away” — into the storm

“how changed thou art!” — How pallid, dull and drear

“Her eyes were open” — but she still beheld

“let nature’s commoners enjoy” — the common gifts of heaven

“God” — seeth thee

GENERAL IDEAS AND CRITICS

Anne Mellor — “anxiously promoted” — stable/coherent subjectivity

Judith Pascoe — “publicity hound” — and “romantic monster”

Whitney Arnold — “duty to make themselves known” — not just their novels

John Wilson Croker — “the empire might have been saved” — without the intervention of a lady-author

(critical commentary) — “tangled” — use of enjambed heroic couplets

Maggie Favretti — “prophecy” — male-dominated genre

Anne Mellor — “entering political discourse” — inherently revolutionary as a woman

Jessie Reeder — “oscillating structure” — interest in Latin America

Homi Bhabha — “shared narratives” — of nations is important

(critics) — “no rhetorical centre” — seen as traitorous

Stillinger — “real life” — entry into fantasy then return

Nancy Rosenfeld — “Madeline like Eve” — inherently disfavoured as a woman

John Jones — “vision of her sleep” — projected onto reality

(critical context) — “original more sexual” — later toned down

Mary Wollstonecraft — “revolution in female manners” — call for female authorship

(lecture idea) — “reason should rule” — over passion

(lecture idea) — “possibilities of feeling” — reason subordinated to imagination

William Blake — “critic of reason” — associated with Bacon, Locke, Newton

(lecture idea) — “egotistical sublime” — central Romantic concern

(lecture idea) — “revaluing emotion” — but also destructive

Edmund Burke — “Burkean sublimity” — masculine and mysterious

(lecture idea) — “beauty” — always feminine

(critics) — “too feminine” — criticism of Keats

Susan Matthews — “sex, sexuality, gender” — different meanings in 1790s

Susan Matthews — “unsexed” — not conforming to gender expectations

Susan Matthews — “sexuality” — refers to gender behaviour

Susan Matthews — “sex” — refers only to women

Mary Wollstonecraft — “gender constructed” — not natural

Mary Wollstonecraft — “men physically stronger” — only natural difference

Jean-Jacques Rousseau — “return to nature” — reject cultural conventions

Mary Wollstonecraft — “women as victims” — of social construction