By Duncan Wu
Brimming with the interesting eccentricities of a posh andconfusing stream whose impacts proceed to resonate deeply,30 nice Myths concerning the Romantics provides nice readability towhat we all know or imagine we all know approximately one ofthe most crucial sessions in literary heritage. * Explores a number of the misconceptions generally linked withRomanticism, supplying provocative insights that right and clarifyseveral of the commonly-held myths in regards to the key figures of thisera * Corrects a number of the biases and ideology in regards to the Romanticsthat have crept into the 21st-century zeitgeist for examplethat they have been a host of drug-addled atheists who believed in freelove; that Blake used to be a madman; and that Wordsworth slept with hissister * Celebrates numerous of the mythic items, characters, and ideasthat have handed down from the Romantics into modern tradition from Blake s Jerusalem and Keats sOde on a Grecian Urn to the literary style of thevampire * Engagingly written to supply readers with a enjoyable but scholarlyintroduction to Romanticism and key writers of the interval, applyingthe newest scholarship to the sequence of myths thatcontinue to form our appreciation in their paintings
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211n4. 19 Anthology of Romanticism, ed. , New York: Ronald Press, 1948), p. iii. This was also the dating adopted by Lionel Trilling and Harold Bloom for their Romantic Poetry and Prose (Oxford: Oxford University Press, 1973), the volume with which I was introduced to the period in the early 1980s. 20 See the quotations reproduced by Moore and Strachan, Key Concepts in Romantic Literature, pp. 9–14. John Beer provides a good potted history of its early evolution in his entry on Romanticism in The Blackwell Companion to the Enlightenment, ed.
Wu, p. 1369. Jon Mee, Romanticism, Enthusiasm, and Regulation: Poetics and the Policing of Culture in the Romantic Period (Oxford: Oxford University Press, 2003), pp. 177–8. ‘All Religions are One’, plate 8, in Blake, The Early Illuminated Books, ed. Eaves, Essick, and Viscomi, p. 51. S. T. Coleridge, ‘To William Wordsworth’, l. 38, in Romanticism: An Anthology, ed. Wu, p. 707. ‘Home at Grasmere’ MS B, ll. 1026–9, in William Wordsworth, Home at Grasmere: Part First, Book First, of The Recluse, ed.
That would be a kind of ‘murder’ – of scientific truth as much as of the higher truth of the imagination. Wordsworth rejects approaches that deny revelation and apprehensions of unity – but not the science of the mind. And it should be emphasized there was a tradition of psychological thought which conceded the mind might depend on something more than physiology – the implication being it possessed an immaterial basis. 29 It has long been acknowledged Wordsworth viewed scientists as creative beings.
30 Great Myths about the Romantics by Duncan Wu