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By Andrew M. Stauffer

ISBN-10: 0511112033

ISBN-13: 9780511112034

ISBN-10: 051111303X

ISBN-13: 9780511113031

ISBN-10: 0511113544

ISBN-13: 9780511113543

ISBN-10: 0511121997

ISBN-13: 9780511121999

ISBN-10: 051148450X

ISBN-13: 9780511484506

ISBN-10: 0521846757

ISBN-13: 9780521846752

ISBN-10: 1280199237

ISBN-13: 9781280199233

Andrew M. Stauffer explores the altering position of anger within the literature and tradition of the Romantic interval, really within the poetry and prose of Blake, Coleridge, Godwin, Shelley, and Byron. This leading edge e-book has a lot to give a contribution to the knowledge of Romantic literature and the cultural heritage of emotions.

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Dodds, in The Greeks and the Irrational, also considers Homer’s description of Hector here as a primary example of menos, an inspired and destructive fury that is both angry and sublime: When a man feels menos in his chest . . he is conscious of a mysterious access of energy; the life in him is strong, and he is filled with a new confidence and eagerness . . It is something much more spontaneous and instinctive than what we call “resolution”; animals can have it, and it is used by analogy to describe the devouring energy of fire .

Ultimately, in a period intensely interested in the causes and consequences of anger, just indignation is firmly separated from anger per se, which is made 40 Anger, Revolution, and Romanticism equivalent with irrational rage. As we will see, this process of reconceptualization resonates strongly through the work of the Romantic poet who, more than any of the others, found his voice amidst the Revolution debates of the 1790s: Samuel Taylor Coleridge. To the end of his life, Burke labored to establish the indignation–rage distinction, and it determined the British discussion regarding revolution and reform for decades to come.

5 Throughout this period, the evolution of conceptions of anger was a determining force behind such developments. Ultimately, in a period intensely interested in the causes and consequences of anger, just indignation is firmly separated from anger per se, which is made 40 Anger, Revolution, and Romanticism equivalent with irrational rage. As we will see, this process of reconceptualization resonates strongly through the work of the Romantic poet who, more than any of the others, found his voice amidst the Revolution debates of the 1790s: Samuel Taylor Coleridge.

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Anger, revolution, and romanticism by Andrew M. Stauffer


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