English Romanticism

According to the Bible, Eve was the first to heed Satan’s advice to eat of the forbidden fruit. The notion of woman as the Devil’s accomplice is prominent throughout the history of Christianity. During the nineteenth century, rebellious females performed counter-readings of this misogynist tradition. Hereby, Lucifer was reconceptualised as a feminist liberator of womankind, and Eve became a heroine. In these reimaginings, Satan is an ally in the struggle against a patriarchy supported by God the Father and his male priests.

This study delineates how such Satanic feminism is expressed in a number of nineteenth-century esoteric works, literary texts, autobiographies, pamphlets and journals, newspaper articles, paintings, sculptures and even artefacts of consumer culture such as jewellery.

In the material, four motifs in particular are prominent: 1) interpretations of Eve’s role in the fall of man as something positive, 2) the witch as a proto-feminist figure, 3) the demon lover as an emancipator, 4) a feminised Satan contrasted with an oppressive male God. A fifth and less central motif is conceptions of Lilith, according to Jewish lore the unruly first wife of Adam, as the first feminist.

The analysis focuses on interfaces between esotericism and the political realm, as well as the interdependence of literature and the occult. New light is thus shed on neglected aspects of the intellectual history of feminism, Satanism and revisionary mythmaking. The study is informed by theories concerning counter-readings, counter-discourses and counter-myths, and in particular highlights the complex interplay of such phenomena and the hegemonic discourses that demonised feminism. A key theme in this context is the limits and paradoxes of inversion as a subversive strategy.

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Shelley's still-baffling masterpiece Alastor unfolds layer upon layer of ecological significance as long as we are prepared to drop normative concepts of Nature and accept that the narrator(s) is/are part of the poem (a very potent example of Romantic irony). Alastor forces us into the uncomfortable position that its preface condemns.

The Romantic poet Lord Byron was known for his epic verse such as 'Childe Harold's Pilgrimage' and 'Don Juan', but he was equally famous for his scandalous lifestyle and his revolutionary activities in Italy and Greece. Byron became a member of the Carbonari while in Italy and referred to Freemasonry in 'Don Juan', the poet perhaps being familiar with his great-uncle's Masonic activities and that of his friends John William Polidori and Col. Thomas Wildman. This paper will examine Byron's links to Freemasonry and the Carbonari and discuss how the poet may have been influenced by the themes and the ethos of these secret societies.

Blake's Jerusalem (c.1821), a one hundred plate illustrated poem of startling visual and verbal complexity, is the last in a series of what Blake termed prophecies. Laboriously created by an author-artist living just above poverty, these works were first engraved in reverse on metal plates, before being hand-printed and coloured by Blake and his wife. They were so labour-intensive that there are only ten known editions of Jerusalem and, of these, only one is finished. This one, complete version of Blake's final prophecy ends with the iconographic climax of the final plate (see ). The final image of Jerusalem, presenting three figures in a stylized tableaux, is steeped in a mythopoetical visual significance related to Blake's prophetic work. The figure in the centre, Los, first appeared in Blake's early prophecies in the 1790s and is often cast in the role of the poetprophet, a figure working in the 'furnaces' of the imagination and armed for such a task with a hammer and tongs. 1 Holding his customary tongs like a compass, however, creates a final payoff to the image of the compass used throughout Blake's oeuvre. But, at the same time, the visual relationship between the tongs/compass, the sun and the moon has an intriguing echo of eighteenthcentury Masonic iconography extant in Britain during Blake's lifetime.

William Wordsworth’s “Preface” to the second edition (1800) of Lyrical Ballads (first published 1798), subsequently revised and enlarged several times, is still considered by many to be the manifesto of the Romantic Movement in England.  A manifesto of a new movement is expected to offer at least a few original ideas. Recent research, however, reveals that there is almost nothing original in the “Preface.” Instead of dealing a sledgehammer blow to neoclassicism, it is fundamentally neoclassical in its rejection of adornment and is merely the culmination of thirty years of poetry based on popular metres and humble subject matter, and its concern to reach a wide audience. The only originality it may justly lay claim to is the introduction of the notion that poetry about common life should also reflect the psychology of the individual – “the primary laws of our nature.” This aspect, however, still remains underemphasized.

Emily Bronte's fascination with Romantic ideas is ever present in her only novel, Wuthering Heights, as her vivid descriptions of wild nature, rebellious characters, and such Gothic elements like horror and death, clearly suggest Emily's appreciation for the escapist ideas of the Romantic period that preceded her literary creation. The Romantics, in their painful agony of confronting the world of cold reason, cherished pure human emotions and sublime nature, which were thought to be the elements of human salvation.

The relationship with Romanticism of a great Modernist like James Joyce is a complex subject, ambiguously denoted by a shady mixture of rejection and pervasive influence. In the years of his formation and youth, the cultural paradigm of Romanticism played a crucial role in defining Joyce’s conception of literature and art, and its importance is directly transposed in the autobiographical fictionalisation of Joyce’s own development through his two Bildungsromane, Stephen Hero and A Portrait of the Artist a Young Man. By examining his juvenile critical writings, this study tries at first to reconstruct his complex relationship with Romanticism and its epigones. While in his famous essay about James Clarence Mangan Joyce condemns the misconceived Romantic temper that distinguished the 19th century, his cultural formation is shaped by authors and works that are somehow connected with this dominating Romantic paradigm. Besides, it can also be observed that some of the original Romantics, poets like Shelley, Byron and Blake, are considered positive models for the emerging artist, becoming some of Joyce’s early literary heroes. After evaluating the complex critical position of the Irish author towards the Romantics and Romanticism, this study considers how this influence is transposed in the two versions of his Künstlerroman. In particular, it is worth noting that Romanticism acquires a fundamental role in the fragmentary, unpublished novel Stephen Hero. Here, the Romantic temper is not only a negative conception of art, but also a misleading attitude in front of life and reality: Stephen Daedalus’ progress, therefore, has to move beyond it to succeed in becoming a complete artist.  In A Portrait of the Artist a Young Man, on the contrary, Romanticism also plays a role in the symbolic and thematic architecture of the novel, even though Joyce’s critical positions are no more directly and explicitly tackled in the narrative. Indeed, references to Romanticism become a way to better represent the protagonist’s mindset and his relationship with the external world, always ambiguously – and often ironically – defined by his Romantic flights and more earthly resolutions. By comparing the role of Romanticism in the two novels, therefore, this work aims at better understanding a fundamental phase of Joyce’s production, through the analysis of the evolution of the symbolic structures of cultural and literary references that will recur also in his later masterpieces.

William Wordsworth was perhaps one of the most prominent authors of English romanticism. His pensive poetry and life, engulfed with the tragedies of his day, show us a man that yearned for the stars yet could never quite reach them. He found comfort and hope in his close relationship with nature, yet, for a long time, was anguished to find happiness unsatisfying unless shared. It is here that memory plays a central role, that of constructing and maintaining connections, to both past selves and others. Memory enables Wordsworth’s speakers to alleviate the weight of the contemporary world. “Recollecting their childhoods gives adults a chance to reconnect with the visionary power and intense relationship they had with nature as children. In turn, these memories encourage adults to re-cultivate as close a relationship with nature as possible as an antidote to sadness, loneliness and despair” (SparkNotes Editors). But memory is also an active agent that gathers experiences and, by storing and re-working them, builds the subject’s identity. Wordsworth, by contemplating mortality, found solace in the realization that he would live on in the memory of his family and friends. It is impossible to overstate the importance of memory to Wordsworth. In the preface to Lyrical Ballads he even gave it a crucial role in his creative process and by doing so forever bound his life with the verses of his works. Therefore, to sum up, if today we ask of William Wordsworth, we ask of a man who was able:
To see a world in a grain of sand
And a heaven in a wild flower,
Hold infinity in the palm of [his] hand
And eternity in an hour.
(Blake 1-4)

The aim of the following work is to explore how the concept of ‘Nature’ appears in 19th Century English literature by comparing the different uses that both Romantic poets and Gothic novelists made of it. Due to the fact that Nature is a recurrent thematic element in several literary movements, this work will focus on the notion that the 19th Century English authors had of it and, thus, how they depicted this vision of Nature in their literary works in an unprecedented way. Two main parts of analysis are proposed: the first one focuses on the concept of ‘Nature’ in the English Romantic poetry, whilst the second one refers to its use in the Gothic novel. Both parts consist of brief analyses of different literary excerpts that are compared between them in order to appreciate the similarities and differences in the ways in which Nature was conceived by different poets and novelists of this period.

Case studies in postcolonial contextualization mark a forty-year-old missiolog-ical trend in evangelical scholarship. The largely unqualified support of indigenous theological expression by mission theorists represents an epistemological shift from a conservative bibliology toward felt-needs evangelization and religious roundtable dialogue methods. Evangelical contextualization theory today echoes German Ro-manticism's early assessments of indigenous language and local religion, especially as seen in the works of pluralistic Johann Gottfried Herder (1744–1803). No study of postcolonial contextualization is complete without considering the enduring influence of Herder's " vernacular consciousness " on the current missiological mindset.

The tool for Mary Shelley to criticize and satirize Romanticism is her famous character, Victor Frankenstein, or as the subtitle of the novel suggests: The Modern Prometheus. In Romantic beliefs, Prometheus was the symbol of limitless ability and freedom to whom many Romantic Poets pay tribute. In contrast, in Mary Shelley's opinion, this 'metaphysical revolt' cannot go unpunished. The aim of this paper is to examine, through a Foucauldian reading, the mythic character of Prometheus in Romantic era, and the differences existing between Marry Shelley's presentations of the modern version of the character and the Romantic version, and to show how Mary Shelley, belonging to other discourses rather than the dominant one, opposes the Romantic-related ideas. As Foucault believes there exist other discourses along with the dominant one all of which are in a constant struggle over power in a hierarchy. Mary Shelley follows some marginalized discourses, and her opposition to Romantic ideals stems from her relationship with other major Romantic Poets, and also from getting influence from some scientific experimentations of her day. She witnesses the harshness in her relationships with Romantic Poets, and their doomed aspirations, which agonizingly affect her life.

Coleridge’s religious views changed all through his lonesome life. Despite his reconversion to Anglicanism after an active membership amongst the Unitarians and the Socinians, he was constantly troubled by the thought of the inexplicable entrance of evil in one’s existence and by a piercing sense of guilt for his sins. He sought to find God’s forgiveness and feel His love. Coleridge imbued with such feelings the title characters of some of his works, for instance The Rime of the Ancyent Marinere and Christabel. In both cases no chance is given them to repent of their transgressions. They are denied God’s grace, and are led to the point of no return. Christabel is the story of innocence and purity violated by sin. In a setting of ambiguity, if not disorder, Geraldine twists Christabel’s simplicity and inexperience, offering false protection. Such apparent truths beguile Christabel and introduce her to carnality. Geraldine’s spell brings spiritual destruction and never-ending misery on Christabel and her father, Sir Leoline. Christabel mirrors Coleridge’s views on the doctrine of the Fall. The story itself, the Bible and the author’s consideration of John Milton’s Paradise Lost as a literary mediator are merely a pretext for him to express his theological concerns and spiritual anxieties while giving vent to his heavy-laden vocation as a poet.

Il film Invictus (2009), con la sceneggiatura di Anthony Peckham e la regia di Clint Eastwood ispirata al romanzo di John Carlin (2009), The Human Factor: Nelson Mandela and the Game that Changed the World, ha determinato una forte attenzione del pubblico alla poesia Invictus di William Ernest Henley. Ciò si è tradotto in una proliferazione di traduzioni spontanee del componimento poetico citato in una scena chiave del film: la poesia viene, infatti, fatta propria da Nelson Mandela (Morgan Freeman nel film) prima per rafforzare il proprio morale negli anni della prigionia durante l'apartheid e successivamente per incoraggiare il capitano della squadra sudafricana di rugby, François Pienaar (interpretato da Matt Damon), quando nel corso dei mondiali del 1995 sulla scena internazionale ritornano gli Springboks, la nazionale sudafricana di rugby, dagli anni Ottanta esclusa dai campi di tutto il mondo a causa dell'apartheid.

This article tells about how Coleridge, one of the best poets of Romantic Age, treated the supernatural in his poem entitled The Rime of the Ancient Mariner. In treating the supernatural, Coleridge is different from the writers of the past. Coleridge put more emphasis on the influence of the supernatural beings or objects than the image of the supernatural creatures or objects, whereas the writers of the previous times were quite the opposite; they put more emphasis on the image or description of the supernatural creatures of objects. This article reveals how Coleridge has skillfully blended the natural things or phenomena with supernatural one that the supernatural things or phenomena eventually look natural. Coleridge's expertise in combining these two things constitute his privilege.

Economics has become a reductive science that postulates a utility-maximizing individual abstracted from any and all social and cultural contexts. Today, both the friends and the enemies of this science agree in projecting this reductionism onto the history of mainstream economics. The present essay rescues the history of political economy from such standard reductionist histories. It does so by pointing out some of the profound and substantial roles played by ideas of culture within the writings of two acknowledged giants of the history of economics, Adam Smith and Alfred Marshall. The first part of the paper makes use of some recent revisionist intellectual history that situates Smith’s Wealth of Nations within his larger project of illuminating the historical, political, moral as well as economic dimensions of modern commercial society. The second part presents some of my own research on Marshall, and shows how his transformation of classical into neo-classical economics arose by way of an injection of a conception of culture into the body of classical economic theory.

For Stevens, the Romantic period extends from the late eighteenth century through the late nineteenth century, and it includes both English and American writers. The chief Romantic influences on Stevens' poetry include Wordsworth, Shelley, Keats, Emerson, Whitman, and Tennyson. (There are lesser echoes of Blake and Coleridge. Byron seems to have had little impact.) Stevens was born in 1879, and both Whitman and Tennyson died in 1892. For Stevens, then, Romanticism was not a remote historical episode. It overlapped with his own life, and it formed the immediate historical background to his life's work as a poet. Moreover, in Stevens' conception, Romanticism is not just a single historical period. It is a recurrent mode of the poetic imagination, and for Stevens that mode constitutes the wellspring of all poetic vitality.

Rodas addresses rhetorical and narrative interstices of Frankenstein, exploring the ways in which the visible sutures of the novel defamiliarise intuitive language and social contact, bringing the reader into a complicit relationship with autism. Rodas observes that the creature’s hovel is simultaneously a container for the disposal of rejected creation and a sanctuary that shields the emergent self and allows it the privacy to develop: the space, and the being which inhabits it, constitute a representation of Romantic autism, an extreme of solitary self-ness, the ultimate expression of solitude. While the infamous ‘monster’ evokes the idea of the feral child that has often been associated with autism, however, Rodas proposes that Shelley’s novel provokes a more intimate relationship with autism than audiences might initially realise: the narrative strategies of the text bind the reader into a seemingly paradoxical experience of muteness and verbal precocity, and a correlative hyper-consciousness of boundaries—both rhetorical and social.

Romantic Legacies: Transnational and Transdisciplinary Contexts presents the most wide-ranging treatment of Romantic regenerations, covering the cross-pollination between the arts or between art and thought within or across the borders of Germany, Britain, France, the US, Russia, India, China, and Japan. Each chapter in the volume examines a legacy or afterlife in a comparative context to demonstrate ongoing Romantic legacies as fully as possible in their complexity and richness. The volume contains 5 paradigms--Realist, Fin-de-Siècle, (Post)Modern, Environmental, and Oriental Romanticism--and provides readers a lens through which to understand Romanticism not merely as an artistic heritage but as a dynamic site of intellectual engagement that crosses nations and time periods and entails no less than the shaping of our global cultural currents.

English Romantic period (±1800 - ±1850) is considered as the high light of the writing poetry in the history of English Literature. The Europe history near and after 18th and 19th century was overpowered by France Revolutions and its ideals about liberty, equality, and fraternity. This point started from the beliefs about individual’s right and dignity. Bad things that attached in human are the result from the breaking of natural wisdom by the social institutions. This brings some philosophers to believe that human should be freed and given possibilities to rebuild the new world which appropriate with nature. One of those philosophers was Jean-Jacques Rousseau.

Professor Willoughby cited Jung’s theory of the collective unconscious when offering a way to explain  the frequency of the word “Wanderer”  in Goethe’s poetry and  of recurrent patterns it forms with other words. However Professor Willoughby had insufficient scope to reap much benefit from his insight as only intertextual comparisons between cases of word choice in Goethe’s poetry and in that of other poets affords the breadth necessary to trace the influence of something as all-pervasive as the collective unconscious postulated by Jung.

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l presente trabajo se propone indagar
acerca de la construcción de una nueva visión sobre
Mesoamérica a partir de las imágenes producidas
por el artista ingles Frederick Catherwood durante
su viaje por las tierras centroamericanas a mediados
del siglo XIX, en compañía de John Lloyd Stephens.
A través del recorrido por la biografía del artista,
recuperando la importancia de los viajes y sus
relatos desde los primeros contactos entre Europa
y América, y revisando el viaje realizado por estos
dos personajes, nos centraremos en el análisis de
las imágenes publicadas en 1844 bajo el titulo Views
of Ancient Monuments in Central América, Chiapas
and Yucatán. Con este trabajo buscamos recuperar
la importancia de este artista en la historia de los
contactos entre Europa y América y en la posterior
exploración de los territorios americanos a partir de
nuevos paradigmas que otorgaron mayor valor a la
antigüedad americana.
Abstract: The present work intends to investigate
the construction of a new vision about Mesoamerica
from the images produced by the English artist
Frederick Catherwood during his trip through the
Central American lands in the middle of the 19th
century, accompanied by John Lloyd Stephens.
Through the artist’s biography, recovering the
importance of travel and his writings from the
first contacts between Europe and America,
and reviewing the journey made by these two
characters, we will focus on the analysis of the
images published in 1844 under the title of Views
of Ancient Monuments in Central America, Chiapas
and Yucatan. With this work we seek to recover
the importance of this artist in the history of the
contacts between Europe and America and the
subsequent exploration of the American territories
from new paradigms that gave more value to
American antiquity.

The Romantic poets, writers, and philosophers of Western Europeborne out of the mechanizing cauldron of the late eighteenth and early nineteenth centuries -were among the first critics of bourgeois modernity, the civilization created by the triumph of capitalism.Romanticism -a "cultural movement" cutting across literature, philosophy, the arts, politics, religion, and history -was characterized by nostalgia for a real or imagined past, and was constituted by both conservative and revolutionary currents and thinkers.

The writings in the Romantic period were influenced mainly on the ideology of Romanticism, which, in England, were popularized by the Romantic movement sparked by Wordsworth and Coleridge's Lyrical Ballads; the movement was to propose the significant of individual expression and imagination.

Nature is one of the essential themes found in the Romantic writing. An expert said most Romantics believed human were born pure and good and it is society that corrupted human; hence, nature become a symbol of life without society, a good place for purity and happiness. I believe that this notion about human nature might derived from Rousseau's philosophy regarding the state of nature, simplified as human nature, which expressed the positive belief in the natural condition of human nature when we live without society. Romantics writer received the notion, and expressed it in the theme of nature, expressing the sublime and beauty of nature; however, there are differences in how poets in the Romantic period like Wordsworth, Byron and Brake treat and portray "nature"

This paper analyzes Samuel Taylor Coleridge's famous "Ancient Mariner" and how the poem emphasizes the tenets of the Romantic Movement. Many scholars focus on the poem's religious symbolism and the overarching moral of the story, yet many do not analyze the role that nature plays throughout. This paper adds to the discussion on "The Ancient Mariner" by reviewing the critical history about the poem and how the poem reflects the Romantic theme of nature.

En este artículo se analizan los procesos de traducción cultural, apropiación y transculturación del Romanticismo Europeo —sobre todo del francés— en la ensayística de Esteban Echeverría. En sus textos, existe una relación íntima entre romanticismo, liberalismo y modernidad. El autor se apropia de ciertos elementos de lo romántico, como el concepto de la modernidad y los principios de la Revolución francesa, pero rechaza otros como la revolución estética, la formulación radical del sujeto moderno, la cultura popular como base de la cultura nacional, o la emancipación de las mujeres. La apropiación ecléctica del romanticismo no solamente sirve para autorizar la voz del letrado y su función social, sino también para legitimar el proyecto liberal de la independencia espiritual y cultural.

The rise of the expressive theory of authorship in the literary movement that we call Romanticism radicalised the ideas that the artist is a genius and the work of art is autonomous from the actual reality as it results from an imaginary universe which is specific to a certain artist. Romantic emphasis on subjective experience and the disinterestedness of the creative act was also an aspect of its rejection of the principles of Enlightenment and Neoclassicism. Moreover, although time and place specific and emerging in connection to French Revolution and Industrial Revolution, the exponents of Romanticism were escapist rather than rebellious as to attempt the improvement of the social conditions. These are some of the reasons that have made critics regard Romanticism as an artistic not social movement and be reluctant to speak about a Romantic ideology in Marxist terms concerning the socio-historical position of literature, especially when referring to the great Romantic literary criticism expressed in Wordsworth's Preface to Lyrical Ballads, Coleridge's Biographia Literaria, and Shelley's Defence of Poetry. These texts represent the main concern of the present study, in relation to which the aim of the study is twofold: first, to discern among the ideas and principles regarding the origin of poetry, its subject-matter and language, the role of the poet, and poetic imagination, and, second, to present the ways in which these ideas are materialised or not in literary practice, namely in Wordsworth's Tintern Abbey and Shelley's To a Skylark.

George Gordon Byron
Life
• George Gordon Byron is an unconventional aristocrat and to many of his contemporaries, Byron’s poetry and life embodied the romantic spirit.
• Though rich and handsome, he had a handicap that consisted in a deformed foot and because of this he lacked a happy childhood. However, as a student at Cambridge University, he not only drank, gambled and made brilliant conversations but he forces himself to become skilled at physical sports.
• In 1807 he published Hours of Idleness, a small volume of lyric poems which was attacked in the pages of the Edinburgh Review; Byron replied with English Bards and Scotch Reviewers, where he showed his taste for satire.
• In 1809 he set out on his Grand Tour, visiting Portugal, Spain, Malta, Albania, Greece and the Middle East, where he gathered the experiences that inspired the first two cantos of Childe Harold’s Pilgrimage, which he published after his return to England in 1812. The cantos were so successful that he became a literary and social celebrity, even because of his extravagant, fascinating, dissolute, unconventional, nonconformist, brilliant and original personality. He had a great reputation because of his works dealing with exotic settings and foreign customs.
• In 1815 Byron married Annabella Milbanke but it lasted one year due to Byron’s incestuous relationship given that he believed in free love.
• Because of this public scandal and because of his debts he decided to self-exile, even because he saw England as a limitation. He then travelled among Europe and strongly believed in nationalistic changes and supported nations for their independence. He first moved to Geneva, where he became close friend of Percy Bysshe Shelley and wrote the third canto of Childe Harold. He then moved to Venice, where he produced the tragedy Manfred, the fourth and last canto of Childe Harold, the heroic poem Beppo and his epic masterpiece Don Juan. In 1819 he moved to Milan where he participated to patriotic plots against Austrian rule; eventually he moved to Pisa to join Shelley. After Shelley’s death he decided to commit himself to Greek struggle of independence from Turkey. He organised and expedition and devoted himself to training troops in Missolonghi, where he died in 1824 due to a severe fever.
•  Byron firmly believed in individual liberty and wanted to be himself anywhere and at any time; he also wished all men to be free and so went to fight against tyrants. The general foreground of his works is an isolated man whose feelings are reflected by and identified with exotic and wild natural landscapes.
• Byron criticised both Wordsworth and Coleridge because they were narrow-minded and ignored the progress being made during that period in Europe. Though Byron deals with Romantic themes, he makes use of neoclassical style such as archaisms, cantos, conventional rhyme scheme and so on.
Childe Harold’s Pilgrimage
• The poem is structured in four independent parts called cantos. Unity is given by the protagonist who is Harold, called Childe (medieval term) because he is a nobleman awaiting knighthood who travels. Harold’s boredom and disillusionment with life lead him leave England.
• The first two cantos evoke a glorious past, the famous monuments and landscape of Spain, Portugal, Albania and Greece.
• In the third canto Byron experiments his own ability to become completely absorbed in imaginative creativity and the attraction to the nature world, which both provide a new vitality. Structurally the canto follows Byron’s journey, after he left England in 1816.
• In the fourth canto, which is set in Italy, contains several descriptions of nature, especially of the sea, depicted as the image of the sublime and eternity. Thus, nature reflects the poet’s mood and feelings.
• Childe Harold can be identified with the Byronic hero because of his mysteriousness, that men cannot understand for he is isolated and is at ease among wild nature.
Harold’s Journey
Harold’s Journey is a part of the third canto. In the second stanza there is a first person narrator because Byron wants to talk directly to his readers about the moment he left England and his daughter. He is excited for what is new and wonderful about to come. Harold’s journey is described as a pilgrimage because he does not know where he is going, he doesn’t have a set destination.
In the other stanza here it appears again the third person narration. Harold is pictured as an outcast and, though in youth he tried to hide his original and quirky nature, he then ignores the others’ opinion and becomes proud to be special despite being isolated.
In the thirteenth stanza Byron uses several personifications to implicitly say that nature is a living being and that it speaks a mutual language with him and the protagonist, and this language is clearer than his mother tongue.
In the fifteenth stanza Byron describes Harold’s suffering when he is among people and civilisation; he introduces the condition of the poet. Harold has to be in contact with other human beings in order to survive, but when this happens he feels as if he is just a little thing, he is bored and annoyed. He feels like a bird in cage, and as so Harold fights and struggles to do what he wants but finds an obstacle and thus harms himself (such as the bird bleeds on his plumage) and suffers in his soul. In this paragraph the poet’s message is that his ideas, his personality and his values are suppressed by society.

Percy Bysshe Shelley
Life
• Percy Bisshe Shelley was born in 1792 and he was the eldest son of a wealthy and conservative family. He rebelled early against his conventional background and in 1811 he was expelled from Oxford University because he wrote a pamphlet against their religion set and in which he denied the existence of God.
• At the age of 19 Percy married a 16 year-old girl and then travelled with her and their two children so that he could express his ideas and make a propaganda against the British government, especially in Ireland.
• In that period there was a nationalistic wave in almost all European countries. Shelley, therefore, lived in a time of conservatism which was hostile to any radical ideas and to political moderation. He rebelled against existing religions, laws and customs. He became a Republican, a vegetarian and a supporter of peace, freedom and free love; for this reason he had many relationships with both women and men outside marriage. His complaint for traditional forms of religion was identified by an interest of his in the occult sciences, scientific experiments and alchemy.
• Once he came back to England he separated from his wife and married Mary Godwin who was the daughter of the radical philosopher William Godwin; the couple eloped in Villa Diodati in Switzerland. Though their love at first sight, he was cruel to her and had a lot of affairs but despite this she kept being faithful to him.
• In 1818 the couple went to live in Italy, in voluntary exile, during which much of Percy’s best work was composed, including the Ode to the West wind, written in 1819, and the Defence of Poetry (1821), which is an uncompleted essay concerning the importance of poetry. Italy was the right place to rebel against the government and there were secret rebellious groups, but also beautiful landscapes.
• In 1822 the poet drowned during a storm while sailing near Livorno. Shelley’s grave is in the Protestant cemetery in Rome.

Beauty is the manifestation of God. It develops an impulse of love, and to love beauty is to love God, the Creator of
the universe. Beauty is comprehended through senses, and sensuous values develop spiritual consciousness. The
awareness of Beauty is acquisition of Truth that is Beneficial or the cause for Welfare. Keats was a worshiper of
beauty. “He loved the principle of beauty in all things.” Primarily he was considered a poet of sensuous beauty but a
thorough study of his poetry and letters reveals that his conception of beauty was holistic and transcendental, being
closer to the Indian concept summed up in the expression- Satyam Shivam Sundaram. The present paper is a critical
study of Keats’ mysticism of beauty in the lines of Indian views. The attempt has been made to go through some of
the relevant Indian religious texts to prop up Keats’ belief and present the veracity of Keats which has remained
dormant in the oblivion of time.