Romantic Poetry and Romantic Art
Transcript: Edward Calvert, The Chamber Idyll (1831), Wood Engraving Edward Calvert, The Ploughman (1827), Wood Engraving on Paper Exit through the gift shop I wander thro' each charter'd street, Near where the charter'd Thames does flow. And mark in every face I meet Marks of weakness, marks of woe. Intro: Political and Social Climate Bibliography Questions: How the Chimney-sweepers cry Every blackning Church appalls, And the hapless Soldiers sigh Runs in blood down Palace walls Samuel Palmer, Moonlight: A Landscape with Sheep (1831-3), Pen and Ink on Card Step into London Works in Context Blake and The Ancients Making and Unmaking: 2. Were the Ancients influenced more by Blake's art or his poetry? William Blake, Engraving for Virgil's Eclogues ( George Richmond, The Creation of Light (1826), Tempera, Gold and Silver on mahogany 1. Which of the two, poetry or art, are most effective at conveying the Romantic themes? In every cry of every Man, In every Infants cry of fear, In every voice: in every ban, The mind-forg'd manacles I hear George Richmond, The Sower (1830), Pencil, Pen and Ink, Wash Caspar David Friedrich, Eldena Ruin (1825), Oil on Canvas But most thro' midnight streets I hear How the youthful Harlots curse Blasts the new-born Infants tear And blights with plagues the Marriage hearse Ackroyd, P. Blake (London: Minerva, 1996), p.149. Anon, (n.d.). Songs of experience: Holy Thursday. [online] Available at: http://www.tate.org.uk/learn/online-resources/william-blake/songs-innocence-and-experience/songs-experience-holy-thursday [Accessed 4 Mar. 2017]. Benton, M G., “Education an The Sister Arts”, The Journal of Aesthetic Education, 30, 1996 Dorfman, D. (1969). Blake in the Nineteenth Century: His Reputation as a Poet From Gilchrist to Yeats. New Haven and London: Yale University Press. Eaves, M. (2003). The Cambridge Companion to William Blake. Cambridge: Cambridge University Press. Glen, H. Vision and Disenchantment: Blake’s ‘Songs’ and Wordsworth’s ‘Lyrical Ballads’ (Cambridge: Cambridge University Press, 1983), p.19. History.com Staff, (2009). Enlightenment. [online] Available at: http://www.history.com/topics/enlightenment [Accessed 2 Mar. 2017]. Lister, Raymond, "’The Ancients" and the Classics Author(s)’, Studies in Romanticism, 15: 3, 1976, 395-404 Magher, M. (2017). The Symbolism and Imagery in 'London' by William Blake. [online] Available at: http://penandthepad.com/symbolism-imagery-london-william-blake-21951.html [Accessed 2 Mar. 2017]. Makdisi, S. (1998). Romantic imperialism : Universal Empire and the Culture of Modernity. Cambridge: Cambridge University Press. Palmer, A.H. The Life and Letters of Samuel Palmer, 1892, pp.15-16). Paley, Morton, D., ‘The Art of “The Ancients”’, Huntington Library Quarterly, 52: 1 1989, 97-124 Peet, M. and Robinson, D. Leading Questions (Walton-on-Thames: Nelson, 1992), p.80. Ryan, R. (1997). The Romantic Reformation: Religious politics in English literature, 1789-1824. Cambridge: Cambridge University Press. Tate, (1827). Abel the shepherd, George Richmond 1825 | Tate. George Richmond, Abel in the Garden of Eden (1825), Tempera on Oak Making and Unmaking: The Marriage of Opposites in Blake's Poetry Samuel Palmer, Hilly Scene (c.1826-8),Watercolour and gum arabic on paper on mahogany