Essayists of romantic period poets - Grand Hôtel …

On our English Literature distance learning course you will have a chance to read and write about English Literature from the Middle Ages to the 20th century. All the best-known and best-loved writers are included, such as Chaucer, Shakespeare, Swift, Boswell, The Romantic Poets, Jane Austen and Dickens, as well as others usually known only to those who study the subject at university.

The course consists of nine lessons which progress chronologically through the periods of English Literature. At the end of each of the first eight lessons you will be asked to answer questions which are designed to bring out some of the most important and interesting aspects of the texts you have read, and in the ninth you will be invited to write an essay of your own choice on one of a selection of modern authors.

Your tutor will be a graduate in English Literature, with a flexible approach, enabling people of a wide range of educational backgrounds to enjoy the course. Those who wish to use the course as an introduction to English Literature without answering the set questions, or giving only brief answers, are welcome to do so, while those who wish to give longer responses to the questions are also welcome. The important factor is that you enjoy the reading, and relish the challenge of thinking in greater depth about what you read, while being free to approach the written work at whatever level suits you best.

The Classical Essayists. - Blupete

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Appreciating English Literature - London School of …

This period brought about almost as great a change in prose as it did in poetry, a fact that is frequently overlooked. That in tense individualism, already mentioned, is as evident in the chief prose writers as it is in the poets. The essay was no longer some thing that might have been written by a committee of sensible men, it was as personal and intimate as talk. So, too, criticism became frankly personal, and the only standard was the critic's own likes and dislikes. These Romantic prose writers expressed themselves first of all, and even their criticism was a chapter of autobiography. One result of this was a change in prose style. The i8th century prose style had been antithetical, balanced, impersonal. This standard style was by no means abandoned altogether (it exists to this day) and most of the quarterly re viewers used it, but all the more important prose writers (with the exception of Walter Savage Landor, who in his massive prose Imaginary Conversations, as in his exquisite epigrammatic verses, aimed at a classical balance, dignity and brevity of phrase) turned away from it to styles more personal, more highly coloured and musical, nearer to poetry. The most ambitious of all these prose colourists and musicians was Thomas De Quincey, who produced one masterpiece of autobiography and day-dream and elaborately notated prose, in his Confessions of an English Opium-Eater, and then gently subsided into being a writer of learned and in genious articles for the magazines.

Appreciating English Literature

This can no longer be said of the remaining member of this trio of "Lake Poets," Robert Southey, who in his own time was regarded as their equal. Even those fellow poets, such as Byron and Shelley, who most bitterly resented Southey's defection from the Liberal cause would be astonished if they could learn how his reputation as a poet has declined. Southey's epics, notably Thalaba and The Curse of Kehama, seem now so many monuments of wasted effort and futile ambition. He was, how ever, a most industrious man and learned prose man too, writing an excellent style, and at least one volume of his, the Life of Nelson, has kept its place. Time has dealt a little more tenderly with the picturesque narrative poems of Sir Walter Scott, whose Lady of the Lake and the rest are still enjoyed by young readers, but it is as the author of one or two magnificent lyrics, such as Proud Maisie, that Scott keeps his place as a poet. Beside him may be set his fellow-countryman, James Hogg (The Ettrick Shepherd), who has never quite had full justice done him. And there are three other poets who for years were regarded as the foremost men of their time but have since dwindled into the authors of a few acceptable lyrics. These are Samuel Rogers (the least important), Thomas Campbell and Tom Moore. Byron and Shelley.—Between these older men and the three younger poets, Byron, Shelley and Keats, who all died before they reached maturity, may be set the figure of a man who was greater as an influence than strictly as a writer. This was Leigh Hunt, who produced some pleasant verses, some good light essays and some really excellent criticism. His greatest work, however, was done as the inspiring friend of the younger poets, especially Shelley and Keats. Byron was not deeply influenced by any con temporary writer. Oddly enough, Byron, who became a European figure of Romance, was not at heart a Romantic poet at all, a fact that is now recognized. His most lasting work, apart from one or two poignant lyrics, has been in verse of a satirically descriptive order, found at its best in his Don Juan, in which his really strong masculine intellect, his witty impertinence and his rhetorical gusto have full scope. He was—and still remains- a symbolic figure of romantic rebellion, though he himself would have been the first to laugh at most of his fervent admirers.

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This section includes some of the more widely used anthologies that reproduce excerpts of previously published works by writers, essayists, travelers, and poets in environmental literature and culture. is as an early anthology used in environmental writing courses in the early to mid-1990s, during the early expansion of ecocriticism as a field. Another batch of anthologies emerged on the market in the late 1990s. diversifies the range of nature and environmental writers and even includes some international figures. is a comprehensive textbook and reader that differs from many of the readers in this list, which mainly reproduce experts of previously published material. Many of the earlier volumes—, , and even , the latter of which focuses on the origins of nature writing—resemble each other in content and approach. The later volumes, starting with , begin to address a wider range of “second wave” concerns. Coupe provides an extensive overview of literary periods in ecocriticism, beginning with the Romantics. is a volume devoted entirely to American environmental poetry. is the most recent and comprehensive reader in this list, except for perhaps , although it does not offer the pedagogical elements that does. A significant gap at the moment in ecocritical anthologies remains the lack of a complete anthology of environmental writers from around the globe.

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Apart from him the age produced no great poet

The premise of the collection is simple: we have asked practicing poets from around the world to read a Romantic-period poem that they particularly admire and that has influenced the way in which they think about their craft.

11/02/2018 · Answer The main characteristics of the romantic period are: 1)