Romanticism (also the Romantic era or the Romantic period) was an artistic, literary, and intellectual movement that originated in Europe toward the end of the 18th century and in most areas was at its peak in the approximate period from 1800 to 1850. Partly a reaction to the Industrial Revolution,[1] it was also a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature.[2] It was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography,educationand the natural sciences. Its effect on politics was considerable and complex; while for much of the peak Romantic period it was associated with liberalism and radicalism, in the long term its effect on the growth of nationalism was probably more significant.

The movement validated strong emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as apprehension, horror and terror, and awe—especially that which is experienced in confronting the sublimity of untamed nature and its picturesque qualities, both new aesthetic categories. It elevated folk art and ancient custom to something noble, made spontaneity a desirable characteristic (as in the musical impromptu), and argued for a "natural" epistemology of human activities as conditioned by nature in the form of language and customary usage. Romanticism reached beyond the rational and Classicist ideal models to elevate a revived medievalism and elements of art and narrative perceived to be authentically medieval in an attempt to escape the confines of population growth, urban sprawl, and industrialism, and it also attempted to embrace the exotic, unfamiliar, and distant in modes more authentic than Rococo chinoiserie, harnessing the power of the imagination to envision and to escape.

Although the movement was rooted in the German Sturm und Drang movement, which prized intuition and emotion over Enlightenment rationalism, the ideologies and events of the French Revolution laid the background from which both Romanticism and the Counter-Enlightenment emerged. The confines of the Industrial Revolution also had their influence on Romanticism, which was in part an escape from modern realities; indeed, in the second half of the 19th century, "Realism" was offered as a polarized opposite to Romanticism. Romanticism elevated the achievements of what it perceived as heroic individualists and artists, whose pioneering examples would elevate society. It also legitimized the individual imagination as a critical authority, which permitted freedom from classical notions of form in art. There was a strong recourse to historical and natural inevitability, a Zeitgeist, in the representation of its ideas.
Basic characteristics

Defining the nature of Romanticism may be approached from the starting point of the primary importance of the free expression of the feelings of the artist. The importance the Romantics placed on untrammelled feeling is summed up in the remark of the German painter Caspar David Friedrich that "the artist's feeling is his law".[7] To William Wordsworth poetry should be "the spontaneous overflow of powerful feelings".[8] In order to truly express these feelings, the content of the art must come from the imagination of the artist, with as little interference as possible from "artificial" rules dictating what a work should consist of. Coleridge was not alone in believing that there were natural laws governing these matters which the imagination, at least of a good creative artist, would freely and unconsciously follow through artistic inspiration if left alone to do so.[9] As well as rules, the influence of models from other works would impede the creator's own imagination, so originality was absolutely essential. The concept of the genius, or artist who was able to produce his own original work through this process of "creation from nothingness", is key to Romanticism, and to be derivative was the worst sin.[10][11][12][13] This idea is often called "romantic originality."[14]
William Blake, The Little Girl Found, from Songs of Innocence and Experience, 1794

Not essential to Romanticism, but so widespread as to be normative, was a strong belief and interest in the importance of nature. However this is particularly in the effect of nature upon the artist when he is surrounded by it, preferably alone. In contrast to the usually very social art of the Enlightenment, Romantics were distrustful of the human world, and tended to believe that a close connection with nature was mentally and morally healthy. Romantic art addressed its audiences directly and personally with what was intended to be felt as the personal voice of the artist. So, in literature, "much of romantic poetry invited the reader to identify the protagonists with the poets themselves".[15]

According to Isaiah Berlin, Romanticism embodied "a new and restless spirit, seeking violently to burst through old and cramping forms, a nervous preoccupation with perpetually changing inner states of consciousness, a longing for the unbounded and the indefinable, for perpetual movement and change, an effort to return to the forgotten sources of life, a passionate effort at self-assertion both individual and collective, a search after means of expressing an unappeasable yearning for unattainable goals."[16]
The period

Romanticism is not easily defined, and the period typically called Romantic varies greatly between different countries and different artistic media or areas of thought. Margaret Drabble described it in literature as taking place "roughly between 1770 and 1848",[21] and few dates much earlier than 1770 will be found. In English literature, M. H. Abrams placed it between 1789, or 1798, this latter a very typical view, and about 1830, perhaps a little later than some other critics.[22] In other fields and other countries the period denominated as Romantic can be considerably different; musical Romanticism, for example, is generally regarded as only having ceased as a major artistic force as late as 1910, but in an extreme extension the Four Last Songs of Richard Strauss are described stylistically as "Late Romantic" and were composed in 1946-48.[23] However in most fields the Romantic Period is said to be over by about 1850, or earlier.

The early period of the Romantic Era was a time of war, with the French Revolution (1789-1799) followed by the Napoleonic Wars until 1815. These wars, along with the political and social turmoil that went along with them, served as the background for Romanticism.[24] The key generation of French Romantics born between 1795-1805 had, in the words of one of their number, Alfred de Vigny, been "conceived between battles, attended school to the rolling of drums".[25]
Romantic literature

In literature, Romanticism found recurrent themes in the evocation or criticism of the past, the cult of "sensibility" with its emphasis on women and children, the heroic isolation of the artist or narrator, and respect for a new, wilder, untrammeled and "pure" nature. Furthermore, several romantic authors, such as Edgar Allan Poe and Nathaniel Hawthorne, based their writings on the supernatural/occult and human psychology. Romanticism tended to regard satire as something unworthy of serious attention, a prejudice still influential today.[34]

The precursors of Romanticism in English poetry go back to the middle of the 18th century, including figures such as Joseph Warton (headmaster at Winchester College) and his brother Thomas Warton, professor of Poetry at Oxford University.[35] Joseph maintained that invention and imagination were the chief qualities of a poet. Thomas Chatterton is generally considered to be the first Romantic poet in English.[36] The Scottish poet James Macpherson influenced the early development of Romanticism with the international success of his Ossian cycle of poems published in 1762, inspiring both Goethe and the young Walter Scott. Both Chatterton and Macpherson's work involved elements of fraud, as what they claimed to be earlier literature that they had discovered or compiled was in fact entirely their own work. The Gothic novel, beginning with Horace Walpole's The Castle of Otranto (1764), was an important precursor of one strain of Romanticism, with a delight in horror and threat, and exotic picturesque settings, matched in Walpole's case by his role in the early revival of Gothic architecture. Tristram Shandy, a novel by Laurence Sterne (1759-67) introduced a whimsical version of the anti-rational sentimental novel to the English literary public.
English literature

In English literature, the group of poets now considered the key figures of the Romantic movement includes William Wordsworth, Samuel Taylor Coleridge, John Keats, Mary Wollstonecraft Shelley, Percy Bysshe Shelley, and the much older William Blake, followed later by the isolated figure of John Clare. The publication in 1798 of Lyrical Ballads, with many of the finest poems by Wordsworth and Coleridge, is often held to mark the start of the movement. The majority of the poems were by Wordsworth, and many dealt with the lives of the poor in his native Lake District, or the poet's feelings about nature, which were to be more fully developed in his long poem The Prelude, never published in his lifetime. The longest poem in the volume was Coleridge's The Rime of the Ancient Mariner which showed the Gothic side of English Romanticism, and the exotic settings that many works featured. In the period when they were writing the Lake Poets were widely regarded as a marginal group of radicals, though they were supported by the critic and writer William Hazlitt and others.
Girodet, Chateaubriand in Rome, 1808

In contrast Lord Byron and Walter Scott achieved enormous fame and influence throughout Europe with works exploiting the violence and drama of their exotic and historical settings; Goethe called Byron "undoubtedly the greatest genius of our century".[39] Scott achieved immediate success with his long narrative poem The Lay of the Last Minstrel in 1805, followed by the full epic poem Marmion in 1808. Both were set in the distant Scottish past, already evoked in Ossian; Romanticism and Scotland were to have a long and fruitfiul partnership. Byron had equal success with the first part of Childe Harold's Pilgrimage in 1812, followed by four "Turkish tales", all in the form of long poems, starting with The Giaour in 1813, drawing from his Grand Tour which had reached Ottoman Europe, and orientalizing the themes of the Gothic novel in verse. These featured different variations of the "Byronic hero", and his own life contributed a further version. Scott meanwhile was effectively inventing the historical novel, beginning in 1814 with Waverley, set in the 1745 Jacobite Rising, which was an enormous and highly profitable success, followed by over 20 further Waverley Novels over the next 17 years, with settings going back to the Crusades that he had researched to a degree that was new in literature.[40]

In contrast to Germany, Romanticism in English literature had little connection with nationalism, and the Romantics were often regarded with suspicion for the sympathy many felt for the ideals of the French Revolution, whose collapse and replacement with the dictatorship of Napoleon was, as elsewhere in Europe, a shock to the movement. Though his novels celebrated Scottish identity and history, Scott was politically a firm Unionist. Several spent much time abroad, and a famous stay on Lake Geneva with Byron and Shelley in 1816 produced the hugely influential novel Frankenstein by Shelley's wife-to-be Mary Shelley and the novella The Vampyre by Byron's doctor John William Polidori. The lyrics of Robert Burns in Scotland and Thomas Moore, from Ireland but based in London or elsewhere reflected in different ways their countries and the Romantic interest in folk literature, but neither had a fully Romantic approach to life or their work.

Though they have modern critical champions such as Georg Lukács, Scott's novels are today more likely to be experienced in the form of the many operas that continued to be based on them over the following decades, such as Donizetti's Lucia di Lammermoor and Vincenzo Bellini's I puritani (both 1835). Byron is now most highly regarded for his short lyrics and his generally unromantic prose writings, especially his letters, and his unfinished satire Don Juan.[41] Unlike many Romantics, Byron's widely-publicised personal life appeared to match his work, and his death at 36 in 1824 from disease when helping the Greek War of Independence appeared from a distance to be a suitably Romantic end, entrenching his legend.[42] Keats in 1821 and Shelley in 1822 both died in Italy, Blake (at almost 70) in 1827, and Coleridge largely ceased to write in the 1820s. Wordsworth was by 1820 respectable and highly-regarded, holding a government sinecure, but wrote relatively little. In the discussion of English literature, the Romantic period is often regarded as finishing around the 1820s, or sometimes even earlier, although many authors of the succeeding decades were no less committed to Romantic values.

The most significant novelist in English during the peak Romantic period, other than Walter Scott, was Jane Austen, whose essentially conservative world-view had little in common with her Romantic contemporaries, retaining a strong belief in decorum and social rules, though critics have detected tremors under the surface of some works, especially Mansfield Park (1814) and Persuasion (1817).[43] But around the mid-century the undoubtedly Romantic novels of the Yorkshire-based Brontë family appeared, in particular Charlotte's Jane Eyre and Emily's Wuthering Heights, which were both published in 1847.

Byron, Keats and Shelley all wrote for the stage, but with little success in England, with Shelley's The Cenci perhaps the best work produced, though that was not played in a public theatre in England until a century after his death. Byron's plays, along with dramatisations of his poems and Scott's novels, were much more popular on the Continent, and especially in France, and through these versions several were turned into operas, many still performed today. If contemporary poets had little success on the stage, the period was a legendary one for performances of Shakespeare, and went some way to restoring his original texts and removing the Augustan "improvements" to them. The greatest actor of the period, Edmund Kean, restored the tragic ending to King Lear;[44] Coleridge said that, "Seeing him act was like reading Shakespeare by flashes of lightning."[45]

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