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LITERATURA INGLESA II
Lesson 3 - Romanticism: The Romantic Prose 
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
Class content:
• An overview of the features of the Romantic prose
The works of Jane Austen and Sir Walter Scott’s 
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
My Soul is Dark
My soul is dark - Oh! quickly string  The harp I yet can brook [avoid] to hear;  And let thy gentle fingers fling [suddenly throw]  Its melting murmurs o'er mine ear.  If in this heart a hope be dear,  That sound shall charm it forth again:  If in these eyes there lurk a tear,  'Twill flow, and cease to burn my brain.  
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
But bid the strain be wild and deep,  Nor let thy notes of joy be first:  I tell thee, minstrel*, I must weep,  Or else this heavy heart will burst;  For it hath been by sorrow nursed,  And ached in sleepless silence, long;  And now 'tis doomed to know the worst,  And break at once - or yield to song.  
George Gordon Lord Byron
* a musician or singer in the Middle Ages.
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
When We Two Parted
When we two parted  In silence and tears,  Half broken-hearted  To sever [cut into two pieces] for years,  Pale grew thy cheek and cold,  Colder thy kiss;  Truly that hour foretold  Sorrow to this.  
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
The dew of the morning  Sunk chill on my brow--  It felt like the warning  Of what I feel now.  Thy vows are all broken,  And light is thy fame;  I hear thy name spoken,  And share in its shame. 
They name thee before me,  A knell to mine ear;  A shudder [tremor] comes o'er me--  Why wert thou so dear?  They know not I knew thee,  Who knew thee so well--  Long, long I shall rue¹ thee,  Too deeply to tell. 
1. to feel sorry about an event and wish it had not happened
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
In secret we met--  In silence I grieve,  That thy heart could forget,  Thy spirit deceive  If I should meet thee  After long years,  How should I greet thee?--  With silence and tears.  
George Gordon Lord Byron
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
“Poetry should surprise by a fine excess and not by singularity, it should strike the reader as a wording of his own highest thoughts, and appear almost a remembrance.”
JOHN KEATS
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
A Thing of Beauty is a Joy Forever
A thing of beauty is a joy for ever: 
Its loveliness increases; it will never 
Pass into nothingness; but still will keep 
A bower¹ quiet for us, and a sleep 
Full of sweet dreams, and health, and quiet breathing. 
Therefore, on every morrow, are we wreathing² 
A flowery band to bind us to the earth, 
Spite of despondence, of the inhuman dearth³ 
Of noble natures, of the gloomy days, 
Of all the unhealthy and o'er-darkn'd ways 
Made for our searching: yes, in spite of all, 
Some shape of beauty moves away the pall 
From our dark spirits. Such the sun, the moon,
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
Trees old and young, sprouting¹ a shady boon²
For simple sheep; and such are daffodils 
With the green world they live in; and clear rills 
That for themselves a cooling covert make 
'Gainst the hot season; the mid-forest brake, 
Rich with a sprinkling of fair musk-rose blooms: 
And such too is the grandeur of the dooms 
We have imagined for the mighty dead; 
An endless fountain of immortal drink, 
Pouring unto us from the heaven's brink³.
John Keats
 
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
ROMANTIC PROSE
Romantic literature, is not a literature that's based on love stories, although some of these novels that we'll talk about do have a romantic element. Romantic literature relates to works that were written during the Romantic period. There was a Romantic period all throughout the West. However, we're specifically focusing on the Romantic period in England, which was from about 1800 to about 1840. We'll talk about what Romantic literature is about, which are its real characteristics.
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
Characteristics of Romantic prose:
Focus on nature. 
Departure from reason. 
Focus on the individual. 
Elements of the supernatural. 
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
In the eighteenth century, a change had taken place in the prose style. Many eighteenth century prose-writers dependent on the assumptions about the suitability of various prose styles for various purposes for which they shared with the relatively small but the sophisticated public. Writers in the Romantic Period were rather more concerned with subject matter and emotional expression than with appropriate style. They wrote for an ever-increasing audience which was less homogenous in its interest and education than that of their predecessors. The autobiographical exploitation of personality manifests itself in a great variety of ways among writers of the late eighteenth and early nineteenth centuries; it is symptomatic of a significant change in the relation between the writer and the society. 
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
In the Romantic Period the tendency was for the writer to draw on his own personality rather than to objectify their works in terms of a cause or a system. The growth of the familiar essay, with its highly personal, often whimsical¹, flaunting² of the writer’s tastes, prejudices, and idiosyncrasies, represents another aspect of the Romantic exploitation of personality.  
/ˈhwɪm·zɪ·kəl, ˈwɪm-/ unusual and using imagination.
verb [ T ] us ​ /flɔnt, flɑnt/ to intentionally make obvious something you have in order to be admired.
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
Jane Austen(1775-1817)
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
Jane Fitzwilliam Austen was an English novelist whose works of romantic fiction set among the gentry, has earned her a place as one of the most widely read and most beloved writers in English literature. Amongst scholars and critics, Austen's realism and biting [critical] social commentary have cemented her historical importance as a writer. Austen lived her entire life as part of a close-knit family located on the lower fringes of the English gentry. She was educated primarily by her father and older brothers as well as through her own reading. The steadfast [firm] support of her family was critical to Austen's development as a professional writer. Austen's artistic apprenticeship lasted from her teenage years until she was about thirty-five years old. She first gave the novel its modern character through the treatment of everyday life. 
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
During Austen's lifetime her works brought her little personal fame and only a few positive reviews. Through the mid-nineteenth century, her novels were admired mainly by members of the literary elite. However, the publication of her nephew's A Memoir of Jane Austen in 1869 introduced her to a far wider public as an appealing personality and kindled popular interest in her works. By the 1940s, Austen had become widely accepted in academia as a "great English writer". The second half of the twentieth century sawa proliferation of Austen scholarship, which explored many aspects of her novels: artistic, ideological, and historical. 
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
Pride and Prejudice
Jane Austen's witty comedy of manners--one of the most popular novels of all time--that features splendidly civilized sparring between the proud Mr. Darcy and the prejudiced Elizabeth Bennet as they play out their spirited courtship in a series of eighteenth-century drawing-room intrigues. Renowned literary critic and historian George Saintsbury in 1894 declared it the "most perfect, the most characteristic, the most eminently quintessential of its author's works," and Eudora Welty in the twntieth century described it as "irresistible and as nearly flawless as any fiction could be." 
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
Sense and Sensibility
Marianne Dashwood wears her heart on her sleeve, and when she falls in love with the dashing but unsuitable John Willoughby she ignores her sister Elinor's warning that her impulsive behaviour leaves her open to gossip and innuendo. Meanwhile Elinor, always sensitive to social convention, is struggling to conceal her own romantic disappointment, even from those closest to her. Through their parallel experience of love—and its threatened loss—the sisters learn that sense must mix with sensibility if they are to find personal happiness in a society where status and money govern the rules of love 
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
Persuasion
Twenty-seven-year old Anne Elliot is Austen's most adult heroine. Eight years before the story proper begins, she is happily betrothed to a naval officer, Frederick Wentworth, but she precipitously breaks off the engagement when persuaded by her friend Lady Russell that such a match is unworthy. The breakup produces in Anne a deep and long-lasting regret. When later Wentworth returns from sea a rich and successful captain, he finds Anne's family on the brink of financial ruin and his own sister a tenant in Kellynch Hall, the Elliot estate. All the tension of the novel revolves around one question: Will Anne and Wentworth be reunited in their love? 
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
Mansfield Park
Taken from the poverty of her parents' home, Fanny Price is brought up with her rich cousins at Mansfield Park, acutely aware of her humble rank and with only her cousin Edmund as an ally. When Fanny's uncle is absent in Antigua, Mary Crawford and her brother Henry arrive in the neighbourhood, bringing with them London glamour and a reckless taste for flirtation. As her female cousins vie for Henry's attention, and even Edmund falls for Mary's dazzling charms, only Fanny remains doubtful about the Crawfords' influence and finds herself more isolated than ever. A subtle examination of social position and moral integrity, Mansfield Park is one of Jane Austen's most profound works. 
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
Jane Austen's Writing Style 
Jane Austen writing tends to be witty and romantic. Though her name never appeared on her published books during her life, Austin's works rose to fame after her death in 1817. In fact, her popular books, such as Pride and Prejudice, have never gone out of print. She is now considered one of England's most famous novelists. Austen's writing style is a mix of neoclassicism and romanticism. Neoclassicism encourages reason and restraint in writing. It is logical and follows a structured form. Romanticism encourages passion and imagination in writing. It is emotional and follows a flowing form. Mixing these two styles may seem impossible, but layering neoclassicism and romanticism together was one of Austen's strong talents. 
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
Jane Austen's novels are concerned with love and marriage. They examine this from a variety of different points of view by examining different people with different approaches to love and marriage. There are women who marry for love, and there are women who marry for money. There are women who don't marry at all. There is at least on woman who gets pregnant and is abandoned. There are women who elope, both married and not. And there are a number of men, and at least one woman, who are clearly predators, out to marry for money. Every book examines failed as well as successful approaches. Her works all end with the heroine happily married, but there is much to learn on the way.  
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
Jane Austen is very careful of language. The people in her books she want us to admire are also careful of language, and anyone who uses bad grammar or wording is a person we should suspect is not entirely together, intellectually. Lydia Bennet and Mrs. Bennet are both careless in their speech.  
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
It is notable that she never describes action unlike anything she could have actually witnessed. For example, as a woman, she could never have been present when a group of men was talking with no women around, and no such scene ever appears in any of her novels. Her major characters are all people of the social classes with which she was familiar. She does not talk politics. She does deal with political subjects, and portrays them as things that are important, but she does not attempt to provide political solutions to political or economic problems. Clearly, the entail is an important problem not only to the Bennets, but to the Dashwoods, and a lot of women who lived in the U. K. at the time. But she does not suggest abolishing it. Equally clearly, slavery is an issue she touched on, as well as the fact that women were not given means to provide for themselves.  
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
Sir Walter Scott 
(1771–1832)
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
Sir Walter Scott was born August 15, 1771, in Edinburgh, Scotland, as the ninth child (and the fourth surviving) of Walter Scott, a solicitor, and his wife Anne Rutherford. Raised on the old Border tales and ballads that would later influence his historical novels, Scott was a clever and active child. He had his studies at Edinburgh University, and after being apprenticed to his father's legal firm for a year, Scott decided to study law. He began writing poetry at an early age, and so distinguished himself in this that he was offered the Poet Laureateship in 1813, which he turned down. He published his first novel, "Waverley," in 1814, and it quickly became one of the most successful English novels ever published. Scott chiefly concentrated on novels in his latter years, putting aside his poetry to publish "Ivanhoe" in 1819 and "Rob Roy" in 1817. 
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
Sir Walter Scott is a storytelling author. The story is in third person, but when he wishes to explain something to the reader he breaks in and resorts to first person. His point of view is of one watching an exciting drama and relaying what he sees with suitable explanation so that none of the excitement is lost. He uses a disjointed flashback. He carries the action of one group to a certain point and then goes back to pick up another group to bring it into logical position. It is as though he were weaving together varied colored threads into one exquisite pattern. It is his task to put the threads together so that the finished piece of cloth is one carefully wrought, panoramic scene. Foremost are the figures,often in violent action, against a background of vivid natural beauty. 
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
To miss the description is to rob the piece of its wholeness and to be impatient with the archaic and
distinctive words is to destroy the medieval setting. He gives structural clues to move the story along.
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
Although Scott had attained celebrity through his poetry, he soon tried his hand at documenting his researches into the oral tradition of the Scottish Borders in prose fiction – stories and novels – at the time still considered aesthetically inferior to poetry as a mimetic vehicle for portraying historical events. In an innovative and astute action, he wrote and published  Ivanhoe. 
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
Through his writing Scott used historical fact to build a framework for fiction. He was able to bring the past to life for new generations and combined his historical knowledge, with a life long study of folklore, minstrelsy and the oral tradition, to create and preserve myths. The Gothic revival in British Victorian society was recognized and cleverly exploited by Scott. The ideals and beliefs in his books reflected the mood of the society in which Scott was living. In many ways he provided an alternative to the literary movement of the time. Scott was more in tune with Victorian society, by imbuing his tales with spiritual values and a strong moral tone he appealed to Victorian ideals. His semi-mythical tales helped fulfill a need for nostalgia amongst the public as they struggled to deal with the rapid industrialization and urbanization.
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
Far from showing the differences between Normans and Saxons in the twelfth century, the novel in fact reflects English nineteenth century views about the English and the French. The English character is reflected in the earthy good nature of Cedric and the uprightness and courage of Locksley. The English view of the French character is shown in the Normans, with their high-flown language of chivalry and honor, concepts which are shown to be hypocritical. 
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
MAJOR THEMES
 The major theme is centered on the chaos that politics can cause. There is a smoldering hatred between the Saxons and the Normans caused by Norman arrogance, superior feelings, cruelty, and injustice. The King’s absence and indifference to his country encourages social chaos and a volatile climate where anything can happen. Civil unrest has spread. The forests are infested with robbers and outlaws. The common people are discontented and oppressed; the stability of the nation is questionable. Dispossession is another recurring thematic concern with many of the main characters being displaced. Richard has been supplanted by his brother. Ivanhoe has been disinherited. Robin of Locksley has lost his lands. Isaac and Rebecca, being Jews, have lost their own country, land, and hope.  
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
  The importance of honor is another theme in the novel. Honor is supposedly the guiding principle of knighthood, but Sir Walter Scott shows how the knights often act dishonorably; in fact, some of the thieves in the book act with more honor. Those whose lands have been seized unjustly now roam the forests stealing from the rich to give to the poor. Even with their “criminal” acts, many of these outlaws are more noble than the greatest of the honored knights. The injustice of anti-Semitism is another theme of the novel. Unfair practice toward the Jews is seen in the treatment of Rebecca and her father whose responses are of human goodness, and even her greedy father Isaac has more regard for his family than do Prince John and Cedric. Isaac would give up everything to keep his daughter near him. 
MINOR THEMES
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
MOOD  
The predominant mood of the novel is exciting. Scott very skillfully creates the explosive temper of the Middle Ages by using history, chivalry, and antiquity in the novel. His mastery of description creates colorful excitement in each tournament scene, and brings battle scenes to the front of the readers’ imagination. His most significant achievement, however, is the creation of a believable narrative atmosphere in which the tension between the Normans and the Saxons is very real. Amidst the conflict, there are sweepingly heroic moments and frighteningly violent ones. The novel, like life in the Middle Ages, is unpredictable, dangerous, satisfying, and in the end, wonderfully romantic, for the tension is resolved and the characters are safe.
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
Pageantry and spectacle add to the exciting mood of the novel. The best examples of this are to be found in the splendid description of the siege of Torquilstone Castle and the pageantry of the Ashby tournament. The antiquarian details, including descriptions of dress, armor, and weapons, help to create a rich, multicolored tapestry. The enormous weight of custom and tradition are also palpable forces in this exciting novel of heritage and history. 
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Lesson 3 - Romanticism: The Romantic Prose 
LITERATURA INGLESA II
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