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Evaluating the Differences of Two Brilliant Eras
The Romantic period is a phase in literature where the authors begin thinking with their heart, rather than with their mind, like those authors of the Enlightenment, or the Age of Reason. This shift in view is made evident through the lifestyle, music and literature of each age. The subject matter, the purpose of writing, and the tone in the literary works draw attention to the tremendous dissimilarity of the narration of the hero, the narrator itself, and the consciousness of the hero of the Enlightenment, and of the Romantic age.
The differing subject matter, such as the type of stories told and the action, found in the works of the Enlightenment and Romantic periods, aid in the demonstration of the key differences in position between the ages. The stories found in Enlightenment poetry are instructional and primarily consist of material objects, people for instance. The proposal that instruction is interlaced throughout the poetry of the Enlightenment age is shown in Alexander Pope's "An Essay on Criticism." Pope, the narrator of the poem, states, "Trust not yourself but your defects to know, / Make use of every friend-and every foe" (11-1).This instructional type of story is common of the Age of Reason, however is not frequently found in works of the Romantics. The majority of stories in the poetry of the Romantic age involve cerebral thoughts concerning thoughts such as returning to nature. In William Wordsworth's, "Lines Composed a Few Miles Above Tintern Abbey," this claim is demonstrated. "For I have learned/ To look on nature, not as in the hour/ Of thoughtless youth, but hearing often time/ The still, sad music of humanity" (88-1), this is a reflective look at nature, which is a common theme of romantic works.In Addition to kind of narrative found in the works of the two ages, the actions portrayed in them also make the difference in the ages apparent. The actions, which the narrator expresses in the works from the Enlightenment, are current, occurring at the present, surrounding the narrator. This thought is illustrated in Samuel Pepys', "The Diary," when Pepys, the narrator, says, "Walked thence and saw all the town burned, and the miserable sight of Paul's church" (1). Pepys is looking at the destruction of the fire as it is happening, not reflecting on an even from the past, like those of the Romantic age. In addition to Romantics reflecting on the past, the action in these works primarily goes on in the narrator's head, rather than externally. This claim is confirmed in Burns's "Auld Lang Syne," when he states, "Should auld acquaintance be forgot, / And never brought to min'?" (1-). "Auld land syne" literally means the good old days, so here, Burns is reflecting back on the past, however he is doing so in his own mind. A method used by many Romantics to depict action in their poetry.
Although reform is both the purpose of the literature of the Age of Reason and that of the Romantic age, the object for this improvement is rather different. One of the main objectives the Age of Reason narrators focus on is spiritual improvement. Pope, in his work "An Essay on Man," demonstrates this claim when he states, "Know then thyself, presume not God to scan / The proper study of mankind is Man" (1-). This statement is telling people not to try to know all there is to know about God, but to learn about oneself. This excerpt illustrates that Pope's main purpose is to bring spiritual reform to the reader. IN addition to spiritual improvement, the Enlightenment narrators focused on reforming society. This idea is exemplified in Swift's, A Modest Proposal, when he states that "a young healthy child well nursed is at a year old a most delicious, nourishing, and wholesome food, whether stewed, roasted, baked, or boiled; and I make no doubt that it will equally serve in a fricassee or a ragout"(). These seemingly harsh words in actuality are a call for society to improve as well as provide help for the children of the age. The contrasting object of improvement found in the Romantic age is focused more on turning to the natural world more often. This area for reform is exemplified in Wordsworth's "The World Is Too Much With Us," when he states, "Getting and spending, we lay waste our powers / Little we see in nature that is ours" (-). This demonstrates that Wordsworth, along with the other Romantics, feel that people do not turn to nature enough, and are preoccupied with material possessions. This Romantic thought to rely on nature is apparent in more than just the literature of the time. The music begins to transform, and composers, such as Mendelssohn and Schumann, begin turning to nature for inspiration. The Western Isle of Scotland inspires Mendelssohn's "Scottish Symphony," while the Rhine Valley inspires Schumann's third symphony. Order Custom romantic and enlightenment differeneces paper
The narrators of the two epochs, the Romantic age and the earlier Enlightenment, have remarkably dissimilar tones. The scientific or analytical tone that embodies much of the works from the Enlightenment can be seen in a passage from Swift's A Modest Proposal, "I have reckoned upon a medium that a child just born will weigh twelve pounds, and in a solar year, if tolerably nursed will increase to twenty-eight pounds" ().Here, Swift's tone is completely scientific, which assists in the transmission such a radical idea, and making it sound reasonable. This illustrates that Enlightenment writers could approach almost any subject, even as radical as eating children, with a cool, calculating tone. The divergent tone of the Romantic age is based much more on passion and love. This more loving tone that personifies many of the works from the Romantic period can be seen in a selection from John Keat's "Ode on a Grecian Urn," when he states, "Beauty is truth, truth beauty that is all
/ Ye know on earth, and all ye need to know" (4-50). Here, Keat is articulating that beauty and truth are ultimately equivalent, which is an exceptionally passionate outlook. This passionate tone is an obvious distinction to the tone of the Enlightenment thinkers.
Through the Romantic and Enlightenment ages there are clearly some major transformations in the narration of the hero, the narrator itself, and the consciousness of the hero. The subject matter, the purpose of writing, and the tone in the literary works of the eras draw attention to these tremendous changes. When comparing literary works, music and lifestyles from the two periods, one can clearly see that these two eras, though very different in style, are both utterly fascinating.
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