قلنا من البداية ان الرومانسية مرتبطة باسلوب كتابي معين بخصائص معينة

وهم بعد مستحيل نفهمها بدون لا نعرف الفترة التاريخية اللي انكتب فيه

فانا ضفت لكم كتاب ادري محد قراه رغم انه مهم جدا مو لازم تقرونه كله
على الاقل الفصل اللي يتعلق باللي ندرسه

انا ما اضيف لكم اهني اشياء عبثا اوك؟

ارجو ان تقراو الفصل الرابع من الكتاب (مجمل تاريخ الادب الانجليزي)
الكمية مو كبيرة لا تخافون 12 صفحة بس ؟!
للفصل هذا

صج الكتاب مفيد بس ما يهمنا فيه غير هالفصل الحين

تقرونه بالعربي بعد
يعني فهم على الجاهز واللي كاتب الكتاب اصلا انجليزي


المهم نرجع لمحور حديثنا

هالموضوع بس يختص بموضوع الرومانسية بشكل عام

بس قبله بشرح لكم بالعربي بعض النقاط :
شنو يهمنا تاريخيا بهالفترة؟
اصلا الرومانسية شنو ؟

هي مجرد ردة فعل للثورة الفرنسية
الانجليز اعجبتهم الثورة والدعوة للديموقراطية والحرية والمساواة ويبون يتخلصون من الظلم

فاهني صار في دعوات وتوجهات سياسية للثورة بين جموع الشعراء انفسهم

بضيف لكم مرة ثانية شنو فيه بالمجتمع + تعريف الرومانسية تذكير بعدين توضيح النقاط المتعلقة فيها

Romantic writing is best understood as the writing of a particular historical period. This period encompasses the American Revolution (for independence in 1776), the French Revolution (from 1776). This, then, was a period of revolutions. Within it, the outbreak of war between British and revolutionary France in 1793, and the final defeat of Napoleon at Waterloo in 1815 are important landmarks. The French Revolution itself was not a single event but a series of events. A system of government that had existed for hundreds of years was swept away, classes that had previously held no vote and had no voice took the power, and a king was executed. The example of events in France raised the hopes of some in Britain for reform of the franchise, for religious toleration, for a change in the legal status of women, and so on. The history of Romanticism in British writing is often written as the history ofresponses and counter-responses to the French Revolution. In this period British became the first industrial nation and secured its status as the great colonial.

Romanticism:

Romanticism is a general, collective term to describe much of the art and literature produced during the late 18th and early 19th centuries. During this period there was a broad shift of emphasis in the arts, away from the structured, intellectual, reasoned approach of the 18th century (which is often called the ‘Age of Reason’, or the ‘Enlightenment’) towards ways of looking at the world which recognised the importance of the emotions and the imagination.

Romanticism can be seen as a revolution in the arts, alongside the political, social and industrial revolutions of the age: all spheres of human activity were undergoing great change. William Wordsworth and Samuel Taylor Coleridge were among the first British poets to explore the new theories and ideas that were sweeping through Europe. Their poems display many characteristics of Romanticism, including:
An emphasis on the emotions (a fashionable word at the beginning of the period was ‘sensibility’. This meant having, or cultivating, a sensitive, emotional and intuitive way of understanding the world).
Exploring the relationship between nature and human life.
A stress on the importance of personal experiences and a desire to understand what influences the human mind.
A belief in the power of the imagination.
An interest in mythological, fantastical, gothic and supernatural themes.
An emphasis on the sublime (this word was used to describe a spiritual awareness, which could be stimulated by a grand and awesome landscape).

Romanticism:

Romanticism is an, artistic European; movement defines as a response to the political revolutions of the last decade of the eighteenth century. The Romantics were interested in freeing the individual from the artificialities and limitations of society that diminished imagination and emotional spontaneity. Traditionally, historians date the English Romantic period from 1798, when William Wordsworth and S.T. Coleridge published their Lyrical Ballads, until 1832. Romantics moved away from the Enlightenment's emphasis upon reason, decorum, and order. They valued nature, rural and pastoral scenes, equality and idealism. They show an obsessive concern with "innocent" characters--children, young lovers, and animals. Romanticism is not a single thing but is a set of different and often competing voices. Nevertheless, those voices may argue over an agenda set by political and social over circumstances that were experienced in common. Romantic work is usually lyrical and tries to convince its reader that it is peculiarly expressive and cannot be paraphrased.


• During this period Britain continued to develop economically and politically.

• The British population was divided into three social classes:
• - The landowners and aristocracy: that had ruled the country for centuries and held most of the wealth. Its members were the only citizens who could vote.
• - The businessmen and industrialists: that had brought about the Industrial Revolution. They were rich but they had no voting rights.
• - The masses: they were poor, and left the countryside for work in the factories.


• Economy continued to grow thanks to:
• The colonies, that were a source of cheap raw materials.
• The bank of England started to operate around the country.
• The transport system was developed.
• In agriculture, mechanisation meant that food could be produced cheaply and efficiently.


• People continued to live and work in the same dreadful condition that the first industrial workers had had to endure in the middle of the eighteenth century. The cities became ever more overcrowded and unsanitary. Factory workers continued to slave in inhuman conditions for long hours on miserable pay.


• For many people Britain’s new generation of Romantic poets expressed the unease that was felt at the excesses of industrialisation. The idyllic world of nature was an antidote to the grim realities of life in the cities.

• Those who were horrified at the exploitation of factory workers and the degradation of the cities found inspiration in the ideals of the French Revolution. The toppling of a despotic regime by Napoleon’s republican forces was greeted by some in Britain as a chance to channel the discontent of the masses into social revolution. A high point in the protest movement was a rally near Manchester in 1819 to protest against the rise in the price of bread caused by a ban on the import of foreign corn (The First Corn Law, 1815). Eleven people were killed by the army in what is now know as the Peterloo massacre.

• The government introduced many reforms:
• - The Factory Act of 1833 limited working hours and children under nine could not work.
• - A system of national primary education was set up in 1834.

The romantic period

• The Agricultural and Industrial Revolutions of the eighteenth century changed Britain radically. A largely rural society became urban and industrialised. The social price for economic progress was high: many people lived and worked in appalling conditions.

• By the end of the century many poets and artists had started reacting against the dehumanisation and regimentation of the new urban industrial society. They believed in the importance of the individual and in personal experience. These artists were called Romantics. The word “romantic” was used to describe the expression of personal feelings and emotions.

• Imagination had a special role for the Romantics. They viewed the artist as a creator who used his imagination to explore the unfamiliar and the unseen. The Romantic poets considered nature to be morally uplifting. In the new world of industrial squallor the Romantics took refuge and sought consolation and inspiration in nature.

The first generation poets

• The Romantic poets are grouped into two generations. The poets of the first generation, William Blake, William Wordsworth and Samuel Taylor Coleridge, were influenced by the French Revolution, which they considered to be almost a physical realisation of the ideals of Romanticism. The enthusiasm for the French Revolution soon dissipated and within a decade disillusionment had set in.

• William Blake’s life was spent in rebellion against the rational philosophy of the eighteenth century and restrictive influences of institutions such as government and the Church. Blake was aware of the negative effects of the rapidly developing industrial and commercial society, in which individuals became dehumanised.

• William Wordsworth’s poetry emphasises the value of childhood experience and the celebration of nature. He glorifies the spirit of man, living in harmony with his natural environment, far from the spiritually bankrupt city.

• Samuel Taylor Coleridge’s poetry often deals with the mysterious, the supernatural end the extraordinary. While Wordsworth looked for the spiritual in everyday subjects, Coleridge wanted to give the supernatural a colouring of every day reality. In later life Coleridge claimed that poetic inspiration had deserted him and he turned his attention to literally criticism.

The Second generation poets

• The poets of the second generation, Gorge Gordon Byron, Percy Bysshe Shelley and John Keats, all had intense but short lives. They lived through the disillusionment of the post-revolutionary period, the savage violence of the terror and the threatening rise of the Napoleonic Empire.

• George Gordon Byron was the prototype of the Romantic poet. He was heavily involved with contemporary social issues and like the heares of his long narrative poems, Childe Harold’s Pilgrimage and Don Juan, was a melancholy and solitary figure whose action often defied social conventions. Like Shelley, he left England and live on the continent. He pursued adventure in Italy and Greece.

• Percy Bysshe Shelley was the most revolutionary and non-conformist of the Romantic poets. He was an individualist and idealist who rejected the institutions of family, church, marriage, and the Christian faith and rebelled against all forms of tyranny. Shelley’s ideas were anarchic and he was considered dangerous by the conservative society of his time. Many of his poems address social and political issues.

• John Keats had a really brief life. The main theme of his poetry is the conflict between the real world of suffering, death and decay and the ideal world of beauty, imagination and eternal youth.

• Romanticism as a period and a concept:
• W. Wordsworth and S. Coleridge published a book of poems “Lyrical Ballads) 1789. That is the beginning of the Romantic Age. The end of the romantic age is with the death of Sir Walter Scott 1832.
• Romanticism is not just English, it is European. (Germany and France)
• In France it was delayed with the French Revolution and the Napoleonic wars.
• Jean Jacques Rousseau influenced later European romanticism.

• Two revolutions had a profound effect on 18th and 19th C thinking in England:
• 1- The revolution of the English colonies in America against the economic and political control of the mother country.
• 2- The French revolution (1789)


• Although both revolutions happened abroad, but the victory of the American movement was a blow to the British confidence. It is however philosophically less threatening to than the French Revolution. Discuss.

• The French revolution overthrew the government of a great European power from within
• Whereas the American Revolution is a distant disorganized group of colonies.
• French Revolution is a victory of more radical democratic principles than those enunciated in the American Declaration of Independence.
• English liberal saw in the ‘early’ stages of the Fr Rev, in the declaration of the rights of Man “Fraternité, egalité et liberté”, in the storming of the Bastilles on July 14th 1789 , to release the French prisoners, a triumph of popular democracy.


• Napoleon Bonaparte rose among this havoc and brawl. The champion of the revolution turned into a tyrannical despot who strove to conquer Europe.
• In the Prelude, Wordsworth expressed his disillusionment and despair. “Frenchmen had changed a war of self-defense for one of conquest, losing sight of all which they had struggled for..”


• Important transformation of the European society.
• Most writers were deeply affected by the promise and disappointment of the Fr Rev and of the effects of the Industrial Revolution. The urbanization of the English rural life and landscape and the exploitation of the working class, created a lamentable proletariat.

The responses of Romantic poets to French Revolution (what is the difference ideologies between first and second generations?

Identify romantic ideology?



لما يسالون عن ideology طبعا نروح قوقل ترجمة ونترجم ويطلع غلط
كونا طلاب ادب انجليزي حنا اكثر ناس نعرف ان الكلمة لها معنى معجمي ولها معنى سياقي
مثل الشعر الرومانسي

لا تروحون وترجمون الكلمة عربي ابدا بالمنهج لان بيعطي معناها المعجمي

لازم نبحث عنها كمعنى سياقي وهذي ما تكون الا انجلش تو انجلش

لان يترجمها ايدولوجية

والمعنى اللي نبيه هو:
idealogy= ia a set of beliefs, especially the political beleifson which people, parties, or countries base their actions.

من خلال هالشي شنو نفهم ؟
انه توجه سياسي لناس او مجموعة منهم لكن لهدف واحد او مصلحة وحدة

هالشي يذكرنا بشنو ؟
اختلاف وجهات النظر بين الجيل الاول والثاني للشعراء والسبب فيه

جابتر 2 بدايته اختصاصيية بهالنقطة

الاختلاف عرفناه وهو ان كان فيه مؤيدين للثورة حولوا لتاييدهم للاصلاح يعني غيروا رايهم
وهم الجيل الاول

اما الجيل الثاني فهو مع الثورة قلبا وقالبا




وهذا ما جاء فيها :


The first generation' of Romantic writers:
Blake, Wordsworth and Coleridge,
The 'second generation':
Shelley, Keats, and Byron,

The second generation died relatively young.

The social backgrounds of the two groups:
Of the first generation: All three had contact with radical groups who met to discuss the revolutionary ideas of Godwin and Paine

Of the second generation: Byron and Shelley both lived in exile, from which they criticized the reactionary character of English society.

If there was a difference in social class between the two generations of writers, there was also a difference in historical experience.

The Europe inhabited by the second generation was very different from Europe in the 1790s, the decade during which Wordsworth and Coleridge began to publish.

اهني يوضح ان الشعراء الرومانسين انقسموا الى مجموعتين

المجوعة الاولى (عاشت الثورة الفرنسية من بدايتها الى انتهاءها وهزيمة نابيلون في معركة واتلرو ونفيه )

الجيل الاول هذا في بداية الثورة صارت عنده امال وايد في انه تصير ثورة في انجلترا وتغير الاحوال

لان الثورة الفرنسية اطاحت بنظام الملكية وهالنظام نفسه كان في انجلترا وكان ظالم

لكن بعد ما انتهت الثورة شافوا ان فرنسا من سيء الى اسوء بعد ما طاحت د الديكتاتوري نابليون

اللي قرر انه يحتل اوروبا ودخلهم في حروب مع انجلترا نفسها

فاهني قالو لا

اقضب مجنونك لا يجيك الاجن منه ههههههههه

ودعوا الى الاصلاحات وانتقاد الاوضاع فقط لان ووردسوورث واحد منهم

يشوف ان الشعر ممكن ما يغير المجتمع بشكل جذري

ولكنه يغير في المواقف والاتجاهات اللي بالتالي راح تغير بالمجتمع

اما الجيل الثاني من الشعراء فما عاشوا الثورة

وكانوا شباب عكس الجيل الاول الشيبان

فكان فيهم ثورة ورغبة في عمل تغيير كبير واهمه عمل الثورة

لانهم شافوا بس نتيجة الثورة الفرنسية وما عاشوها وهي التخلص من الملكية

عشان جذي الجيل الثاني ثوري

اما الاول فارتد عن فكرة الثورة اللي ايدوها في البداية يعني apostasy

Romantic literature of the first generation was wartime literature. Britain was continuously at war from February 1793 until the Battle of Waterloo in June 1815. There were revolutions across Europe in the 1790s. After war broke out between Britain and France in February 1793 sympathy for Revolutionary ideals was not just unpopular, it was treasonable. So fear of revolution and the conditions of war led to suppression of public meetings and censorship of the press. However, the attitude of some in Britain who were enthusiastic about the Revolution changed as events unfolded in France. These were the crucial events in turning many, including Wordsworth and Coleridge, away from their initial sympathy with the aims of the French Revolution to opposition to it.

The historical situation was different in the decade during which Shelley, Keats and Byron began to publish. The war had ended at Waterloo in 1815, but divisions and tensions came back to the surface in Britain. The war had affected Britain's sources of supply and the effects of this were worsened by a series of bad harvests in the 1810s. Organized breaking of the machines that were replacing the workforce in the weaving and lace industries had occurred in 1811.

__________
As we have seen from Shelley's England in 1819', the 'Peterloo Massacre' was in some ways the climax of the economic and political discontent of the immediate postwar years (see p.9). Following Peterloo, the government introduced legislation (The Six Acts') further restricting the right to hold meetings and the freedom of the press.

Wordsworth had been a sympathizer with the early ideals of the Revolution but his change of mind and his eventual acceptance of government employment was seen as a retreat into conservatism and as a betrayal of the democratic ideals of the Revolution to the reactionary forces of the British Establishment. Shelley, Keats and Byron all accused Coleridge and Wordsworth of 'apostasy', that is of having changed sides. (The original apostate was Lucifer, who was an angel but who fell and became Satan.) Byron, Shelley and Keats were themselves all too young to have lived either through the Revolution itself or the reaction.

Byron and Shelley both had links with such radical groups. Both chose to live in exile for personal and economic reasons, and exile became an element in the stereotype figure of the alienated, withdrawn, brooding hero of Byron's writings. Shelley represents two influential stances towards post-war Europe, as we have already seen in his poem England in 1819': a kind of utopianism, projecting everything forward into a hopeful future.

So the difference between the first and second generations of Romantic writers can be seen as the difference between the point of view of wartime and post-war writers. We can examine this difference by looking at a pair of poems. Both these poems are sonnets and I think they both attempt to put the phenomena of war and conquest into a different, longer perspective, whether natural, mythological or historical.

_________________________


Writing and reading in history?

هذي شي بسيط جدا الاثنين متعلقين بالتاريخ
الاولى معناها شي انكتب في التاريخ وهالشي يحتوي وجهة نظر
الكاتب مثل الشاعر اللي حب انه يعبر عن هالفترة اللي يعيشها بطريقته الخاصة
يعني اللي ينكتب شي خاص بمفهوم هالفترة اللي عاشها الكاتب

بس لما نجي نقرا الصورة تكون مختلفة تماما يعني لا الزمن زمانا ولا الحياة هي نفسها
عشان جذي لما كاتب يكتب عن قضية العرق مثل شكسبير في اوثيلو هو كتب هالشي كتعبير وتسجيل لشي عادي وموجود في مجتمعه بس لما الناس اللي بعده واللي بعده واللي بعده الين الحين مراح يفسرون اللي كتبه بنفس الاتجاه اللي هو كتب فيه
لان افكار الناس تتغير والحياة تتغير مع الوقت
وهالشي مجرد فهم وهم حاطولنا في الكتاب مثال وهو
england 1819 لما نشرح هالنقطة نقول ان النص او العمل الادبي لازم تكون عندنا خلفية تاريخية عن الوقت اللي انكتب فيه لانه وخاصة الشعر في الفترة الرومانسية مراح نفهمه بدون لا نعرف شنو صار فيه
بعدين نشرح القصيدة من هالناحية نفس شرح الكتاب لها
>>يعتبر سؤال عن historical context
للقصيدة نفسها بعد

In this poem we have to know some of historical events to understand it. The very title of the poem advertises its relation to a particular time n history, and it does refer to things, events or people outside itself much more than Wordsworth and Clare poem (The Previous Poem we looked at).

1819 was the fifty-ninth year if the reign of George III, who was indeed adjudged mad by the clinicians of the day. He died the following year and was succeeded by his son who had reigned as regent since 1810. The sons of George III are the ‘princes’ of line 2. The ‘senate …. unrepealed’ (line 12) refers to the British Parliament, whose electoral system was regarded as corrupt by those who advocated its reform. In particular, the poem alludes (in line 7) to violence against the people. In August 1819 troops were sent in to dispel a large but peaceful demonstration for parliamentary reform in St Peter’s Fields in Manchester. Eleven people were killed and more than four hundred injured in an event which known as the ‘Peterloo Massacre’. The poem sees economic exploitation and violence as interrelated – it yokes them together in the phrase ‘starved and stabbed’. Blood and money are linked again in the later phrase ‘golden and sanguine laws’ (line 10). They ‘tempt and slay’ because the government had used agents provocateurs to incite uprising.

The anger at the government and the monarchy evident in this sonnet explains why it published in 1839, after Shelley’s death. The poem takes the part of the ‘people’ against the powers of the state. But although it may be in part written about a ‘people’, who are largely illiterate, it surely is not written to them. The arresting opening of the poem may seem quite like that of speech. After that its vocabulary is much more varied: ‘sanguine’ and ‘slay’ (line 10) are versions of the much blunter terms ‘blood’ and ‘stabbed’ in lines 6 and 7. The later terms seem though to be more like euphemisms than synonyms. The start of the poem gets its effect from monosyllables; later these are set against longer, Latinate words: ‘liberticide’, ‘unreplead’, ‘illumine’, ‘tempestuous’.


Well, it goes right down to the level of the single word. Even single words in Romantic texts can be charged in a way we may not notice. For example, the term ‘democracy’ is fairly uncontroversially used as the name for a good and desirable state of affairs in modern societies, though definitions vary greatly. In the late eighteenth century, however, to be a ‘democrat’ was to be a supporter of the French Revolution.



How poetry changes society?
لانه يسلط الضوء على الظواهر او الممارسات الخاطئة
يوعي الناس لشي غافلين عنه
يحرك مشاعرهم
يغير مواقفهم
وبجذي لما تتغير المواقف تصير تغيرات جذرية
لا ننسى نحط امثلة عن هالشي خاصة ووردسوورث + شيللي
لانهم تكلموا عن هالنقطة

Shelley's definition of poetry is extremely broad. He states that: Poetry is the record of the best and happiest moments of the happiest and best minds'. When we read through A Defence of Poetry we begin to note that poetry' seems less a distinct mode of writing than a powerful effect produced by many different kinds of written texts and by many different kinds of authors. We have already noticed the way in which Shelley talks about 'the poets' embodying of power'. Poetry in Shelley's essay, is something which has to do with a 'power', something which has effects, on individual thought, on public opinion generally, thus on society, and, finally, on history.

For Wordsworth Poems could not in themselves change the social and political circumstances attacked in the Preface, but they might tae he first step towards changing them. They could do so by changing the attitudes. Fundamental change would require a fundamental change of attitudes.

How do you find Romantic writing? Social criticism/ politics, or both?

طبعا الاثنين لان الكتابة الرومانسية كانت في فترة
فيها ثورات وهالشي سياسي وصار فيها مطالبات في الاصلاح
او الثورات >>مع امثلة مثل england 1819
london
وثورة صناعية وهالشي غير من تركيبة او النسيج الاجتماعي صار فيه طبقات غنية وطبقات فقيرة
والناس صارت تبيع عيالها عشان الفلوس
chimney sweeper
حطيت هالنقاط مع بعض لانهم نفس الفكرة
باقي الاشياء في موضوع ثاني
قبل هذا اللي يبونه من السي دي

ان شاء الله يكون واضح

طبعا للفهم
لحد يقولي وايد
تعبت وانا اكتبه

Nowadays, Romantic is often used to refer to a popular form of the novel which explores aspects of romantic love through its own special conventions and vocabulary. The sense of ‘romantic’ as in romantic love is relevant to the use of ‘Romantic’ in Romantic writing. So too are the associations of the word romantic with yearning, the mysterious, the irrational, and with transcending every day reality; but the word ‘Romantic has a specialized as well as a colloquial sense. The medieval or Renaissance ‘romance’ as a literary form which had as its subject exotic or far-fetched stories of knights and ladies and adventures.
The term ‘romantic’ began to be used in English in the early nineteenth century to refer to a belief that life could be lived by ideals rather than rules. ‘Romantic’ also came to be used to describe a group of writers from around the turn of the eighteenth century whose work demonstrated such a belief and who were thought in retrospect to have other characteristics in common.
Romanticism has been described as a European movement which came to affect all the arts in the first half of the nineteenth century. It is a very generalized way of claiming coherence for a vast range of culture practices; nevertheless, in retrospect resemblances can be seen between what different writers and artists were producing in different parts of Europe and these resemblances seen as a strong enough to amount to a movement.
‘Romantic’ writings produced in the period from about 1780 to 1836. It defined as a response to the political revolutions of the last decade of the eighteenth century, or as a reaction to Classicism (that is to rules of writing drawn from the example of ancient Greek and Latin texts). The first is the definition which relates the writing to its historical context; the second is a formal or aesthetic definition.
British Romanticism was defined as poetry – not prose, and only very rarely non-fictional prose. What is more, ‘Romantic poetry’ was regarded as mostly having been written by just six male English poets: William Blake, William Wordsworth, S.T. Coleridge, Lord Byron, P.B. Shelley and John Keats. Poetry by women in the period as more or less ignored. Romantic poetry was discussed in relation to brad, ambitious terms like ‘Imagination’ and ‘Nature’.
Romantic writings are texts which form a period of great social, political and cultural change. A larger historical movement of Romanticism as being from Revolution to Reform.
A Romantic work is usually lyrical and tries to convince its reader that it is peculiarly expressive and cannot be paraphrased. Romanticism ‘as an aesthetic category parallel to neo-Classicism’. In this aesthetic, the expressive is privileged over the mimetic. An expressive view of writing (or of any art) is one that supposes the work of art to be representing primarily the state of mind of the artist.
The description of the work of art possessing ‘organic unity’ betrays their influence: organic unity is the notion that the work of art has to be the way it is and can be no other way. These are broadly the characteristics of the Romantic poem.
So Romanticism on the one hand might describe particular kind of writing, on the other it might describe some of the writing from a particular period. This kind of writing relates to ‘imagination for the view of poetry, nature of the view of the world, and symbol and myth for poetic style’. These elements are commonly identifies as key element in Romantic writings.
In Romantic texts, celebration the ideals of gender and race, may be to say that art which have value is beyond politics and history. It is the political or historical kind of approach on contrasts with ideal approach. For example, in writing about the Romantic writers’ interest in nature, their turning from the neo-Classicism of the eighteenth century, and their use of symbol and myth, Wellek draws attention to a visionary or prophetic strain present in one way or another in Romantic writing.
The interest in the women writers in this period really began only after feminism had had made a political impact in the 1970s.
Literary texts are seen as part f a political word rather than separate from it. We have to understand the argument about how they should be read. We read in history just as texts are written in history. There is importance of the historical contexts in which texts were written.
The poem therefore exemplifies the concept of ideology in three ways: (1) that a set of beliefs such as religion (the idea of resurrection) can be seen as an ideology; (2) that such a set of beliefs may not serve the best interests of the believers (the sweeps); (3) that a writer such as Blake, in trying to make sense of his experience of the world may produce work which has its own ideological interests. Romanic writings could be seen as working as Napoleon’s ideologies, ‘the propaganda’ or ‘Public relations’.
Shelley’s ‘England in 1819’ was written when the poet was living far away from England and not published until twenty years later. Shelley’s later radical poems were not published in his lifetime because booksellers feared government persecution and imprisonment. In other hand Blake’s lavishly illustrated books were too expensive for most people to buy.
The male Romantic writers interest to differentiate their writings from those of the popular female writers of the day and mark this as ‘masculine’, and by doing so to preserve their male authority.
Thier imagination tended to signify some thing visionary and it is some thing different. The power of imagination is to heal and restore, to supply the faith which had earlier been lost after the disappointments of the French Revolution. The close of ‘Composed by the Side of Grasmere Lake’ is a good example of the imaginary making sense of real condition. The poem imagines a mysterious voice able to bring ‘tranquility’ to ‘earth’s grounding field’. Imagining a ‘Great Pan’ who can resolve a problem is one way of being able to make sense of a difficult world.

Poetry is not to be seen as referential, not part of a language of reason. The language of a Romantic poetry may be so powerful as to inhibit your own thinking. It leaves you – in other words – absorbed in the poet’s imagining of his or her relation to the real world. So perhaps, part of Romantic ideology is that in celebrating powers such s vision or imagination, it suspends rational question