Nature in Romantic Literature 1

"Nature" plays a significant part in the aesthetics of Romanticism.

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 Nature in Romantic Literature 2

The Romantic movement in art and literature in England began to develop in the 90th year of the
XVIII century. As a result, Romanticism emerged in England sooner than it did in other Western
European nations, and it was distinguished by its vivid particular and individuality. Its most
distinguished representatives included William Blake, William Wordsworth, Samuel Taylor
Coleridge, Robert Southey, Thomas Moore, George Gordon Byron, Percy Bysshe Shelley, Walter
Scott, and John Keats, among others, who have left a rich legacy in the literature of England and
made significant contributions to the literature of the rest of the world.
Romanticism is one of the most contentious literary movements in European history; in literature,
Romanticism is most often understood not only as a formal literary movement, but also as a
philosophical movement, and it is through this philosophical movement that we attempt to define
Romanticism in its entirety(Wellek, 1949).
One of the distinguishing characteristics of Romanticism in England was its wonderful lyric poetry,
particularly lyric poetry in which the poet's individuality was brilliantly portrayed in everything he
wrote. Parables, weird visions, and cosmic symbols were used by English poets to express their
perceptions and points of view. They understood sublime objects and sensations as something that
could be found in the simplest of things, in everyday life, rather than as something that was reserved
for the elite(Nassar, 2014).
One of the features of romantic writing was a particular emphasis on the spiritual realm of man; yet,
in contrast to sentimental fiction, Romantics were more interested in "the exceptional man in the
exceptional circumstances" than than "the ordinary man." In a romantic novel, the hero experiences
powerful emotions, strives for perfection, and dreams of achieving an ideal. The romantic hero
adores and occasionally idealizes the Middle Ages, as well as "pristine nature," in which he finds a
reflection of his passionate and contradictory emotions in its most powerful manifestations.
The importance of aspiration to the ideal, human impulses and feelings, and the belief that intuition
and imagination, rather than logic and knowledge, could reveal all the mysteries of life are all
important factors to consider when describing the relationship of romantic writers and poets to the
outside world. However, it is the pursuit of the ideal, which might be illusive or unreachable at
times, that leads to the rejection of ordinary life that does not conform to the ideal. Consequently,
the romantic heroes experienced an "internal duality," being obliged to live in two worlds that were
diametrically opposed to one another: the ideal and reality, and occasionally rising in protest not
just against the bone of reality, but also against the divine order of the universe. A man's
relationship to an established reality was shown in this way, and the typical guy found it amusing
rather than ironic. In general, irony is frequently used in conjunction with the concept, which is a
characteristic of English literature at all phases of its evolution(Kuzniar, 1988).
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The English Romantics were particularly concerned with social issues; in opposition to modern
bourgeois society, they eulogized nature and simple, natural impulses, and they extolled the virtues
of nature and simple, natural feelings. English Romanticism is represented by Byron, who,
according to critics, is "clothed in a dull hopeless romanticism and selfishness," but who is yet
"brilliant." His paintings are dripping with the melancholy of struggle and protest against the
modern society, but also exalting freedom and independence in their depiction(Hadzigeorgiou &
Schulz, 2014).
Understanding of nature and its image in the works of the Romantics
Since the late XVIII th and beginning of the XIX th centuries, the very notion of nature has shifted.
Initially, it was related with changes in the life philosophy and world perspective of romantics, who
subsequently described all of the occurrences from a different point of view than the medieval and
enlightenment ideas, leading to the term "romanticism." Changing perspectives on nature, as well as
changes in "philosophy of the world spirit" and understanding of nature, had an impact on romantic
images of the landscape: Romantics see the world spirit as a fundamental principle of nature that is
"weak, fluctuant," "the least comprehensible," and "the most mysterious" part of nature. Due to this
newfound appreciation for natural wonders, the representations of nature and landscape became
more complex: they represented both nature itself as well as the spirit that permeated and
"governed" the area. Some critics argue that the difference between the romantic interpretation of
nature and other interpretations of nature lies in the fact that romanticism "tried to bring balance
between the world of pure ideas and the world of tangible and visible things, eliminating their
opposition," while other interpretations of nature do not(Duncan & Duncan, 2001).
These are extremely significant issues to ask since the nature of romantic poetry has preserved not
only the aesthetic worth of creative representation of its philosophy, but it has also reflected really
profound concepts and experiences, as well as enormous human emotions, in its aesthetic value.
It is essential to emphasize that, according to the Romantics, nature in general, as well as all of its
components, possesses special characteristics of the human spirit. However, it is necessary to point
out that such personalizing and view of nature as subservient to the "world spirit" is a very essential
characteristic of romantic literature, as it represents the dilemma of man's connection with the rest
of the universe(Duncan & Duncan, 2001).
Due to the fact that this notion connects a diverse spectrum of romantic poets, subjectivity of nature
is a larger concept than the organic view of nature held by Romantics. Nature's subjectivity is more
strongly conveyed in English and German literature than in other literatures, with the exception of
French.
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The use of Byron's comments, who emphasized his love of nature on several occasions, illustrates
the fact that the subjective interaction with nature is a very essential component of Romanticism.
There is a pleasure in the pathless woods,
There is a rapture on the lonely shore,
There is society, where none intrudes,
By the deep sea, and music in its roar:
I love not man the less, but Nature more.
(Byron G.G., “Childe Harold’s Pilgrimage”)
The "subjectivity" of nature, and the related association between the poet's emotions and the natural
world, is the most important feature of the romantic perspective of nature. It is a subjective
interpretation of nature that is frequently employed by Romantic poets, and such characteristics as a
diversity of moral epithets, emotion, and the linkage of objects with human experiences are the
most visible manifestations of this poetic temperament in poetry today. "Nature knows, loves,
suffers, and dreams in the same way that man does, and in the same way that man does." Moore
(2010) 
To sum up, romanticism may be defined as an awareness of a sense of connection between man and
nature, albeit this is not necessarily expressed in pantheistic forms and may be related with a variety
of ideological perspectives. This oneness can also manifest itself as a dualistic divide, in which
nature represents peace and harmony while standing in opposition to the miseries and discord of
human relationships. All romantic poets have a passionate experience of the relationship between
the hero and nature, albeit it may be expressed in different ways by different romantic poets in
different works. For example, the image of the landscape predominates in their works, which
represents their search for beauty and gorgeous visuals, as well as their desire for awe-inspiring
scenes. Those who pay attention to the state of the human soul and his feelings, on the other hand,
do so with greater intensity, and as a result, the image of nature is projected onto the state of the
soul, and the poet shifts from descriptions of nature to descriptions of feelings, mixing them and
demonstrating relationships between them. As a result, in the works of romantic poets, the
proclamation of the link between nature and the inner world of man is an essential practice to be
found. Perkins (1994) 
It is crucial to remember that nature, for romantic poets, was an expression of spiritual life, where
they could see a mirror image of either their own soul or the ideal life that was the aim of their
aspirations, as well as the mirror reflection of their own soul. As a result, nature is imbued with a
deeper meaning in their works than the meaning of words is in their works.
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Poets' favoured motifs included animation, humanization of nature in perception, and imaginative
imaginings of the natural world. In contrast to the dead to civilization, which murders a live soul in
the quest of riches, career, and power, nature comes to life, filled with the spiritual life of people,
and is a source of inspiration for them. In this scenario, people typically have in mind untamed
nature, which provides calm, oblivion, and tranquillity, and which has not been tainted by man. It
has been suggested that the antagonism between civilization and environment takes the shape of an
antithesis between town and country, with lovely countryside being equated with a tranquil and
quiet rural setting, as opposed to a frantic and noisy metropolis. In contrast to the artificial and
empty civilization, nature is a place where everything is simple, true, and aesthetically pleasing.
Romantic poet John Keats, who wrote on the high topics of love, beauty, and art as well as on the
natural world, provided an example of this poetic singing of nature. Keats departed totally from
mythical imagery in his poem "Autumn" (1820), instead painting a picture of autumn as a time of
melancholy farewell to the past before the harsh winter. In the poem, the landscape is related with
the idea of a simple man — a peasant who lives in a state of endless toil and toil.
Season of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss’d cottage-trees,
And fill all fruit with ripeness to the core
(Keats J. “To Autumn”, in The Norton Anthology of English Literature, 2005)
The romantic poet John Keats characterized the conflict between the dream and reality as a conflict
between the desired ideal of beauty and bourgeois language in his poem Keats on Beauty (1818).
Keats' appreciation for beauty, on the other hand, did not lead him away from life or away from the
concerns of reality. In his poetry, he demonstrated the truth of life, the substance of reality, and he
poeticized the beauty that might be found in life despite the presence of certain unpleasant
circumstances. Keats' poems include a great deal of highly inventive and emotional content
wrapped up in the perfection of beauty. His distinguishing characteristic is his love of Beauty, and
he is drawn to it everywhere he finds it: in nature, in medieval mythology, in the ancient world of
the Hellas, and in feminine anatomy. His poetry, on the other hand, were roundly assailed by
contemporary critics, who decried his radical links and labeled him as an escapist. Keats, on the
other hand, was not an escapist, and he faced life head-on, despite the numerous difficulties he
experienced(Johnson, 1999).
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For the most part, Keats stayed detached from the events of his day, which may be seen in his
writings as a lack of reflection on the happenings of the day. Furthermore, he was the first to pass
away among his contemporaries. However, even at his youth and during a very short time of four
years, he was able to
Consequently, we can see that the Romantic poets frequently depicted nature as a free, strong, and
beautiful universe that is apart from human existence. The sea, with its infinite scope and
magnificent majesty, the wind, with its endless might and freedom, and the mountains, with their
grandeur and exquisite beauty, were particularly popular subjects for romantic writers to depict in
this way. A metaphorical interpretation is given to the freedom and strength of natural elements in
this context since they are connected with a free and strong human soul.
Romanticism is defined by a sense of oneness between man and nature, which is expressed through
poetry. As a result, "subjectivity," or the appropriate association of the poet's emotions with the
natural world, is the most essential aspect of romantic views of nature in the romantic era. The
romantic sense of nature is more than just an individual's attitude toward the outer world; rather,
nature aids in the expression of an individual's attitude toward the social conditions of his or her
life. The individual's link to the public sphere, as well as to the purpose of human existence, is
conveyed via his or her observation and appraisal of the natural world.
Romanticism was an intellectual and artistic movement that began in the second half of the 18th
century and flourished until the early twentieth century. In response to the scientific rationalisation
of nature that occurred during the Enlightenment, it was widely articulated in literature, music,
painting and theatre as a reactionary response. In addition to being a reaction against the rationalist
tendencies of the Enlightenment, it was a reaction to the material changes in society that followed
the rise and expansion of industrial capitalism in the late eighteenth century. During this period of
change, production became increasingly centralized in the metropolis. The factory system of mass
production was cantered on procedures that used and regulated natural forces such as water and
wind, but also enhanced power by progressively relying on fossil fuels to produce more and better
products. This combination of processes, along with the commercial motivation, "degraded and
despoiled" the environment, in the words of some romantics (although they would not have used the
term). Cities developed to unimaginable proportions, becoming hotspots of pollution, poverty, and
hardship in their respective regions. After a while, they came to represent the failure of laissez-faire
liberalism's concept, which held that allowing everyone to pursue their own interests would result in
a flawless society. According to the Romantic Movement, the exodus of people from the
countryside and the rational search for more economically efficient production methods (which
included division of labor, timekeeping, and mechanisation) resulted in the spiritual alienation of
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the masses from the land and natural environment. As far as Marx and Engels were concerned, they
were reduced to the status of units of production: cogs in an impersonal producing machine. People
and environment were reduced to the status of commodities, and people were objectified(Brady,
2013).
This was seen to be undesirable and to be contributing to the degeneration of mankind. In the
opinion of the romantics, the remedy lay in going "back to nature," because nature was regarded as
clean and a spiritual source of restoration and rejuvenation. Additionally, it provided a means for
the newly industrialized to get away from the fumes of the expanding industrial centers. Following
in the footsteps of romantic authors and poets such as Wordsworth, Keats, and Shelley, they
boarded the freshly constructed trains and set off for the Lake District in search of inspiration. This
ultimately resulted in an appreciation for the terrain, which was regarded as "sublime" and also
"delightful" in many ways (in the landscape). Defamation and destruction of a pristine natural
landscape were seen to be undesirable and harmful. All of these concepts are still relevant today and
have paved the way for modern-day conservation and environmentalism, outdoor leisure, as well as
a respect for natural and historical heritage(Hadzigeorgiou & Schulz, 2014).
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References
Brady, E. (2013). The sublime in modern philosophy: Aesthetics, ethics, and nature. Cambridge

University Press.

Duncan, J. S., & Duncan, N. G. (2001). The aestheticization of the politics of landscape

preservation. Annals of the Association of American Geographers, 91(2), 387–409.

Hadzigeorgiou, Y., & Schulz, R. (2014). Romanticism and romantic science: Their contribution to

science education. Science & Education, 23(10), 1963–2006.

Johnson, J. (1999). Webern and the Transformation of Nature. Cambridge University Press.

Kuzniar, A. (1988). The vanishing canvas: Notes on German romantic landscape aesthetics.

German Studies Review, 11(3), 359–376.

Nassar, D. (2014). The Relevance of Romanticism: Essays on German Romantic Philosophy.

Oxford University Press, USA.

Wellek, R. (1949). The Concept of" Romanticism" in Literary History II. The Unity of European

Romanticism. Comparative Literature, 1(2), 147–172.