English Romantic Poets: Wordsworth, Coleridge, Blake, Byron, Shelley, Keats.

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English Romantic Poets: Lectures by Willard Spiegelman

24 lectures by Willard Spiegelman from the Teaching Company:

• Part I.
• Part II.
• Poems of Part I.
• Poems of Part II.

Poets included:

• Blake, William.
• Byron, George Gordon.
• Coleridge, Samuel Taylor.
• Keats, John.
• Shelley, Percy Bysshe.
• Wordsworth, William.

English Romantic Poets: Lectures by Willard Spiegelman: Part I. Romantic Beginnings. Wordsworth and Lyrical Ballads. Life and Death, Past and Present [Wordsworth]. Epic Ambitions and Autobiography [Wordsworth]. Spots of Time and Poetic Growth [Wordsworth]. Coleridge and the Art of Conversation. Hell to Heaven via Purgatory [Coleridge]. Rivals and Friends [Coleridge and Wordsworth]. William Blake: Eccentric Genius. From Innocence to Experience [Blake]. Blake's Prophetic Books. Women Romantic Poets. Part II. "Mad, Bad, and Dangerous to Know". The Byronic Hero [Byron]. Don Juan: A Comic Masterpiece [Byron]. Shelley and Romantic Lyricism. Shelley's Figures of Thought. Shelley and History. Shelley and Love. Keats and the Poetry of Aspiration. Keats and Ambition. Keats and Eros. Process, Ripeness, Fulfillment {Keats]. The Persistence of Romanticism.

Part I of English Romantic Poets: Lectures by Willard Spiegelman

See also Poems of Part I.

1. Romantic Beginnings Poems of Part I

• Liberation and freedom.

2. Wordsworth and Lyrical Ballads Poems of Part I

• Looked back to his childhood for subject matter.
• Lyrical Ballads, the joint volume with Coleridge.
• Starts (as in "The Two April Mornings") to use "metaphor, simile, repetition, and replacement".

3. [Wordsworth] Life and Death, Past and Present Poems of Part I

• Elegies of "Lucy", "Strange Fits of Passion I have known", "Three years she grew in Sun and Shower", "A Slumber did my Spirit Steal".
• "Tintern Abbey" on remembering and recollecting.
• "Ode: Intimations of Immortality" begun in 1802.; became blocked in writing until Coleridge helped him.

4. [Wordsworth] Epic Ambitions and Autobiography Poems of Part I

• The Prelude: written in his great creative decade (1787-1805) and revised for the rest of his life.

5. [Wordsworth] Spots of Time and Poetic Growth Poems of Part I

"Throw out your Prozac; pick up your Wordsworth."

• Wordsworth used memory "as a human subject".
• The Prelude, an epic that traces Wordsworth's recovery from his mid-20s breakdown. Includes "spots of time" "like independent poems woven into the fabric of a longer work". Experiences of trance and the sublime.

6. Coleridge and the Art of Conversation Poems of Part I

• Master of prose as well as poetry.
• Wrote few poems but they are highly influential.
• "He is the greatest critic in English literature."
• Coleridge's "conversation" poems, including:
  • "The Eolian Harp"
  • "The Lime Tree Bower My Prison"

7. [Coleridge] Hell to Heaven via Purgatory Poems of Part I

• Coleridge's three most exotic and "Gothic" poems:
  • "Kubla Khan"
  • "The Rime of the Ancient Mariner"
  • "Christabel"

  All unconventional and unfinished.

8. [Coleridge and Wordsworth] Rivals and Friends Poems of Part I

• Wordsworth might not have developed as he did without Coleridge's influence.
• Coleridge was both "awed and humbled by his friend's great achievement".
• Coleridge's Biographia Literaria was the first serious criticism of Wordsworth's work, recognizing the beauties of the work, while recognizing that some of Wordsworth's "claims for the poet's job were simply ludicrous".

9. William Blake: Eccentric Genius Poems of Part I

• Devised new ways of printing, such as for his Songs of Innocence.
• Integrated pictures and text.
• Self-educated; pious but a religious radical; developed his own mythology.
• A revolutionary: supported American and French Revolutions.
• A dialectician, for whom "truth is always achieved by the warfare between, and the reconciliation of, opposing forces" (Speigelman).
• Social protest and irony, although sometimes his tone is ambiguous or obscure.

10. [Blake] From Innocence to Experience Poems of Part I

• Blake imagines that innocence and experience are human states that a person has simultaneously (not just sequentially).
• Themes in Songs of Experience include: sexual repression, sexual fidelity, and his social outrage for the evils of repression.

11. Blake's Prophetic Books Poems of Part I

• Develops his mythology about the fours "Zoas" (life forces and brothers, sometimes in harmony, sometimes in conflict).
• The Zoas will appear in Blake's epics Milton and Jerusalem.
• "The Book of Urizen" of a patriarchal oppressor with characteristic despised by Blake: those of the Old Testament Jehovah and of rationalist philosophers (like Newton, Locke, and Bacon).
• "The Book of Thel" of the "failure of the human will" (Speigelman).
• "Visions of the Daughters of Albion" on slavery, economics, and patriarchal sexual repression in marriage.
• "The Marriage of Heaven and Hell", a prose satire that promotes the harmonious balance of good (seen by Blake as the energetic and creative) and evil (conventionality and repression).

12. Women Romantic Poets Poems of Part I

• Felicia Hemans: more popular in her day than any of the male poets referenced here. Most famous for "The Boy Stood on the Burning Deck". Conservative. Emphasis on filial devotion and family.
• Charlotte Turner Smith. Also more popular in her day than any of the male poets referenced here. Influenced Wordsworth and Coleridge. Wrote ten novels also.

Part II of English Romantic Poets: Lectures by Willard Spiegelman

See also Poems of Part II.

13. [Byron] "Mad, Bad, and Dangerous to Know" Poems of Part II

• Aristocrat with radical opinions and escapades.
• His shorter lyrics show "metrical facility, the musical ear, and the linguistic vagueness that characterize many of his most popular poems".
• His lyric poetry shows mastery of poetry forms and could be set to music as songs.
• Some lyrics (especially the shorter) are mocking of himself, of the image of a hero, and of excessive self indulgence.
• Some longer lyrics are more sincere about love and about age.
• First Canto begun 1818.
• Final (seventeenth) canto in the spring of 1823

14. [Byron] The Byronic Hero Poems of Part II

• The "Byronic hero" is often a god-like figure who defies authority.
• Childe Harold's Pilgrimage: Harold has many attributes of Byron including wandering Europe and "contemplating the dust of empires".
• Manfred: a drama with his hero as a Faust-like character who dies on his own terms, without selling his soul to devils or angels.

15. [Byron] Don Juan: A Comic Masterpiece Poems of Part II

• Don Juan is comic, satirical, and clever.
• Byron rhymes Don Juan not as Spanish but as misspoken in English: with "one" and therefore "John" in its first stanza of the first canto.
• Uses the Italian form of the ottava rima.
• Stanzas of 8-line octaves with the rhyme scheme "abababcc".
• Political and social satire.
• Underlying seriousness explores and challenges conventional ideas of the heroism.
• A comic love poem.
• "Quicksilver tones" and ability "to dart from high to low".
• Spiegelman names W.H. Auden and James Merrill as Byron's "real heirs in twentieth-century poetry".

From my own reading of the poem, these are its 16 completed cantos (sections), each canto averaging well over 100 stanzas; Byron had no overall plan for the entire work when he wrote the first Canto, so it is no surprise that it does not hang together as would a fully planned work:

But the fact is that I have nothing plann'd, Unless it were to be a moment merry, A novel word in my vocabulary.

Canto I (1818).	Don Juan (16 years old) in Seville develops an affair with Julia (23), initiated (Byron and Juan like to claim) by Julia. A bedroom farce, though Julia is sent to a nunnery. while Juan's mother sends her son to sail the world.
Canto II (1818-19).	Juan sails, tormented by his love for Julia, from Cadiz with servant and a tutor. The chapter is a horror of seasickness, storm, shipwreck, cannibalism, madness, and Juan's eventual landing on an island in the Cyclades. Haidée discovers Juan, nurse him hidden in a beach cave, falls in love with him, and (while her pirate father is away) marries him.
Canto III (1819).	Byron satirizes his contemporary Lakes Poets, William Wordsworth's work, Robert Southey, and Samuel Taylor Coleridge's "Kubla Khan" and "Christabel". The subsection the Isles of Greece in a different format (6-line stanzas) is more musical and serious than anything else in the poem, praising Greece and grieving for its loss of glory under the Ottoman Empire: The isles of Greece, the isles of Greece! Where burning Sappho loved and sung, Where grew the arts of war and peace, Where Delos rose, and Phoebus sprung! Eternal summer gilds them yet, But all, except their sun, is set. ... The mountains look on Marathon -- And Marathon looks on the sea; And musing there an hour alone, I dream'd that Greece might still be free; For standing on the Persians' grave, I could not deem myself a slave.
Canto IV (1819).	Haidée and Juan wake to discover that Haidée's father has returned to overcome Juan. Haidée dies. Her father sells Juan into slavery, and he is taken to market in Istanbul, Turkey.
Canto V (1820).	Juan in the slave market talks with an enslaved Englishman, John. A eunuch buys Juan and John, and takes the them to the palace, where he requires Juan to dress as a woman. Juan is brought to the sultana (26), who had required his secret purchase.
Canto VI (1822).	Juan, in woman's dress, is taken to the crowded seraglio. He shares (as a 'woman') the sleeping couch with one of the girls who (no surprise) wakes up everyone with a scream. In the morning, the sultana is furious that Juan 'slept' in the seraglio, and orders for Juan to be drowned.
Canto VII (1822).	Juan and John escaped with two women. They arrive at the (1790) siege of Ismail, where the Danube enters the Black Sea. A Russian army office attacks the fortress. John and Juan join the Russians.
Canto VIII (1822).	Juan and John scale the walls to conquer Ismail. Juan rescues Muslim girl (10 years), adopts her, and is sent to Russia (Petersburgh) as he hero with the girl.
Canto IX (1822).	Juan becomes a favorite of Queen Catherine II.
Canto X (1822).	Juan falls ill because of the cold in Russia. He is sent to England for its 'warmer' weather, where he is supposed to make negotiations for Catherine.
Canto XI (1822).	Juan reaches London. He is mugged by a man that he shoots and kill. In this Canto, Byron comments on William Wordsworth's work, Robert Southey, and others. His comment on John Keats, although sympathetic of Keats' potential, erroneously attributes Keats death to suicide (which had happened to Chatterton): John Keats, who was kill'd off by one critique, Just as he really promised something great If not intelligible, without Greek Contrived to talk about the Gods of late, Much as they might have been supposed to speak. Poor fellow! His was an untoward fate; 'Tis strange the mind, that fiery particle, Should let itself be snuff'd out by an article.
Canto XII (1822).	Juan lives in London among persons of wit.
Canto XIII (1823).	Juan at a banquet at the home of a colleague.
Canto XIV (1823).	Juan at a fox hunt and in further flirtations with ladies.
Canto XV (1823).	Juan (like Byron) seems seductive to ladies in large part because he is in no hurry to seduce. Also like Byron, Juan admits that the women that he is attracted to are mostly already married. Another dinner with ladies.
Canto XVI (1823).	A ghostly experience where Juan prowls the home of his host, looking for ladies.
Canto XVII (1823 and incomplete; Byron died 1824).	As a defense of Byron and Juan, lists great people who were outsiders and revolutionaries.

16. Shelley and Romantic Lyricism Poems of Part II

• Percy Bysshe Shelley was admired by Keats and by Wordsworth, who called Shelley a master of style. This section shows why.
• Shelley enthralled Browning and Yeats.
• T.S.Eliot criticized Shelley's work.
• Shelley:
  1. Turned "all kinds of poems into essentially a lyric mode".
  2. Expressed and acted on extreme views "with regard to religion, politics, and sexual mores".
  3. Was skeptical (despite his interest in Plato and his idealism) so his poetry is sometimes difficult and unclear.
• To Shelley, the abstract is often as important as the concrete.
• "Ozymandias" (1817), a sonnet on the "ephemerality of human achievement". Rhyme scheme is "scattered", "neither fully Italian nor fully English". Both the rhymes and the narrators (the 14 lines feature 4 story tellers) interlock.
• "To a Skylark" invokes the bird's song, attempts to describe the bird's song with similes, and attempts to make the author into a version of the bird.

17. Shelley's Figures of Thought Poems of Part II

• "Shelley was a serious intellectual, like Coleridge but unlike ... Byron or Keats." [Spiegelman]
• Shelley starts poems with abstractions and metaphor rather than with observation, whereas Wordsworth begins with the physical world.
• "I hope to prove Eliot wrong", says Spiegelman with regard to some of Eliot's criticisms of sloppiness in Shelley.
• In "The Hymn to Intellectual [spiritual] Beauty", Shelley tries to decide what it is like through its fleeting appearances in phenomena and through a series of similes. Intimate to Shelley. Ecstatic release of being " touched " by the divine and transformative presence; from this comes Shelley's recognition that he is a religious zealot and political liberator, placing himself in service to this higher power.
• Eros and imagination as two aspects of the same thing to Shelley.
• In "Mont Blanc", Shelley ponders the relation of mind to matter, ponders what causes things to happen in the world, and ponders power. Ends with a question, indicating his uncertainty and skepticism. Such final questioning is shared by Keats (as in "Ode to a Nightingale" and by Shelley's "greatest student, William Butler Yeats".

18. Shelley and History Poems of Part II

• Shelley as similar to today's "armchair Marxist or limousine liberal".
• Successfully combined the helical or repetitive (Greco-Roman) view of history with the linear (Judeo-Christian) view.
• Wrote many poems "concerned with historical progress".
• Prometheus Unbound about the Titan trapped in and then released from rock. "Shelley acknowledges humankind's mortality and its perfectibility. The three sides of his disposition -- radicalism, lyricism, and skepticism -- are brilliantly brought out in this play."
• "Ode to the West Wind"
  • Interlocking sonnets written in terza rima.
  • Shelley introduces himself after the midpoint of the poem, placing himself "at the service of political, social, and seasonal revolution and upheaval".

19. Shelley and Love Poems of Part II

• Notorious (like Byron) for his love affairs, and a more major love poet than Byron.
• "Epipsychidion" as a "thinly veiled autobiography of his erotic life and a plea for free love as a way of liberating the individual and society in general". "Indebted to Shelley's reading of Dante, especially the Vita Nuova, Dante's treatise on courtly and spiritual love." Written in rhyming couplets grouped into four parts:
  1. Ecstatic invocation of Emilia (an idealized girl, based on Teresa Viviani of Pisa), running through a range of similes.
  2. Shelley's philosophy of free love, without the limitations imposed by social and religious conventions.
  3. Shelley's "allegorical autobiography".
  4. Shelley's invitation to Emilia to escape with him to a paradise.
• "Adonais": the great elegy on the death of Keats. While the men met only once and were acquaintances rather than friends, Keats is symbolic of the early death of poets, particularly those "unappreciated during their lives or slighted by critics".

  Influenced by the neo-Platonic views of Plotinus, particularly about Eros, Shelley expresses:

  • "The erotic principle derives and overflows from a burning fountain into our dry world, and impels all spiritual beings, especially poets, upward."
  • "Death involves ... burning off ... the chains of mortality."
  • "A return to the 'One' means we should not be mourning Adonais but, instead, deriving comfort from his new status as a star to guide us onward.".
  • Ideas of "adventure, hopefulness, and suicidal adventure".

    'Tis Adonis calls! oh, hasten thither. No more let Life divide what Death can join together.                         [Shelley]

20. Keats and the Poetry of Aspiration Poems of Part II

• The briefest career (lasting little more than 3 years) of all the English Romantic poets. In the last 17 months (October 1819 to February 1821) his illness prevented him from completing major work.
• Always looked ahead, plotting his career.
• During his 4 years he developed "in thought, sophistication, confidence, and general wisdom".
• "The consummate poet of process, in both natural and the human worlds."
• Marvelous letters in which he "exemplifies the great Romantic tradition of empathy, of feeling into someone or something else".
• His highest ambition was to write plays, as Shakespeare had done.
• "He thought that any great poet's work was the commentary on his life."
• "On First Looking Into Chapman's Homer", a poem about an experience as a reader; treats the event as physical; "presents his work through metaphors to arrive at the best form for presenting his literary ideas"; comments on his literary status and plans.
• "Sleep and Poetry" comments on his literary status and plans, including:

  ... the great end Of poesy, that it should be a friend To sooth the cares, and lift the thoughts of man.                         [Keats]

• Published three volumes that show rapid maturation:
  1. Poems (1817): adolescent work except for some remarkable sonnets, including "On First Looking Into Chapman's Homer" (written when Keats was 20).
  2. Endymion (1818): "book-length romance concerning a young man's aspiration for a goddess he has seen in a dream".
  3. Lamia, Isabella, The Eve of St. Agnes and Other Poems (1820): "contains his finest narrative poems, as well as some of his great odes from 1819".
• Early models were Leigh Hunt, Edmund Spenser, and Coleridge.

21. Keats and Ambition Poems of Part II

• Hostile reviews of Keats' first two books
• Interested in achieving lasting fame.
• "Keats tries to weigh the aggressiveness of human ambition against his keeling for natural process and ripening."
• Keats said: "if poetry comes not as naturally as the leaves to a tree it had better not come at all".
• Explores paradoxes of:
  • blindness and insight in "To Homer".
  • "the feel of not to feel it" in "In Drear-Night December".
  • The life of the body versus the life of the mind.
• "Ode to Psyche" (May 1819), his first great ode, explores "issues involved in writing another kind of poetry". A poem of seeing and discovering. Psyche "represents both the human soul in love and the new inward-turning direction of his poetry".

22. Keats and Eros Poems of Part II

• "Much of Keats poetry concerns itself with erotic love."
• "The Eve of St. Agnes": a poem of sexual desire and fulfillment, "confident and optimistic".
• "La Belle Dame Sans Merci": a poem of tragedy due to sexual initiation.
• "Lamia": evil seduction and bewitchment in Keats' last great narrative poem.
• Keats writes of "negative capability" in a letter and expresses it in his poems; "a condition when one is capable of remaining in 'uncertainties, mysteries, doubts, without any irritable reaching after fact and reason'".

23. [Keats] Process, Ripeness, Fulfillment Poems of Part II

• Greatest achievement as a lyric poet: his five odes (April-May 1819):
  • "Ode on a Grecian Urn"
  • "Ode on Indolence"
  • "Ode on Melancholy"
  • "Ode To A Nightingale", a poem full of the wish to escape and of the paradox of life and death.
  • "Ode to Psyche"
  and "To Autumn" (September 1820), his valediction, a poem of process and natural death.

24. The Persistence of Romanticism Poems of Part II

The Romantic poets influenced:

• Victorians such as Matthew Arnold (particularly influenced by Wordsworth), Robert Browning (who revered Shelley), and Alfred Tennyson.
• William Butler Yeats, who "called himself and his colleagues 'the last Romantics'".
• American poets often connected strongly to the earlier English Romantic poets by a shared interest in problems of knowledge (epistemology).
• Americans such as Walt Whitman (particularly influenced by Wordsworth), Robert Frost (also influenced by Wordsworth), Wallace Stevens (particularly influenced by Keats and somewhat by who revered Shelley), Allen Ginsberg (a devotee of Blake), and Elizabeth Bishop (particularly influenced by Wordsworth).

Poems of Part I of English Romantic Poets

1. Romantic Beginnings.
   • "To a Butterfly"
2. Wordsworth and Lyrical Ballads.
   • "The Two April Mornings"
   • "The Fountain"
   • "Nutting"
   • "Composed upon Westminster Bridge, September 3, 1802"
3. Life and Death, Past and Present [Wordsworth].
   • "She Dwelt among the Untrodden Ways"
   • "Strange Fits of Passion Have I Known"
   • "Three Years She Grew in Sun and Shower"
   • "A Slumber Did My Spirit Seal"
   • "Ode: Intimations of Immortality from Recollections of Early Childhood" (excerpts)
4. Epic Ambitions and Autobiography [Wordsworth].
   • "The Prelude: Book Fifth" (excerpts)
   • "The Prelude: Book Twelfth" (excerpts)
5. Spots of Time and Poetic Growth [Wordsworth].
   • "The Prelude: Book First" (excerpts)
   • "The Prelude: Book Fourteenth" (excerpts)
6. Coleridge and the Art of Conversation.
   • "The Eolian Harp"
   • "This Lime-Tree Bower My Prison"
7. Hell to Heaven via Purgatory [Coleridge].
   • "Christabel, Part I" (excerpts)
   • "Rime of the Ancient Mariner" (excerpts)
   • "Kubla Khan" (excerpts)
8. Rivals and Friends [Coleridge and Wordsworth].
   • "To William Wordsworth" (excerpts)
   • "Dejection: An Ode" (excerpts)
   • "Work without Hope"
9. William Blake: Eccentric Genius.
   • "Song (How Sweet I Roam'd from Field to Field)"
   • "Introduction (Piping Down the Valleys Wild)"
   • "The Shepherd"
   • "The Ecchoing Green"
   • "The Blossom"
   • "Holy Thursday"
   • "The Chimney Sweeper"
10. From Innocence to Experience [Blake].
    • "The Tyger"
    • "Ah Sun-Flower"
    • "My Pretty Rose Tree"
    • "The Garden of Love"
    • "London"
    • "The Crystal Cabinet"
    • "The Mental Traveller"
    • "Auguries of Innocence" (excerpts)
11. Blake's Prophetic Books.
    • "Book of Urizen" (excerpts)
    • "Auguries of Innocence" (excerpts)
    • "Visions of the Daughters of Albion" (excerpts)
    • "Book of Thel" (excerpts)
12. Women Romantic Poets.
    • "Casabianca"
    • "The Homes of England"
    • "The Graves of a Household"
    • "On Being Cautioned against Walking on an Headland Overlooking the Sea, Because It Was Frequented by a Lunatic"

Poems of Part II of English Romantic Poets

13. "Mad, Bad, and Dangerous to Know".
    • "The Destruction of Sennacherib"
    • "Stanzas for Music"
    • "Written after Swimming from Sestos to Abydos"
    • "Maid of Athens, Ere We Part"
    • "So We'll Go No More A-Roving"
    • "Stanzas to Augusta"
    • "On this Day I Complete My Thirty-Sixth Year"
14. The Byronic Hero [Byron].
    • "Childe Harold's Pilgrimage" (excerpts from Canto 3)
    • "Prometheus" (excerpt)
15. Don Juan: A Comic Masterpiece [Byron].
    • "Don Juan" (excerpts)
16. Shelley and Romantic Lyricism.
    • "Ozymandias"
    • "To a Skylark"
17. Shelley's Figures of Thought.
    • "Hymn to Intellectual Beauty"
    • "Mont Blanc"
18. Shelley and History.
    • "Hellas" (excerpts)
    • "Worlds on Worlds Are Rolling Ever"
    • "The World's Great Age Begins Anew"
    • "Prometheus Unbound" (excerpts)
    • "Ode to the West Wind"
19. Shelley and Love.
    • "Epipsychidion" (excerpts)
    • "Adonais" (excerpts)
20. Keats and the Poetry of Aspiration.
    • "Sleep and Poetry" (excerpts)
    • "On First Looking Into Chapman's Homer"
    • "On Seeing the Elgin Marbles"
21. Keats and Ambition.
    • "On Fame"
    • "In Drear Nighted December"
    • "To Homer"
    • "Ode to Psyche"
22. Keats and Eros.
    • "The Eve of St. Agnes" (excerpts)
23. Process, Ripeness, Fulfillment {Keats].
    • "Ode to a Nightingale"
24. The Persistence of Romanticism.
    None

Books

Coleridge by Walter Jackson Bate. A full and fascinating history of Coleridge, his talents, his struggles, and his demons.

Keats by Andrew Motion. Book log of Motion's Keats.

The Ecology Footprint quiz

As the Romantic Poets are poets of nature, this is your opportunity to take The Ecology Footprint quiz: calculate what is your own impact on Gaia.

Population Connection's Reporter (Winter 2004) gives:

1. The average American ("Eusan") footprint is over 10 hectares (25 acres).
2. The worldwide average footprint is 2.4 hectares (6 acres), which exceeds the available acreage.
3. "Prof. David Pimentel estimates that the Earth can support from one to two billion people with a U.S. standard of living, good health, nutrition, prosperity, personal dignity, and freedom."

Links. On How to Write Poetry. Poetry - Learn How to Write Your Own.

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