The French Revolution and Romanticism
Introduction
The French Revolution is commonly known as among the most influential events in the eighteenth century. It had several consequences in all our aspects of life, though the political aspect is of great interest to most people, with those backing the revolution pushing for autonomy and our equality, like an end to totalitarian authority and economic and legal benefits accorded to the clergy. It is from this resistance to religion and monarchy that we were able to acquire equality and human rights. The ideologies that we advanced during the 1800 had significant implications with the backing of the Romantic poets[1]. Going by the title ‘Romantic Revival’ and efforts directed at reviving it in the middle periods, poetry and culture against a culture of classicism, the ideology we advanced had been implanted on the growing French Revolution. The paper will focus on Romanticism in the period of The French Revolution. Additionally, focus will be directed to how the works of art by various artists, intellectuals and writers led to the rise of revolution and the successful impact it had to the political class in the 1800s.
The French Revolution and Romanticism
By the 1790s, the raw of the war focused on our nationalism went on to affect the whole of Europe. With the basis being on liberty, equality and community, our movement in France gave rise to extensive upsurge against anarchy and oppression which was being meted out by the aristocratic class[2].
Our counterparts in other parts of Europe were suffering from political unrest using the French Revolution that looked to bestow our human rights and an end to class variation. The impact was great and our fellow counterparts of the Romantic Movement based in England acquired major spurs due to its efforts from this war. This had major implications to the war which were economic and not political[3]. The class discrimination we experienced pushed us to massive protests and doubts as well as weakening the socio-economic life of England.
On the other hand of our push to liberty and equality, was the thriving aspect of Romanticism which was attributed to fast cultural nationalism and focus to national origins and shown in the original folks. The efforts we advanced in the Revolution had great implications to the first and second periods of the Romantics in varied ways. This two periods varied in terms of opinions that most of us had; variation took place in political ideologies and hated others[4]. The first period poets like William Wordsworth and Robert Southey, like most of us, pitied the philosophical political aspects of the revolution. This can be shown by William Godwin using Inquiry into Political Justice[5]. The revolution first periods were hard, though poets played a very crucial role in the push to the ideologies we stood for, Wordsworth notably chronicled his reaction to the war in his Prelude, through passages that did not get published until he died. One that made its way into the print, and my favorite was titled ‘French Revolution, as it Appeared Enthusiasts as Its Commencement.’ Wordsworth as most of my fellow revolutionaries, meant a change to conservative politics like the French Revolution.
Simon Bainbridge and Wordsworth among other great authors that aimed to pass the rights we were fighting for through writings, this translated the Revolution’s focus on man’s equality to language of the local person in the street and subject that can be acquired in Lyrical Ballads[6]. The locals were able to get informed and joined us in the fight. Most of them got integrated through reading through varied works, the words chosen and used by Wordsworth appeared like literary revolution that showed the revolution by changing the boundaries that contrasted poetry.
Taking into consideration the first generation revolution, the Romantics and us saw their enthusiasm that was affected by the horrific events of the revolution; starting with the killing of Louis XVI to terror spread all over. This led to dictatorship by Robespierre and Jacobins who used oppressive ways to rule us and this resulted to Napoleonic dictatorship where we suffered extreme policies. The Revolution that we so much created, went on to affect the whole of Europe and went against everything they stood for, this gave rise to new ideologies by scholars that motivated the European society to new literature and philosophy. While on the English side there was a coup d’etat managed by the House of Lords and put in place by Glorious Revolution. The radicals claimed that there was wide spread fear.
Our efforts for liberty and equality acquired support from artists and intellectuals from within the country and outside much to the pleasure of us the locals. Blake, a good example, set himself on revolt of authority severally with his integration of political ideologies and visionary anxiety. Reading some of his works, He at some points had to publish his work with no name and passed to radicals. Those who of us who got his works of art, comprising Songs of Liberty and The French Revolution, were not well received by the regime in existent as it did abhor the opposition and reacted violently against those that supported us in the Revolution.
Living through the first generation had its fair share of efforts. The second generation Romantics like Lord Byron and Percy Shelley made use of Revolution’s principles in an idealistic manner. For example, Percy Shelley shows rebellious events in her poems like Prometheus Unbound (1820) and Hellas (1822) among others. The arts used by them did not use direct representation of revolutionary operation like we did but used a mythological model that inspired other locals to join in the fray. However, this model did not involve use of violent revolutionary acts and it implanted despair to those of us that worked to advance liberty in Europe[7]. The use of despair, according to Shelley, is the primary fault with the doing away by Wordworth’s of radical libertarian ideologies and use of passive means that I can say was very effective. On the other hand, the use of violent revolutionary method by most of us is a feature that contrasted with Shelley’s critique and Byron’s use of revolution as being on the decline to use of violence and other negative means[8]. Shelley here aimed to advance liberty and equality without violence much to our pleasure. Additionally, Cox supports Byron’s display of the inevitable, trends of violence shows the lack of ability to free from the past[9]. Though, Cox described the revolution we had sparked in Marino Faliero as being in doom due to the hero’s incapacity to free himself. This made some of the rebels to copy some of the author’s acts of aristocracy which they aim to do away with. This opinion of radical method shows Byron’s tendency toward our Revolution and more so how some of my fellow youths idolized Napoleon[10]. However, he was later criticized for going against the liberty and democracy that we stood for to dictatorship.
Byrone’s most notable poem was ‘Childe Harold’s Pilgrimage’, where he makes use of his main character to pass his political opinions to us and other locals. Additionally, there arises contrast in the use of nature as was used by Wordsworth. In Wordsworth work of art he used peace and tender images varied to what we used to acquire our goals.
It is worth noting that the two generations there was a powerful feeling of people in creating a radical change to the prevailing status in most cases resulting to our mass movement. The Revolution we advanced was no different. In fact, much was credited to these artists that informed me and others who fought for the revolution. In comparison to the growing push for equality and autonomy, most of the authors, scholars and intellects took varied roles in revitalizing the revolution. We had a great feeling in the rise of the revolution on the basis of their creative arts[11]. Rousseau arose humanity that was in deep sleep, Godwin hailed individualism and Voltaire relit the flame of autonomy in every person. Lastly, the acts of massive revolution was thrown into a turmoil, moving to Europe to great extents of acts. I acquired a strong impression on the Romantic poets[12]. Authors like Byron, Shelley and revolutionaries were greatly motivated by the revolution and what they did. However, these efforts were tainted by notions and revolutionary fervor of the people who led it.
Just like the tactics we used, literature in the revolution fuels political uprising and spread to England facilitating reforms and a creative spirit was created that motivated us. This is noted in poems by Wordsworth, Byron and Shelley and prose of Scott and Austen[13]. These writers had strong allegiance to their country and had the age to be known as the second creative period for literature. Hence in the first days when old institutions appeared to fall, Bastille Southey formed a youthful method where principles were to be used[14].
The ideologies we pursued in the revolution was based on the leaders who were respected by William Wordsworth – the leader of the Romanticism. William lived in a community where democracy was highly held different from my community. The values of the French Revolution used ideals that poet used in the process of subjugating weak nations and influencing their autonomy[15]. The excess disillusion and exasperation affected him because of excess Revolution and rise of threatening dictators like Napoleon who treated us badly[16]. However, with the urge of political enthusiasm, he later stated that success was close to be met a feeling we on the ground shared with him. While he grew as a strong supporter to our efforts in war and massive death, in other poems he wrote led him to censure by Romantics.
However, close focus on the style of writing by the Romantics to other readers and for us who were on the ground, were able to acquire the significance of Romanticism. This revealed something different from what we pursued, that literature has to show all that is spontaneous and natural and man had the autonomy to follow what he found fitting without being affected by a tight model. It can be stated that literature was used to acquire the pace of liberty to be fast in the essence of the Revolution[17]. Most of these authors actively went back to the place where the war took place in search of elements for their arts.
The connection between time and literature arises from the interval of any time limit. We could not be separated as we went through a lot together; those of us who were on the streets to fight for our rights and those that were in their rooms motivating us in our efforts and enlisting others to join us. A period where no matter what takes place on the world, basically shows its authoritative impact on literature. The French Revolution and Romanticism took place at about the same time[18]. Hence the significance of the revolution left marks on the works of art, meaning that the French Revolution, even though it was a war for liberty, equality and fraternity, it developed the rise of romantic literature.
Conclusion
The French Revolution was among the most significant events that took place in the 1800s for Europe. This was since it marked the start of the end of monarchies and dictatorships all over Europe that made us suffer. The artists using their works of art facilitated the rise of the revolution. Authors and scholars informed and educated us on the need for liberty and this went far and wide in other countries. The coming together of several artists from all over Europe led to massive revolution which we played a vital role as known as the ‘The French Revolution’. Even though a good section of them survived, they are not politically relevant in the modern day. They alongside us, have however mark in history on how art can affect styles of leadership and bring about autonomy.
The paper has been able to focus on the French Revolution and the connection with Romanticism. It has been able to focus on how works of literature led to the revolution and end of anarchies. The revolution acquired support from several scholars locally and externally and was notable in the fall of varied rules of the time through informing us. This facilitated in strengthening what we stood for and acquire our goals. The revolution hence influenced the British poets to acquire their goals.
Works Cited
Bainbridge, Simon. “Politics and Poetry.” The Cambridge Companion to British Literature of the French Revolution in the 1790s. Pamela Clemit, Ed. Cambridge University Press, 2011.
Cox, Jeffrey N. “Romantic Drama and the French Revolution.” Revolution and English Romanticism. Keith Hanley and Raman Selden, Eds. New York: St. Martin’s Press, 1990.
George Gordon, L. B. Lord Byron – The Major Works (Reissue edition ed.). (J. J. McGann, Ed.) Oxford: Oxford Paperbacks, 2008.
Long, William J. English Literature—Its History & Its Significance. Calcutta: Radha Publishing House, 2001.
Mee, J. and Fallon, D. Romanticism and Revolution: A Reader. New York: John Wiley & Sons, 2010.
Popkin, Jeremy D. A Short History of the French Revolution. 4th ed. New Jersey, Pearson Prentice Hall, 2006.
Reinsel, A. Poetry of Revolution: Romanticism and National Projects in Nineteenth-century. Eisenhower: ProQuest, 2008.
Stauffer, A. Anger, Revolution, and Romanticism. London: Cambridge University Press, 2005.
Shelley, P. B. The Complete Poetic Works of Percy Bysshe Shelley, Vol. 1 of 2. London: Forgotten Books, 2008.
Thompson, E. P. The Romantics: England in a Revolutionary Age. New York: New Press, 1999.
[1] E. Thompson, The Romantics: England in a Revolutionary Age (New York: New Press, 1999), pp. 17.
[2] William Long, English Literature—Its History & Its Significance (Calcutta: Radha Publishing House, 2001), pp. 370.
[3] A. Stauffer, Anger, Revolution, and Romanticism (London: Cambridge University Press, 2005), pp. 68.
[4] William Long, English Literature—Its History & Its Significance (Calcutta: Radha Publishing House, 2001), pp. 278
[5] Simon Bainbridge, “Politics and Poetry.” The Cambridge Companion to British Literature of the French Revolution in the 1790s. Pamela Clemit, Ed (Cambridge University Press, 2011), pp. 63
[6] Ibid, pp. 76.
[7] P. Shelley, The Complete Poetic Works of Percy Bysshe Shelley, Vol. 1 of 2 (London: Forgotten Books, 2008), pp. 27
[8] Ibid, pp. 32.
[9] Jeffrey Cox “Romantic Drama and the French Revolution.” Revolution and English Romanticism. Keith Hanley and Raman Selden, Eds (New York: St. Martin’s Press, 1990), pp. 53.
[10] Ibid pp. 67.
[11] Gordon George, L. B, Lord Byron – The Major Works (Reissue edition ed.). (J. J. McGann, Ed.) (Oxford: Oxford Paperbacks, 2008), pp. 94.
[12] A. Reinsel, Poetry of Revolution: Romanticism and National Projects in Nineteenth-century (Eisenhower: ProQuest, 2008), pp. 48.
[13] P. Shelley, P, The Complete Poetic Works of Percy Bysshe Shelley, Vol. 1 of 2. (London: Forgotten Books, 2008), pp. 55.
[14] William Long, English Literature—Its History & Its Significance (Calcutta: Radha Publishing House, 2001), pp. 388.
[15] Jon Mee and David Fallon, Romanticism and Revolution: A Reader (New York: John Wiley & Sons, 2010), pp. 43.
[16] Ibid, pp. 103.
[17] Jeremy Popkin, A Short History of the French Revolution (New Jersey, Pearson Prentice Hall), 2006, pp. 56.
[18] Ibid, pp. 34.
