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Return to Book Page. Kylie Goetz rated a book really liked it. In the Romantic view, symbols were the human aesthetic correlatives of nature's emblematic language. They were valued too because they could simultaneously suggest many things, and were thus thought superior to the one-to-one communications of allegory. Partly, it may have been the desire to express the "inexpressible"--the infinite--through the available resources of language that led to symbol at one level and myth as symbolic narrative at another.
Emphasis on the activity of the imagination was accompanied by greater emphasis on the importance of intuition, instincts, and feelings, and Romantics generally called for greater attention to the emotions as a necessary supplement to purely logical reason.
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When this emphasis was applied to the creation of poetry, a very important shift of focus occurred. Wordsworth's definition of all good poetry as "the spontaneous overflow of powerful feelings" marks a turning point in literary history.
By locating the ultimate source of poetry in the individual artist, the tradition, stretching back to the ancients, of valuing art primarily for its ability to imitate human life that is, for its mimetic qualities was reversed. In Romantic theory, art was valuable not so much as a mirror of the external world, but as a source of illumination of the world within. Among other things, this led to a prominence for first-person lyric poetry never accorded it in any previous period.
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The "poetic speaker" became less a persona and more the direct person of the poet. Wordsworth's Prelude and Whitman's "Song of Myself" are both paradigms of successful experiments to take the growth of the poet's mind the development of self as subject for an "epic" enterprise made up of lyric components. Confessional prose narratives such as Goethe's Sorrows of Young Werther and Chateaubriand's Rene , as well as disguised autobiographical verse narratives such as Byron's Childe Harold , are related phenomena.
The interior journey and the development of the self recurred everywhere as subject material for the Romantic artist.
The artist-as-hero is a specifically Romantic type. We have already noted two major differences: the replacement of reason by the imagination for primary place among the human faculties and the shift from a mimetic to an expressive orientation for poetry, and indeed all literature. In addition, neoclassicism had prescribed for art the idea that the general or universal characteristics of human behavior were more suitable subject matter than the peculiarly individual manifestations of human activity.
From at least the opening statement of Rousseau's Confessions , first published in "I am not made like anyone I have seen; I dare believe that I am not made like anyone in existence. If I am not superior, at least I am different. It is true that they advanced certain realistic techniques, such as the use of "local color" through down-to-earth characters, like Wordsworth's rustics, or through everyday language, as in Emily Bronte's northern dialects or Whitman's colloquialisms, or through popular literary forms, such as folk narratives.
Yet social realism was usually subordinate to imaginative suggestion, and what was most important were the ideals suggested by the above examples, simplicity perhaps, or innocence. Earlier, the 18th-century cult of the noble savage had promoted similar ideals, but now artists often turned for their symbols to domestic rather than exotic sources--to folk legends and older, "unsophisticated" art forms, such as the ballad, to contemporary country folk who used "the language of commen men," not an artificial "poetic diction," and to children for the first time presented as individuals, and often idealized as sources of greater wisdom than adults.
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