How Is “This Lime-Tree Bower My Prison” Reflective of Romantic Ideologies?

The Romanticism art movement praised imagination over reason, emotions over logic, and literature over science. The Romanticism artists were known for replacing the classical 18th century literature heroes with much more complex and passionate characters. Romanticism focuses on self-expression and individual uniqueness that does not lend itself to be defined nor controlled by society. The landscape on Romanticism was commonly displayed in cool rich colors and untamed peaceful surroundings. In Romanticism, nature was used to represent the extension of the human personality, the capability of feeling love, serenity, and sympathy.

The Romantic Period centered on creative imagination, nature, mythology, symbolism, feelings and intuition, freedom from laws, impulsiveness, simplistic language, personal experiences, democracy, and liberty, significant in various art forms including poetry. The development of the self and self-awareness became a major theme as the Romantic Period was seen as an unpredictable release of artistic energy, new found confidence, and creative power found in the writings of the Romantic poets Blake, Wordsworth, Coleridge, Keats, and Shelley, who made a substantial impact on the world of poetry. Two of the Romantic poets, William Blake, and Percy Bysshe Shelley rebelled against convention and authority in search of personal, political and artistic freedom. Blake and Shelley attempted to liberate the subjugated people through the contrary state of human existence prevalent throughout their writings, including Blake’s “The Chimney Sweepers,” from “Songs of Innocence”, “London,” from “Songs of Experience” and Shelley’s A Song: “Men of England.”

Writing about the beauty of nature and the simple life was how romantic artists rebelled against the industrial

At the end of chapter 20 in Coleridge’s Biographia Literaria, Coleridge describes his own experience with poetry and its effect on others’ imagination from an outsiders point of view:

Nature has an undefinable meaning as the theme is utilised in literature, and it has been a topic of reflection within the Romanticists since the beginning of the era. Romanticism and nature and inextricably linked ideas. Poets; Emily Dickinson and Walt Whitman wrote during the romantic era, and both drew heavily from aspects of nature in their work. Nature can be paralleled against several things, including humanity and the idea of life and death. The contrast between the natural world and the artificial world, and what this means for society, is also strongly eluded to in Dickinson and Whitman’s poems. Each poet uses nature as the backbone to their poetry in several instances. Dickinson’s, “Hope is the Thing with Feathers”, (Dickinson, 19) and “My Life Has Stood A Loaded Gun”, (Dickinson, 69) are strong examples of this. Whitman’s, “Song of Myself”, (Whitman, 29) and, “When Lilacs Last in the Dooryard Bloom’d”, (Whitman, 255) are also poems that show the connection between nature and romanticism. Poets, Dickinson and Whitman engage with romanticism in a creative and constructive manner through the utilisation of the natural world.

To the Romantics, the imagination was important. It was the core and foundation of everything they thought about, believed in, and even they way they perceived God itself. The leaders of the Romantic Movement were undoubtedly Samuel Taylor Coleridge and his close friend, William Wordsworth. Both were poets, and both wrote about the imagination. Wordsworth usually wrote about those close to nature, and therefore, in the minds of the Romantics, deeper into the imagination than the ordinary man. Coleridge, however, was to write about the supernatural, how nature extended past the depth of the rational mind.

Samuel Coleridge’s “Dejection: an Ode,” is a poem describing a man’s torment as he attempts to overcome his dispirited state as a result of the loss of a romantic relationship.

Coleridge reflected his opinion of nature by using figurative language to describe how dangerous and divine nature

Lastly, the Romantic Era blended human emotions with nature. The interfacing of emotion and nature was emblematic of Romantic poetry, whether it engrossed the idea of bequeathing human emotions to an innate article like a river or connecting the scenery to the temperament of the writer. (James, 491) This kind of beauty that is

Such a situation warrants Coleridge the title of visionary, and therefore his poem becomes a vision: a Romantically textual utopia whose realisation was challenged by the rational status quo of its historical origin. Due to this, Coleridge’s work will always seek practical affirmation and will therefore constantly be the source of metaphysically-oriented debate, leaving the dualism that rules it to be decided by the reader and the ideologies he or she brings to the text. This conclusion is supported by the words of John Beer:

Romanticism is a style of art or literature during the late 18th and early 19th centuries that emphasizes a love for nature, distrust of society, organized religion, celebration of the child or individual, and emotion over reason. In William Wordsworth’s “The World Is Too Much with Us” Wordsworth speaks about how society is so materialistic while speaking on the significance of nature. Ironically the title of this sonnet exemplifies one of the Romantic ideas and expresses one of Wordsworth’s main points regarding nature. Wordsworth uses a connection to nature as well as religion to emphasize Romanticism in his work.

The major writers in Romanticism are Percy Shelly, Lord Byron, John Keats, William Blake, William Wordsworth, and Samuel Taylor Coleridge. I will be examining two second generation Romantic poets Lord Byron, Percy Shelly, I have chosen to examine the poems; She walks in beauty, and A Lament based on the ideas most valued by Romantic poets; Love and beauty, and youth and inevitable death.

When Coleridge begins to dig deeper into stanza three, he may start to indicate to his readers the consciousness of him sleeping. Coleridge states, “Whilst through my half-closed eye-lids I behold” (Coleridge 440). In other

Again this piece by Coleridge is a demonstration of this principle. The lyrics flow up to a moment of clear recollection of the scenery, leaving the poem incomplete so that the faculty of imagination would not be diluted. Coleridge in the 3 stanzas which he relived captured the sublime, and the striking feature of this poem is in its deconstructed syntax which eagerly captured the scenery. “But oh! That deep romantic chasm which slanted/ Down the green hill athwart a cedarn cover! / A savage place!”. This is a scene that Coleridge experienced in a dream, and its recollection in reality must express the resplendence of what he felt. We can see that grammatical requirements were not fulfilled since they would merely limit the true

One of the most popular themes for Romantic poetry in England was nature and an appreciation for natural beauty. The English Romantic poets were generally concerned with the human imagination as a counter to the rise of science. The growing intellectual movement of the 18th and 19th centuries placed scientific thought in the forefront of all knowledge, basing reality in material objects. The Romantics found this form of world view to be restrictive. They felt that imagination was crucial to individual happiness. The imagination also provides a common human bond; a means of sympathy, of identification. However, the absence of imagination, the Romantics felt, would lead