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By Andrew M. Stauffer
Andrew M. Stauffer explores the altering position of anger within the literature and tradition of the Romantic interval, rather within the poetry and prose of Blake, Coleridge, Godwin, Shelley, and Byron. This leading edge e-book has a lot to give a contribution to the knowledge of Romantic literature and the cultural historical past of emotions.
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Additional resources for Anger, revolution, and romanticism
Most eighteenth-century representations of anger follow Senecan and Spenserian patterns in portraying that emotion as a foe to temperate behavior and an enemy to virtue. For example, James Armstrong, a medical doctor and poet, writes of anger in The Art of Preserving Health (1744): But there’s a Passion, whose tempestuous sway Tears up each virtue planted in the breast, And shakes to ruins proud Philosophy. For pale and trembling Anger rushes in, With fault’ring speech, and eyes that wildly stare; Towards Romantic anger 35 Fierce as the Tiger, madder than the seas, Desperate, and arm’d with more than human strength.
44 And in Book 3, lamenting society’s lack of commitment to domestic happiness, Cowper echoes Juvenal’s First, Third, and Sixth Satires in a striking passage: what shipwreck have we made Of honor, dignity, and fair renown, ’Till prostitution elbows us aside In all our crowded streets; and senates seem Convened for purposes of empire less Than to release th’ adultress from her bond. Th’ adultress! what a theme for angry verse, What provocation to th’ indignant heart That feels for injur’d love!
But for Horace, such a reaction to another’s grief comes only when that emotion is improperly acted, dimly represented, or consciously undermined: in other words, when it is not recognizable as grief. The question of sincerity doesn’t seem important to Horace because an audience will readily respond with sympathy to displays of intense grief. Not so for anger, a more threatening and potentially explosive emotion. 1), Senecan anger ultimately resists the fellowship of Aristotelian fear and pity because of its unique relationship to observers.
Anger, revolution, and romanticism by Andrew M. Stauffer