Rhodes !1

!!!!!!!!The Replacing of Classicalism: Beauty, Truth, and Romantic Aesthetics !!

Sarah Rhodes !Dr. Masson !

ENGL 4253 01 !Submitted on: February 3, 2015 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Rhodes !2

The Classical era powerfully produced philosophies pertaining to various virtues and lifestyles. In

regards to aesthetics and the specific principles that govern “good” poetry, the Classical view argues that

there are certain rules to abide by. If one were to look through the lens of the Romantic, they would find

themselves at the opposite end of the spectrum. When slipping into this era of poetry, one will find

passion, pleasure, and emotion as the vehicle of truth. There are no boundaries. There is, however, an

embracing of non-existent rules or truths that dictate the value of literature or lifestyle.

The works of the Romantics, clearly demonstrate Classical standards becoming fugacious, and

almost lost entirely. This upheaval in history has brought us to a place in literature and life where there is

scarcely room for absolutes and Classical points of view. Manifesting through the examination of

Classicalism and Romanticism will be Classical standards of poetry primarily concerning truth, and

beauty, being replaced with sincerity of feeling. It will be discussed how this sincerity of feeling is what

was used to justify objective beliefs disguised as subjective and dim the line of right and wrong which

extends beyond literature. When beauty becomes all about pleasure and feeling, then we are just left to

our own devices with emotion as our vehicle.

Cramer writes in “Abstract and the Classical Ideal” that:

! “The business of a poet,” said Imlac, is to examine, not the individual, but the species; to remark general properties and large appearances; he does not number the streaks of the tulip, or describe the different shades in the verdure of the forest… He must divest himself of the prejudices of his age or country; he must consider right and wrong in their abstracted and invariable state; he must disregard present laws and opinions, and rise to general and transcendental truths, which will always be the same.” (Cramer, 38)

! This description of the poet’s duty, represents well the perspective of the classic. History speaks of thought processes and ideologies, that represent “[t]he discipline of Classics…comprehends the total study of the ancient Mediterranean cultures of Greece and Rome, not [only] transmitted texts and their influence on later vernacular literatures; [but] their interactions, historical and literary [and] the provinces of other disciplines…” ( Sullivan, 2) This is important when determining how and why Romanticism seemed to be successful in replacing certain standards with it’s own doctrine of emotion. Classicalism, like Romanticism expanded to various disciplines. It was in the literature, but more than that it became a way of life. Society took the literature, art, philosophy that was being handed to them and ran with it. Another way to describe this era would be, “ a complex set of beliefs, attitudes, and values presumed to be grounded in the cultures of ancient Greece and Rome.” (Murfin & Supryia, 62) Classicalism had a power much like Romanticism but had very different perspectives. It would not be far fetched to assume that Classicalism is “a doctrine or set of doctrines.” (62) As said before, classicalism infiltrated philosophy, art, and literature. So it would be safe to say that when we are understanding classical

Rhodes !3

literature, we also are understanding the culture of society during that time period. When turning specifically towards literature, it “calls to mind certain characteristics in the critical writings and artistic achievements of the ancient Greeks and Romans. These qualities such as simplicity, directness, order, clarity, decorum, balance, unity, and an emphasis on reason.” (62-63) Again, this emphasis on reason reflects the sharp contrast between Romanticism and Classicalism. Murfin and Supryia state that “[e]nglish literature has been strongly marked by classicism , the ideals and characteristics of which were resurrected most notable in the Renaissance and the subsequent movement we refer to as neoclassicism.” (63) If the main emphasis was on reason, then it is very clear how society would have functioned. This also brings a startling devastation when we assess how Romanticism/sincerity of feeling has taken over culture, and still flourishing to this day.

The philosophy of the classical era takes on the same perspective. Some philosophers of this time were “Thomas Pain, John Locke of England, and Jean-Jacques Rousseau of Switzerland.” (Charles, 11) These men had great influence on society. They brought forth a certain ideology that complimented the classical regime. “They believed that scientific thought and reason were essential to an effective government and that systematic thinking could be applied to all forms of human activities and ways of life.” (Charles, 11) This scientific theory was applied not only to philosophy and the ‘truths’ at that time, but completely consumed society, infiltrating music, art, and literature. Because of this, there was an underlying guideline or law to follow behind every analysis of virtue. Beauty was not determined by an emotion that was exposited, but whether or not it fit the classic framework. Thomas Paine writes in Rights of Man:

“It is a perversion of terms to say that a charter gives rights. It operates by a contrary effect — that of taking rights away. Rights are inherently in all the inhabitants; but charters, by annulling those rights, in the majority, leave the right, by exclusion, in the hands of a few... They... consequently are instruments of injustice ... The fact, therefore, must be that the individuals, themselves, each, in his own personal and sovereign right, entered into a contract with each other to produce a government: and this is the only mode in which governments have a right to arise, and the only principle on which they have a right to exist.” (Paine, 1791)

!Paine is demonstrating how there is meant to be a right way to live. Furthermore, certain rights are meant to be established and had, despite any emotion or feeling one may have. The community is to operate as a unit, all understanding what is right and wrong, for the government is made up of individuals who are “instruments of injustice,” (Paine, 1791) and where there is subjectivity, there is chaos. They must “enter into contract with each other” and work with one mindset to “produce” a government.

Despite all of these strong figures who represented very specific and firm beliefs, and the power Classicalism held, the upheaval of society began gradually as “[m]ost were moving about from the sober Neoclassical style toward a more uninhibited and emotional style….[romanticism].” (Charles, 11)

“The Romantic Era stretched from 1750 to 1850…Before this time, reason had been the basis on

Rhodes !4

which to evaluate art [and literature].” (Gunderson, 8) Let one not forget that literature of a certain time

much reflects that of culture. Romanticism, is a condition that has both plagued and enhanced society. The

Bedford Glossary of Critical and Literary Terms describes it broadly as “a set of beliefs, attitudes, and

values associated with the shift in Western Culture that was characterized by a reaction against

Enlightenment rationalism and an emphasis on emotion, innovation, nature, the individual and subjective

experience.” This is quite an astonishing turnover from the Classical point of view. It is said that the

“romantics often regarded emotions as more reliable than reason, which they tended to view as a negative

product of civilization, unlike the eighteenth century Enlightenment philosophers who celebrated reason

as the vehicle furthering and expanding human capabilities.” (448) Again, sincerity of feeling, and

emotion was responsible for any change in law, any depiction of beauty or of other virtues. It became an

addiction, and Romanticism as a whole became a giant intoxicating system. It was so attractive because of

its elements of compromise and adherence to the desires of the individual that spoke from internal

passions. There was no absolute, because in declaring a right that one felt strongly obligated to obtain, it

was only a matter of time before another spoke of how that right violated their desires and beliefs.

Romantic poets established this kind of thinking through certain depictions. The Romantic poet felt it was

wrong to be corrupted by civilization, so one ought to be in touch with ‘divine’ in oneself. Which is why

this led to worshipping of rural living. “[T]he conception of civilization as a corrupting influence also led

romantics to glorify nature, which they tended to view as the antithesis of materialism and artifice and to

which they often imputed as mystical or even sublime quality.”

William Wordsworth is a great example of how certain glorifications of nature manifests the

supernatural us and the guiding of our emotions that result from experience. He expresses his “doctrine of

nature, imagination, and the true source of human joy.” (262) in The Prelude. Wordsworth deems it fit to

express his joy and beauty through nature and the imagination. He writes:

!“The mind of man is fashioned and built up/ Even as a strain of music: I believe/ That there are spirits, which, when

they would form/ A favoured being, from his very dawn/ Of infancy do open out the clouds/ As at the touch of

lightning, seeking him/ With gentle visitation; quiet Powers!/ Retired and seldom recognized, yet kind,/ And to the

very meanest not unknown;, With me, though rarely, [in my early days]/ They communed: others too there are who

use,/ Yet haply aiming at the self-same end,/ Severer interventions, ministry.” (Perkins, 305)

!This quote from The Prelude perfectly captures the romanticized view of nature. The Romantic Poet saw

nature as a god, a power that could both terrify and amaze. This era was filled with what was imagined,

felt, experienced. In Romantic opinion, how they experienced nature and the result of such, became the

philosophy of life for that individual. It was how they determined beauty, truth, and other virtues. Overall

Rhodes !5

this era brought much change to society. Taking a leap into the next section of this analysis, it will be

apparent how the two powers, Classicalism and Romanticism collided. It will also be evident how this

collision of thought yielded the replacement of classical standards such as truth, beauty and other

aesthetics with sincerity of feeling.

The historicity of both Classicalism and Romanticism, makes it accessible to determine the specific role Romanticism took and has taken over the years. Again, this can refer to truth, and other values of society. A specific role being absolutism. In other words, romanticism began replacing truths, and the classical standard of beauty with emotion. It became excusable to argue a certain viewpoint based on the sincerity of emotion and/or feeling. A citizen was now allowed to obtain a right if they argued it with sincere emotion. This began to betray that of objectivity, and the line that separated right and wrong, began to fade. Looking through the lens of Romanticism and this great shift in thought and literature, it becomes valuable to asses the society at that time. Because of the French Revolution, there was a great reaction and influence that began to uproot society. “the people of France gained a new sense of individuality… Self-determination- the idea that one is in control of one’s own destiny-became a foundation for society. With this new focus on individuality and the importance of the mind, many… felt freed from the constraints of society.” (Charles, 12) When the people obtained this new so-called freedom, they were able to dictate for themselves what they should believe and the lifestyles they wanted to follow. This power began to extend to all disciplines, not unlike Classicalism. However, it was much different this time because of its attractive outward appearance that affected internal passion.

People wanted what they wanted, and this notion of Romanticism was a way to replace Classical standards with their own controlled belief system. Leading to chaos in most cases. This was shown in intensely emotional literature as well as plays, and other forms of art. “Their ambition now was to construct a new world from the remnants of the old. No longer did they have to produce art [and literature] to please royalty or the wealthy; now they could express their own ideas and imaginations through their work.” (Charles, 12) No ‘truth’ could limit that of the individual. Because they chose their own destiny, they found their own philosophies, their own definitions of things. This includes religious truths, as well as the definition of beauty. Society began artistically formulating what suited them best, rather than following that specific guideline for all, fashioned by the classics. “Heroes of the past were resurrected in new, more imaginative ways, and heroes of the present were not given Classical lines and poses, but were portrayed as almost supernatural beings wrought with emotion and grandeur.” (Charles, 12) Romantic views were subjective and the following quote of Cramer demonstrates the expression of a true romantic: !“Judgements of beauty are mere “custom, not universal; and they accordingly differ by region and race and are guided by local and subjective associations, not by universal and objective judgement. To extend this grounding of beauty and truth in custom to its logical conclusions, as we tend to do today, is to limit ’beauty’ to preference, and

Rhodes !6

‘truth’ to prejudice, utterly dissociated from any hi her aestethic or ontological status.” (Cramer, 41)

!Again, the fierceness of subjectivity filled the place of the former classical standards, reaching out to every area, philosophy, religion, objectivism, literature etc. Again, “[r]omantics … rebelled against the rules and constraints of Neo-classicalism… the romantics felt that humans were propelled by more indefinable concepts such as love, greed, and fear. Emotion. not reason, was the basis for their new artistic style.” (Charles, 12) Romanticism was a focus on internal passions and the human subconscious, bringing to surface the age -old debate of reason versus emotion.” (Gunderson, 8) This switch of authority in the minds of individuals, meant that emotion became the primary control centre. It is entirely okay when emotion is a secondary affect resulting to an absolute or objective decision. However, it needs to be processed and put through the lens of reason and rational. One can feel emotions that are not in keeping with morale or the betterment of society as a whole. Furthermore, when the primary authority is not reason, there will never be a consistent moral behaviour that follows. It is clear that sincerity of feeling replaced all classical standards concerning truth, and beauty. Something was beautiful if it gave the right passion, or caused another to feel the ‘right’ things all because of the primary role of emotion.

After obtaining an understanding of the history concerning the shift in Western Culture, from

Classicalism to Romanticism, it becomes clear how the replacing of Classical Standards are a response

from the Romantic Era, which worshipped emotion or in other words “sincerity of feeling’. It is also

important to dissect the philosophical structure of both mindsets in order to understand its broadness. We

see how the relinquishment of boundaries and absolutes, extend far beyond the rights and wrongs of

literature, but also to greater values. This theology can be demonstrated through the works of Wordsworth

and many other Romantic Poets as well as philosophers who influenced literature throughout the years,

reaching all the way to present day.

!!!!Works Cited !• Charles A. Abstraction and the Classical Ideal, 1760-1920. Newark, DE: U of Delaware, 2006. Print. !• Jong, Irene J. F. De., and J. P. Sullivan. Modern Critical Theory and Classical Literature. Leiden: E.J.

Brill, 1994. Print. !• Gunderson, Jessica. Romanticism. Mankato, MN: Creative Education, 2009. Print !• Murfin, Ross C., and Supryia M. Ray. The Bedford Glossary of Critical and Literary Terms. 3rd ed.

Boston: Bedford, 2009. Print !• Paine, Thomas. The Rights of Man. N.p.: Nuvision, 1791-1792,2007. Print. !

Rhodes !7

• Perkins, David. "William Wordsworth 1770-1850." English Romantic Writers. 2nd ed. USA: Wadsworth, 1995. 259-69. Print. !

• Wordsworth, William. "The Prelude 1798-1799." English Romantic Writers. 2nd ed. USA: Wadsworth, 1995. N. 304-314. Print.