(De Luca, Grillo, Pace, Ranzoli, Literature and Beyond, vol. 3, Loescher Editore, 1997, pp. 109-117)

The Context

The Romantic Period (1776-1837)

CHRONOLOGICAL TABLE OF THE MAIN HISTORICAL FACTS

1776              The American Declaration of Independence is signed in Philadelphia.

1798 T            The French Revolution breaks out

1793              Britain begins wars against Revolutionary and Napoleonic France.

1804              Napoleon crowns himself Emperor of France.

1811-12         Textile workers attack new mills and machinery in the Luddite Riots

1815              The Duke of Wellington defeats Napoleon at the Battle of Waterloo and ends the war against the French

1819              Peterloo Massacre: a meeting for Parliamentary Reform is dispersed in Manchester.

1832              The First Reform Bill extends the right to vote to middle-class men.

1837              Queen Victoria comes to the throne.


The Historical Context

Historians refer to this period as the `Age of Revolution'. It opens with the American Declaration of Independence and the loss of the American colonies and is characterised by the effects of the political revolution in France and the Industrial Revolution at home.

The French Revolution (1789-94) destroyed the old social order in the name of liberty, equality and fraternity and marked the beginning of the rise of the middle class. It was followed by the ascent of Napoleon who became Emperor in 1804. His armies dominated Europe and involved Britain in several wars from 1793 till 1815 when the Duke of Wellington defeated him at the Battle of Waterloo.

Meanwhile England was being radically transformed by the Industrial Revolution which caused great social unrest among the working class. It generated violent class conflict between employers and workers, most notably in the Luddite Riots of 1811-12 when textile workers in the North of England attacked the new mills and machinery which had put them out of work.

Radicalism on the French model flourished in the early part of the period. British Radicalism focused on the demand for `radical' reforms of the electoral system and for universal suffrage. Radicals believed that Parliament should represent the people and not the property-owners as the Tories claimed. The Tory government, which held power for most of the period, combated radicalism through restrictions on freedom of speech and association and through the use of secret agents and the armed forces. A clash between government and reformers was inevitable. It came with the Peterloo Massacre of 1819 in which 15 people were killed and many were wounded when mounted troops charged a crowd of 60,000 people who had gathered in Manchester for a meeting on the need for electoral reform.

By the 1820s radicalism was a spent force, partly because of the success of Government tactics, partly because of disillusionment over the violent and unsuccessful course French republicanism had taken and partly because of the improvement in the economic situation. The demand for parliamentary reform was however partially met in the First Reform Act of 1832 which extended the right to vote to thr middle-class men and undermined the great power of the landed aristocracy.

The pace of territorial expansion slowed down in the Romantic period. The loss of the 13 American colonies gave the British a distaste for colonies. But as the Industrial Revolution required the development of more overseas markets, the country- was soon to acquire new territories in the interests of her commerce.


FOCUS ON  The Industrial Revolution

The Industrial Revolution is a convenient phrase to describe the change from an agrarian or maritime economy to an industrialised (factory-based) economy which gathered force in the Romantic period and radically transformed ' England (the Midlands and the North) and the Scottish Lowlands.

The origin of the term
The term `Industrial Revolution' first appeared in the 1830s but it came into general use after the lectures given by '; the English historian Arnold Toynbee (see D1, p. 125). He felt that Britain had undergone such an industrial ; upheaval that the term `revolution' was a convenient label. The term could however be misleading because it ' suggests a sudden and violent event. On the contrary, changes began to be felt in Britain around 1780 and ' developed over a number of decades and as a continuing process for which dates cannot be given. Several factors interacted to facilitate the industrial transformation of Britain which first affected the textile and ' metal industries.

Technological innovations

The most important factors were the technological innovations that made industrialization possible. The old sources of energy like water-and wind-power were replaced by steam-power. Steam engines (invented in 1698 but improved by James Watt in 1769) needed fuel in vast quantities, which was provided by coal.

Other British technical innovations included processes for producing wrought iron, Hargreaves's spinning-jenny (1768) and Cartwright's power loom (1785) which transformed the Lancashire cotton industry and later the Yorkshire woollen industry.

Coal mining

Coal was at the heart of the Industrial Revolution. Industries like iron-making were based on coal mines and the growth of the textile industry was linked to the coalfields of Lancashire and Yorkshire. Coal mines grew from small pits to large mines employing a great number of colliers and coal production doubled between 1750 and 1800. 'The spread of canals and railways cut the cost of transporting coal from mines to factories which were sited near coalfields.

Large- scale-manufacturing or "the factory system"

The use of iron instead of wood as a raw material for buildings and machines, the use of large steam engines, new mass-production methods to get cheaper goods were responsible for the development of large-scale factory manufacturing. The cotton and woollen industries which had been spread throughout the land in small units became concentrated in huge factories in Lancashire and Yorkshire. Similarly, small-scale iron foundries disappeared and huge new works appeared in South Wales and in the Scottish Lowlands.

The factory became the main new unit of the system: it concentrated production in one place and imposed a new discipline on the workers among whom women and children were prominent and badly treated. By the 1820s and 1830s the factory system was an established reality of the Industrial Revolution.


The Social Context

English history in this period is largely the story of England's involvement with the Revolution. The event was greeted with general enthusiasm. Poets like Blake, the young Wordsworth and Coleridge all had the sense of being present at some apocalyptic momentous event in history.

Approval of what was happening in France was characteristic of much British opinion. The great exception was Edmund Burke, a statesman and thinker and a great prose writer. In his Reflections on the Revolution in France, published in 1790, he described the French Revolution as a plunge back into savagery and advocated reform rather than revolution. He glorified the positive aspects of the social contract, paying little attention to the human misery which was caused by an unfair and uncaring society.

The establishment became really alarmed by the reply of the Anglo-American radical Tom Paine, The Rights of Man (1791). Paine saw the established institutions as corrupt and malign, just as Blake did in his Songs of Experience. He contrasted England unfavourably with revolutionary France and independent America and hoped that a democratic movement might soon affect the whole of Europe.

While the Reflections sold 19,000 copies in six months, The Rights of Man sold 200,000, an incredible total for the society of the time.

Britain's Industrial Revolution began around 1780 and brought about a radical change from an economy based on farms to one that relies on factories. Before the revolution Britain's main industries were carried on in small units and workshops: for example, the woollen industry was based on families spinning and weaving wool in their homes (cottage or domestic system). The factory system brought about a real transformation of the country.

Several factors interacted to produce the Industrial Revolution, like demographic changes due mainly to population growth. The Industrial Revolution relied upon a rapidly growing population which provided increasing numbers of consumers and workers for factories. More people looking for work helped keep down wages and led to low prices and higher profits.

The expansion in the industrial population brought with it the rise of the factory town especially in northern areas. Many people moved to towns to find work in the mills and factories. Several factory owners built houses for their workers near their works - they were badly built with no water supply or sanitation. Living conditions were in general very poor and working conditions in factories and mines very dangerous.

The increasing industrial system required more and better roads and a network of canals to bring raw materials to factories and send finished goods to market. The phenomenon is often described as the Transport Revolution - its size is really huge: 3,000 miles of canals were built between 1760 and 1820.

A deep transformation affected also the rural areas. The spread of enclosures and technical innovations caused an Agricultural Revolution which went on at the same time as the Industrial Revolution and was linked to it. Land was bought by great landowners, enclosed with fences and farmed on a bigger scale through the new machines which helped change the face of farming into a more mechanised activity. Many peasants moved into towns to join the class of industrial workers.

Before the Indusn-ial Revolution the urban working class did not exist in British society. The consciousness of being part of a working class originated in a number of different organisations and groups which laid the foundations of the Trade-Union Movement.

In the late 18th century the owners started to resent the state's interference in wages and contracts. In addition, the growing population was putting great pressure on industries to increase output. As business became larger, the master-employee relationship deteriorated and became more impersonal.

The workers began to form trade clubs or associations to look after their interests. By the end of the 18th century trade clubs were joining together into larger `combinations'. Their aim was to achieve improved working conditions and higher wages, thus taking on the role of a trade union. But the ruling classes associated `combinations' with revolutionary activity and forced Parliament to declare them illegal in 1799-1800. They continued to exist, often in secret, and were finally legalised in 1824.

The Cultural Context.

Romanticism affected the whole of European culture in different ways and at different times. The three main branches of the Romantic Movement were German, English and French. Each had its individual development and quality and each was interrelated with the others. German Romanticism had a preparatory stage in the Sturm und Drang movement of the 1770s and was essentially philosophical. English Romanticism started in the 1780s and is best represented by its poetry. French Romanticism developed mainly in drama and literary criticism; its way was prepared by the general influence of Rousseau on French culture. Rousseau was immensely influential throughout Europe, particularly in his claim that man is good by nature but corrupted by society and in his conception of nature as a life-giving force. In Italy the Romantic Movement officially started in 1816; it had a strong nationalistic component and found its best expression in poetry and in the novel.

There is a close relation between the cultural aspects of Romanticism and the socio-historical context in which it developed. We will confine ourselves to two events only - the French Revolution and the Industrial Revolution. As you have seen, the political attitudes of many Romantic writers were responses to the issues and changes brought about by the French Revolution.

The remarkable expansion of industry and the economy made its effects felt in the field of economic theory which greatly flourished in the period. Adam Smith's The Wealth of Nations (1776) was a seminal book in the development of laissez faire policies. It advocated no interference from the government in economic activities and supported the idea that efficiency and profit are absolute goods.

The precise meaning of Romanticism and of several of its key concepts are matters for disagreement. But the four central elements were perhaps:

- the stress on imagination and on individual experience;

- the conception of the artist as an original creator free from any neo-classical control by models and rules;

- the notion of nature as a living organic structure and as a medium for conveying fundamental spiritual truths as well as the importance attached to natural scenery.

- a distinctive style which in literature included widespread use of imagery,symbolism and myth.

The definition of these leading concepts has caused much debate in the critical world. Romantic imagination, for example, is not a single phenomenon, but takes on different m,:anings in the works of different Romantic writers. There are basically two views of what it is.

First, it is "the capacity to see - to see more deeply into the life of things". Second, it can be considered, in the words of a critic, as

"a peculiar faculty of the mind for the apprehension of that kind of truth which is beyond the power of reason, the senses or common experience to apprehend. The poet leads the reader into a world -~vhich in character is profound, religious, ultimate, and which, but for the poet's imagination, must have remained inaccessible. According to this view, the imagination yields insight into a world that is transcendental or supersensible in its nature. The implication is that there are two worlds, the one available to ordinary people in possession of the usual senses, and the other open only to those who have the imaginaton or genius to see it."

The idea of the 'sublime' first formulated in English by Burke had an important influence on Romantic poetry and art as well as on the Gothic vogue which characterised the period. Burke had divided beauty into the beautiful (for things which were regular, delicate, harmonious) and the sublime (for things which were gigantic, violent and gloomy and aroused terror). The second category included picturesque views, mountainous landscapes, waterfalls, volcanoes, wild countryside. The Lake District was said to be `sublime' in its scenery and enjoyed great popularity throughout the age.

The interest in non-rational experience, which was part of the Romantic reaction against eighteenth-century rationalism, took many forms. One was the world of horror and sentiment and of picturesque scenery which come alive in the Gothic novels of the period. The apogee of the genre was Mrs Radcliffe's The Mysteries of Udolpbo (1794) which was highly praised when it appeared and continued to be influential till in the 1830s Dickens and Thackeray started a new phase of novel-writing based on immediate social experience. The Gothic vogue affected Byron, Shelley and Mary Shelley; Coleridge's The Rime of the Ancient Mariner, Keats's The Eve of St Agnes and also Scott's Scottish Novels draw upon the world of the Gothic.

The Story of English

At the end of the 18th century, regional differences in English within the British Isles were still very distinct. But the Industrial Revolution changed that. Industrial towns mushroomed attracting rural people from the countryside; the level of common people's literacy improved; people travelled more. These factors helped to disseminate widely a standard English which was increasingly identified with the language spoken in London.

In the literature of this period, writers, especially Romantic poets, reacted against the use of a formal and dignified `poetic diction'. It was felt that the greatest beauty lay in the vocabulary of `common speech'.

English literature became more and more popular with the Scots and was imitated by the local writers. Going against this trend, the Scottish poet Robert Burns revived the despised Scottish tradition and wrote most of his songs and poems in Scots. Sir Walter Scott's novels and poetry also tapped into the Scottish tongue and gave new life to Scottish nationalism.

In Ireland, after the Act of Union in 1803, the local Gaelic went into a steady decline. Education, now in the hands of English administrators, meant learning the English language. Irish and English languages interbred more and more until Irish English was felt to be an indigenous language.

The Story of British Art

Echoes of the sublime and of the Gothic fashion at the end of the 18th century are to be found in the paintings of Johan Heinrich Fuseli (1741-1825),, a Swiss-born artist who spent several years in London. He shows a liking for the strange, the violent and the dreamlike and for scenes of fantasy or horror as in The Nightmare, the picture that made him famous. This work as well as the horrific scenc of Lady Macbeth Seizing the Daggers are able to produce in the spectator "the strongest emotions which the mind is capable of feeling", to use Burke's words.

William Blake, who was both a poet and a painter, was linked with Fuseli through friendship and in the visionary quality of his production. His paintings often embody his personal beliefs and his own mythology: for example, the large colour-print Newton expresses his criticism of the limited vision of the rational man who is not inspired by imagination, while Elohim Creating Adam gives visual form to his pessimistic view of the creation.

The major trend of the period was, however, landscape painting which ceased to be regarded as a poor relation of history painting and became the most important branch of art for artists and the picture-buying public. The earlier subjects of Joseph M. W. Turner (1775-1851) contain most of the characteristics of a sublime work: the elemental fury of snowstorms and avalanches, awesome scenes of precipice and chasms in the Alps, the destructive power of nature in shipwrecks, etc., all have the power to amaze and shock the spectator. Paintings like Snowstorm: Hannibal and His Army Crossing the Alps or The Burning of the Houses of Parliament convey the overwhelming power of natural forces and the helplessness of man by means of a revolving vortex-like composition, the use of colour and contrasted effects of light. Turner’s later landscapes have a dream-like quality achieved through the dissolution of forms into bright rich colours.

Like Turner, John Constable (1776 – 1837) also started from a close observation of natural phenomena, but his subjects are mainly scenes from his native Suffolk with a keen eye for the weather which constantly alters the appearance of the landscape. The pictures record his own emotional response to nature and express his wish for identification with natural scenery.

The love of exotic style and the Gothic vogue could also account for romantic trends in architecture as exemplified by the Brighton Pavilion (1816-20), a flamboyant mixture of Indian and Chinese styles.