“…That is,“[t]he transition from war to peace, in 1815, was like returning from romance to reality,” even if Britain did not fully wake to its having lapsed into lateness until at least 10 years after, since it was “in 1825, when the tremendous visitation had wholly passed away from the political system.” (1837, pp. 2–4; see Ramsey, 2017) Preferring a volte‐face akin to the breakdown imagined by Hazlitt over Montgomery's thesis of slow decline, François‐René de Chateaubriand reflects in his Memoirs from Beyond the Grave that the disintegration of the Napoleonic vision for France and Europe was as traumatising as it was sudden:[t]o plunge [ retomber ] from Bonaparte and the Empire into what followed them, is to plunge from reality into nothingness, from the summit of a mountain into the gulf. Did everything not end with Bonaparte?…”
Section: Romanticism Undonementioning
confidence: 99%
“…(1837, pp. 2-4; see Ramsey, 2017) Preferring a volte-face akin to the breakdown imagined by Hazlitt over Montgomery's thesis of slow decline, François-René de Chateaubriand reflects in his Memoirs from Beyond the Grave that the disintegration of the Napoleonic vision for France and Europe was as traumatising as it was sudden:…”
Acting on recently surging critical interest in late Romanticism, a subperiod taken to range roughly from the later 1810s through the 1840s, the present article reviews past and current work in this burgeoning field, particularly highlighting developing avenues for future research. Two competing accounts of late Romanticism are contrasted: a long‐dominant take which regards the subperiod as fundamentally secondary, derived, and inferior; and a recently energised perspective which reveals the vibrancy and innovativeness of late‐Romantic culture. If the former construes history by prioritising the experiences of poets, acting on a cultural paradigm that pivots on the centrality of a particularised genre, the latter pursues a Romanticism that is reconfigured under the pressure of a developing media system, in which multiple specialised genres acquire distinct functions. The discussion of these two perspectives is anchored in the late‐Romantic fascination for times and places; that is, in debates pertaining to periodicity and eventfulness, and to nationalism and transnationalism.
“…That is,“[t]he transition from war to peace, in 1815, was like returning from romance to reality,” even if Britain did not fully wake to its having lapsed into lateness until at least 10 years after, since it was “in 1825, when the tremendous visitation had wholly passed away from the political system.” (1837, pp. 2–4; see Ramsey, 2017) Preferring a volte‐face akin to the breakdown imagined by Hazlitt over Montgomery's thesis of slow decline, François‐René de Chateaubriand reflects in his Memoirs from Beyond the Grave that the disintegration of the Napoleonic vision for France and Europe was as traumatising as it was sudden:[t]o plunge [ retomber ] from Bonaparte and the Empire into what followed them, is to plunge from reality into nothingness, from the summit of a mountain into the gulf. Did everything not end with Bonaparte?…”
Section: Romanticism Undonementioning
confidence: 99%
“…(1837, pp. 2-4; see Ramsey, 2017) Preferring a volte-face akin to the breakdown imagined by Hazlitt over Montgomery's thesis of slow decline, François-René de Chateaubriand reflects in his Memoirs from Beyond the Grave that the disintegration of the Napoleonic vision for France and Europe was as traumatising as it was sudden:…”
Acting on recently surging critical interest in late Romanticism, a subperiod taken to range roughly from the later 1810s through the 1840s, the present article reviews past and current work in this burgeoning field, particularly highlighting developing avenues for future research. Two competing accounts of late Romanticism are contrasted: a long‐dominant take which regards the subperiod as fundamentally secondary, derived, and inferior; and a recently energised perspective which reveals the vibrancy and innovativeness of late‐Romantic culture. If the former construes history by prioritising the experiences of poets, acting on a cultural paradigm that pivots on the centrality of a particularised genre, the latter pursues a Romanticism that is reconfigured under the pressure of a developing media system, in which multiple specialised genres acquire distinct functions. The discussion of these two perspectives is anchored in the late‐Romantic fascination for times and places; that is, in debates pertaining to periodicity and eventfulness, and to nationalism and transnationalism.
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