Dark Romanticism is a literary sub-genre of Romanticism, reflecting popular fascination with the irrational, the demonic and the grotesque. Often conflated with Gothic fiction, it has shadowed the euphoric Romantic movement ever since its 18th-century beginnings. Edgar Allan Poe is often celebrated as one of the supreme exponents of the tradition. Dark Romanticism focuses on human fallibility, self-destruction, judgement, punishment, as well as the psychological effects of guilt and sin.
The term "Romanticism" originates from a Latin word called "romant", which means "in the Roman Manner."[ citation needed ] Not only has it become an iconic style of art, but also had an effect on literature and music. It was driven on emotions and imagination rather than science and rationality. The Romantic Movement began in Europe at the end of the 18th century and migrated to America in the early 19th century.[ citation needed ] Between 1830 and 1865, American Romanticism authors were at their most productive. Within Romanticism, two conflicting sub-genres arose: optimists who believed in human virtue and spirituality formed the Transcendentalism Movement, while pessimists who accepted human fallibility and our proclivity for sin formed the Dark Romantic Movement.[ citation needed ]
Romanticism's celebration of euphoria and sublimity has always been dogged by an equally intense fascination with melancholia, insanity, crime and shady atmosphere; with the options of ghosts and ghouls, the grotesque, and the irrational. The name "Dark Romanticism" was given to this form by the literary theorist Mario Praz in his lengthy study of the genre published in 1930, The Romantic Agony. [1] [2]
According to the critic G. R. Thompson, "the Dark Romantics adapted images of anthropomorphized evil in the form of Satan, devils, ghosts, werewolves, vampires, and ghouls" as emblematic of human nature. [3] Thompson sums up the characteristics of the sub-genre, writing:
Fallen man's inability fully to comprehend haunting reminders of another, supernatural realm that yet seemed not to exist, the constant perplexity of inexplicable and vastly metaphysical phenomena, a propensity for seemingly perverse or evil moral choices that had no firm or fixed measure or rule, and a sense of nameless guilt combined with a suspicion the external world was a delusive projection of the mind—these were major elements in the vision of man the Dark Romantics opposed to the mainstream of Romantic thought. [4]
"Cannibals? Who is not a cannibal? I tell you it will be more tolerable for the Fejee that salted down a lean missionary in his cellar against a coming famine; it will be more tolerable for that provident Fejee, I say, in the day of judgement, than for thee, civilized and enlightened gourmand, who nailest geese to the ground and feastest on their bloated livers in thy pate de fois gras.” – Herman Melville's Moby Dick: or The Whale
To fully grasp the idea of dark romanticism, we must recognize the attributes that come with the artwork so we can identify them. The characteristics that define dark romanticism are questioning the natural perfection of man, believing that man cannot ever be perfect, that man will never have perfection. [5] People began to have a less conventional perspective of religion, to pay greater attention to catastrophes, and to let the investigation into terrible realities into their daily life.
Furthermore, the most popular notions are that humans are naturally subject to sin and destruction, that people cannot ever escape sin or be rescued from it, and that people may destroy society, religions, and themselves.[ citation needed ]
Loneliness and sadness, desire and death, the obsession with horror, and the absurdity of dreams are all themes explored in the artwork. Artists like Salvador Dalí, René Magritte, Paul Klee, and Max Ernst continued to think in this spirit throughout the twentieth century. Dark Romanticism arose as a reaction to the Enlightenment, the Industrial Revolution, and widespread rationalization, emphasizing raw emotion, pure aesthetic experiences, and other types of extreme emotion.
In Switzerland, Johann Heinrich Fuseli had studied to be an evangelical preacher. He produced an emblem of Dark Romanticism with his artwork. This piece leads off the exhibit, which spans two levels of the temporary exhibition space. The appearance of the incubus and the lecherous horse in a scenario situated in the present, shocked Fuseli's contemporaries greatly. Furthermore, the voyeur's requirements were met by the erotic-compulsive and daemonic material, as well as the sad environment.
This painting reflects the conflict between good and evil, misery and lust, light and darkness, and other aspects of his work. Fuseli's unique pictorial language impacted a number of painters, including William Blake, whose famous watercolor The Great Red Dragon is on display at the Brooklyn Museum.
One of the most significant individuals in Spanish painting was Francisco Goya. He was also a precursor of Romanticism in the creation of contemporary artistic appreciation, both in terms of the substance of his paintings, with their in-depth examination of reality and references to the dream realm, and in terms of his innovative technique. His art expresses his own innovative views, opposing academicism and established topics. Goya characterized himself as a student of Velazquez, Rembrandt, and nature, gaining a taste for delicately shaded color applied in layers from Velazquez, a preference for dark and enigmatic backdrop settings from Rembrandt, and an unending diversity of shapes from nature; some beautiful, others ugly.
The goal of John Constable's landscape paintings was to represent nature with honesty, to convey its beauty and simplicity without becoming pretentious. He is not the personification of nature's passion, poetry, or sorrow. He thought his life and art were in ruins, so he looked for a glimpse of his own spirit in nature, which he discovered in a bleak landscape of Hadleigh Castle in Essex.
Delacroix is usually considered as the founder of the Romantic movement in French painting throughout the nineteenth century. His painting technique – full of rich, agitated brushwork and throbbing with vibrant color – expressed the movement's concern for emotion, exoticism, and the sublime, and his life and work embodied the movement's concern for passion, exoticism, and the sublime.
Elements of Dark Romanticism were a perennial possibility within the broader international movement of Romanticism, in both literature and art. [8]
Dark Romanticism arguably began in Germany, with writers such as E. T. A. Hoffmann, [9] and Ludwig Tieck, and also pre-Romantic figure of Christian Heinrich Spiess, — though their emphasis on existential alienation, the demonic in sex, and the uncanny, [10] was offset at the same time by the more homely cult of Biedermeier. [11]
Like the Gothic novel, Schwarze Romantik is a genre based on the terrifying side of the Middle Ages, and frequently feature the same elements (castles, ghost, monster, etc.). However, Schauerroman's key elements are necromancy and secret societies, and it is remarkably more pessimistic than the English Gothic novel. All those elements are the basis for Friedrich Schiller's unfinished novel The Ghost-Seer (1786–1789). The motive of secret societies is also present in Karl Grosse's Horrid Mysteries (1791–1794) and Christian August Vulpius's Rinaldo Rinaldini, the Robber Captain (1797). [12] Benedikte Naubert's novel Hermann of Unna (1788) is seen as being very close to the Schauerroman genre. [13]
Other early authors and works included Christian Heinrich Spiess, with his works Das Petermännchen (1793), Der alte Überall und Nirgends (1792), Die Löwenritter (1794), and Hans Heiling, vierter und letzter Regent der Erd- Luft- Feuer- und Wasser-Geister (1798); Heinrich von Kleist's short story "Das Bettelweib von Locarno" (1797); and Ludwig Tieck's Der blonde Eckbert (1797) and Der Runenberg (1804). [14]
For two decades, the most famous author of Gothic literature in Germany was the polymath E. T. A. Hoffmann. His novel The Devil's Elixirs (1815) was influenced by Lewis's The Monk and even mentions it. The novel also explores the motive of Doppelgänger, the term coined by another German author and supporter of Hoffmann, Jean Paul, in his humorous novel Siebenkäs (1796–1797). Aside from Hoffmann and de la Motte Fouqué, three other important authors from the era were Joseph Freiherr von Eichendorff ( The Marble Statue , 1818), Ludwig Achim von Arnim (Die Majoratsherren, 1819), and Adelbert von Chamisso (Peter Schlemihls wundersame Geschichte, 1814). [15] After them, Wilhelm Meinhold wrote The Amber Witch (1838) and Sidonia von Bork (1847). The last work from the German writer Theodor Storm, The Rider on the White Horse (1888), uses Gothic motives and themes. [16]
British authors such as Lord Byron, Samuel Taylor Coleridge, Mary Shelley, and John William Polidori, who are frequently linked to Gothic fiction, are also sometimes referred to as Dark Romantics. [17] Dark Romanticism is characterized by stories of personal torment, social outcasts, and usually offers commentary on whether the nature of man will save or destroy him. Some authors of English and Irish horror fiction, such as Bram Stoker and Daphne du Maurier, follow in this lineage.
The American form of this sensibility centered on the writers Edgar Allan Poe, Nathaniel Hawthorne and Herman Melville, with Charles Brockden Brown being a predecessor. [18] As opposed to the perfectionist beliefs of Transcendentalism, these darker contemporaries emphasized human fallibility and proneness to sin and self-destruction, as well as the difficulties inherent in attempts at social reform.
The 19th-century fantastique literature after 1830 was dominated by the influence of E. T. A. Hoffmann, and then by that of Edgar Allan Poe. French authors such as Jules Barbey d'Aurevilly, Charles Baudelaire, Paul Verlaine and Arthur Rimbaud echoed the dark themes found in the German and English literature. Baudelaire was one of the first French writers to admire Edgar Allan Poe, but this admiration or even adulation of Poe became widespread in French literary circles in the late 19th century.
Edgar Allan Poe was an American writer, poet, editor, and literary critic who is best known for his poetry and short stories, particularly his tales involving mystery and the macabre. He is widely regarded as one of the central figures of Romanticism and Gothic fiction in the United States, and of early American literature. Poe was one of the country's first successful practitioners of the short story, and is generally considered to be the inventor of the detective fiction genre. In addition, he is credited with contributing significantly to the emergence of science fiction. He is the first well-known American writer to earn a living by writing alone, which resulted in a financially difficult life and career.
Gothic fiction, sometimes called Gothic horror, is a loose literary aesthetic of fear and haunting. The name refers to Gothic architecture of the European Middle Ages, which was characteristic of the settings of early Gothic novels.
Romanticism was an artistic and intellectual movement that originated in Europe towards the end of the 18th century. The purpose of the movement was to advocate for the importance of subjectivity, imagination, and appreciation of nature in society and culture in response to the Age of Enlightenment and the Industrial Revolution.
Transcendentalism is a philosophical, spiritual, and literary movement that developed in the late 1820s and 1830s in the New England region of the United States. A core belief is in the inherent goodness of people and nature, and while society and its institutions have corrupted the purity of the individual, people are at their best when truly "self-reliant" and independent. Transcendentalists saw divine experience inherent in the everyday. Transcendentalists saw physical and spiritual phenomena as part of dynamic processes rather than discrete entities.
The word decadence refers to a late 19th century movement emphasizing the need for sensationalism, egocentricity; bizarre, artificial, perverse, and exotic sensations and experiences. By extension, it may refer to a decline in art, literature, science, technology, and work ethics, or to self-indulgent behavior.
Naturalism is a literary movement beginning in the late nineteenth century, similar to literary realism in its rejection of Romanticism, but distinct in its embrace of determinism, detachment, scientific objectivism, and social commentary. Literary naturalism emphasizes observation and the scientific method in the fictional portrayal of reality. Naturalism includes detachment, in which the author maintains an impersonal tone and disinterested point of view; determinism, which is defined as the opposite of free will, in which a character's fate has been decided, even predetermined, by impersonal forces of nature beyond human control; and a sense that the universe itself is indifferent to human life. The novel would be an experiment where the author could discover and analyze the forces, or scientific laws, that influenced behavior, and these included emotion, heredity, and environment. The movement largely traces to the theories of French author Émile Zola.
Romance may refer to:
In literature, Romanticism found recurrent themes in the evocation or criticism of the past, the cult of "sensibility" with its emphasis on women and children, the isolation of the artist or narrator, and respect for nature. Furthermore, several romantic authors, such as Edgar Allan Poe, Charles Maturin and Nathaniel Hawthorne, based their writings on the supernatural/occult and human psychology. Romanticism tended to regard satire as something unworthy of serious attention, a view still influential today. The Romantic movement in literature was preceded by the Enlightenment and succeeded by Realism.
"The Fall of the House of Usher" is a short story by American writer Edgar Allan Poe, first published in 1839 in Burton's Gentleman's Magazine, then included in the collection Tales of the Grotesque and Arabesque in 1840. The short story, a work of Gothic fiction, includes themes of madness, family, isolation, and metaphysical identities.
Fantastique is a French term for a literary and cinematic genre and mode that is characterized by the intrusion of supernatural elements into the realistic framework of a story, accompanied by uncertainty about their existence. The concept comes from the French literary and critical tradition, and is distinguished from the word "fantastic", which is associated with the broader term of fantasy in the English literary tradition. According to the literary theorist Tzvetan Todorov, the fantastique is distinguished from the marvellous by the hesitation it produces between the supernatural and the natural, the possible and the impossible, and sometimes between the logical and the illogical. The marvellous, on the other hand, appeals to the supernatural in which, once the presuppositions of a magical world have been accepted, things happen in an almost normal and familiar way. The genre emerged in the 18th century and knew a golden age in 19th century Europe, particularly in France and Germany.
Romantic poetry is the poetry of the Romantic era, an artistic, literary, musical and intellectual movement that originated in Europe towards the end of the 18th century. It involved a reaction against prevailing Enlightenment ideas of the 18th century, and lasted approximately from 1800 to 1850. Romantic poets rebelled against the style of poetry from the eighteenth century which was based around epics, odes, satires, elegies, epistles and songs.
The Nightmare is a 1781 oil painting by Swiss artist Henry Fuseli. It shows a woman in deep sleep with her arms thrown below her, and with a demonic and ape-like incubus crouched on her chest. The painting's dreamlike and haunting erotic evocation of infatuation and obsession was a huge popular success.
"Metzengerstein: A Tale in Imitation of the German" is a short story by American writer and poet Edgar Allan Poe, his first to see print. It was first published in the pages of Philadelphia's Saturday Courier magazine, in 1832. The story follows the young Frederick, the last of the Metzengerstein family, who carries on a long-standing feud with the Berlifitzing family. Suspected of causing a fire that kills the Berlifitzing family patriarch, Frederick becomes intrigued with a previously unnoticed and untamed horse. Metzengerstein is punished for his cruelty when his own home catches fire and the horse carries him into the flame. Part of a Latin hexameter by Martin Luther serves as the story's epigraph: Pestis eram vivus—moriens tua mors ero.
"Never Bet the Devil Your Head: A Moral Tale" is a short story by American author Edgar Allan Poe, first published in 1841. The satirical tale pokes fun at the notion that all literature should have a moral and spoofs transcendentalism.
American gothic fiction is a subgenre of gothic fiction. Elements specific to American Gothic include: rationality versus the irrational, puritanism, guilt, the uncanny, ab-humans, ghosts, and monsters.
The works of American author Edgar Allan Poe include many poems, short stories, and one novel. His fiction spans multiple genres, including horror fiction, adventure, science fiction, and detective fiction, a genre he is credited with inventing. These works are generally considered part of the Dark romanticism movement, a literary reaction to Transcendentalism. Poe's writing reflects his literary theories: he disagreed with didacticism and allegory. Meaning in literature, he said in his criticism, should be an undercurrent just beneath the surface; works whose meanings are too obvious cease to be art. Poe pursued originality in his works, and disliked proverbs. He often included elements of popular pseudosciences such as phrenology and physiognomy. His most recurring themes deal with questions of death, including its physical signs, the effects of decomposition, concerns of premature burial, the reanimation of the dead, and mourning. Though known as a masterly practitioner of Gothic fiction, Poe did not invent the genre; he was following a long-standing popular tradition.
Monster literature is a genre of literature that combines good and evil and intends to evoke a sensation of horror and terror in its readers by presenting the evil side in the form of a monster.
Romanticism in Scotland was an artistic, literary and intellectual movement that developed between the late eighteenth and the early nineteenth centuries. It was part of the wider European Romantic movement, which was partly a reaction against the Age of Enlightenment, emphasising individual, national and emotional responses, moving beyond Renaissance and Classicist models, particularly into nostalgia for the Middle Ages. The concept of a separate national Scottish Romanticism was first articulated by the critics Ian Duncan and Murray Pittock in the Scottish Romanticism in World Literatures Conference held at UC Berkeley in 2006 and in the latter's Scottish and Irish Romanticism (2008), which argued for a national Romanticism based on the concepts of a distinct national public sphere and differentiated inflection of literary genres; the use of Scots language; the creation of a heroic national history through an Ossianic or Scottian 'taxonomy of glory' and the performance of a distinct national self in diaspora.
Romanticism was an artistic, literary, and intellectual movement that originated in Europe toward the end of the 18th century. Scholars regard the publishing of William Wordsworth's and Samuel Coleridge's Lyrical Ballads in 1798 as probably the beginning of the movement in England, and the crowning of Queen Victoria in 1837 as its end. Romanticism arrived in other parts of the English-speaking world later; in the United States, about 1820.
Romance, is a "a fictitious narrative in prose or verse; the interest of which turns upon marvellous and uncommon incidents". This genre contrasted with the main tradition of the novel, which realistically depict life. These works frequently, but not exclusively, take the form of the historical novel. Walter Scott describes romance as a "kindred term", and many European languages do not distinguish between romance and novel: "a novel is le roman, der Roman, il romanzo".
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