Assignment Code: BEGC-109/TMA/2024-25 Course Code: BEGC-109 Assignment Name: British Romantic Literature

Year: 2024-2025 Verification Status: Verified by Professor

1. Explain the basic difference between the Neoclassical and Romantic theories of poetry. 

Ans) The basic difference between Neoclassical and Romantic theories of poetry lies in their contrasting approaches to the role of reason, emotion, and nature in literature, as well as their distinct views on poetic creativity and subject matter. 

Neoclassicism, prevalent in the 17th and early 18th centuries, was deeply influenced by classical Greek and Roman traditions. Neoclassical poets, such as Alexander Pope and John Dryden, emphasized order, rationality, and adherence to rules. Poetry was seen as an art that followed strict guidelines, focusing on form, balance, and harmony. The Neoclassical approach valued reason over emotion, placing a strong emphasis on the intellect and the idea that poetry should instruct, enlighten, and improve society. For Neoclassicists, poetry was meant to reflect universal truths and ideals, adhering to established forms such as the heroic couplet, and often dealing with public themes like politics, morality, and human nature. 

In contrast, the Romantic theory of poetry, which emerged in the late 18th century and flourished in the early 19th century, rejected the rigid conventions of Neoclassicism and embraced a more individualistic and emotional approach to poetry. Romantics like William Wordsworth, Samuel Taylor Coleridge, and Percy Bysshe Shelley believed that poetry should express the individual’s inner emotions, imagination, and personal experiences. They placed a high value on subjectivity, spontaneity, and originality. For the Romantics, poetry was not about following rules or upholding societal norms, but about exploring the depths of human emotion and the power of imagination. 

Nature also played a central role in Romantic poetry. While Neoclassical poets often used nature as a backdrop or symbol of order and rationality, Romantic poets saw nature as a source of inspiration, spiritual connection, and emotional healing. They celebrated the beauty and power of the natural world, often using it as a reflection of human emotions and as a space for self-discovery and contemplation. In works like Wordsworth’s Tintern Abbey and Shelley’s Ode to the West Wind, nature is not just a setting but a living, dynamic force that shapes and mirrors the poet’s thoughts and feelings. 

Another key difference lies in their views on the role of imagination. Neoclassical poets saw imagination as secondary to reason and believed that poets should conform to classical forms and ideals. Romantics, however, placed imagination at the forefront, believing that it allowed poets to transcend the mundane and explore higher truths. Coleridge, in particular, emphasized the power of the imagination as a creative force that could unify and transform disparate elements into new and profound poetic expressions. 

4. Explain Coleridge’s ideas on ‘Fancy’ and ‘Imagination’. 

Ans) In Samuel Taylor Coleridge’s literary theory, particularly as presented in his seminal work Biographia Literaria (1817), he distinguishes between two crucial faculties of the mind: fancy and imagination. These two terms are central to understanding Coleridge’s philosophy of poetic creation and creativity. While both are forms of mental activity, they serve different purposes and operate in fundamentally different ways. Coleridge’s exploration of fancy and imagination not only addresses how the human mind processes information but also reflects his broader ideas about art, creativity, and the nature of reality. 

First, fancy is considered by Coleridge to be a mechanical and passive mental faculty. It involves the recombination of images, ideas, or sensations that have already been experienced. In other words, fancy is the ability to recall and rearrange existing images or concepts without altering their essential nature. Coleridge often compares fancy to a sort of mental craftsmanship, where elements are rearranged into new patterns, but the elements themselves remain unchanged. Fancy, therefore, lacks the creative power of imagination. It deals with the superficial aspects of experience, organizing and decorating ideas rather than creating anything fundamentally new. Fancy is described as operating on a lower plane than imagination, being more concerned with artificiality, ornamentation, and superficial beauty. 

In contrast, Coleridge elevates imagination as a higher, more profound faculty of the mind, capable of genuine creative power. He further divides imagination into two categories: the primary imagination and the secondary imagination. The primary imagination, according to Coleridge, is the fundamental creative power of the human mind. It is the basic faculty through which we perceive and make sense of the world. Every individual uses the primary imagination as a way to experience reality, as it shapes and forms the chaos of sensory input into coherent experiences. This process is unconscious and universal; it is how humans make sense of their environment and give structure to their perceptions. 

The secondary imagination is the more consciously creative aspect of this faculty. It is what distinguishes the poet or artist from the ordinary person. While the primary imagination is a common faculty used by everyone to perceive reality, the secondary imagination is a deliberate and creative act. It works by taking the raw material of the primary imagination and transforming it into something entirely new and original. In Coleridge’s view, the secondary imagination can dissolve, dissipate, and reassemble elements of the real world, thereby creating new associations and meanings. This creative process allows poets and artists to transcend the mere imitation of reality, bringing forth higher truths and deeper insights through their works. 

The secondary imagination has a transformative quality that is distinct from the recombination characteristic of fancy. While fancy deals with rearranging familiar ideas, the secondary imagination actively reshapes and reinterprets these ideas, creating something innovative and profound. It is this imaginative power that allows poets to access and express deeper spiritual and emotional truths. Coleridge believed that true poetry and art arose from this faculty, as it has the capacity to unify disparate elements into a harmonious and meaningful whole. 

7. Critically interpret the poem “Ode to the West Wind”. 

Ans) Percy Bysshe Shelley’s “Ode to the West Wind” is one of the most celebrated poems of the Romantic era, reflecting the movement's emphasis on nature, imagination, and the power of emotion. Written in 1819, the poem addresses the West Wind as a powerful, transformative force in both the natural world and in the speaker's personal life. Through its rich imagery, lyrical structure, and philosophical undertones, the poem explores themes of change, renewal, decay, and the relationship between the individual and the natural forces of the universe. 

The poem is structured into five cantos, each emphasizing a different aspect of the West Wind’s influence. The first three cantos describe the West Wind’s powerful role in the natural cycle, beginning with its effect on the earth, where it drives dead leaves away to make way for new growth. Shelley calls the leaves “pestilence-stricken multitudes,” highlighting the cycle of death and decay that is essential for regeneration. In this sense, the West Wind symbolizes both destruction and creation. Shelley’s portrayal of the wind as a dual force reflects his Romantic fascination with the dynamic and often contradictory aspects of nature. 

The second canto describes the West Wind’s impact on the sky, where it drives clouds and foretells storms. The wind’s power is seen as almost apocalyptic, suggesting an impending transformation of both the natural and human worlds. This ties into one of the central themes of the poem: the idea that great upheaval and destruction are necessary for new beginnings. Shelley’s description of the West Wind as a “dirge of the dying year” further emphasizes the cyclical nature of life, where death leads to renewal. 

The third canto extends the wind’s influence to the sea, where it stirs the waters and awakens the deep ocean. Here, Shelley reinforces the idea that the West Wind is a universal force, affecting all elements of nature—earth, sky, and sea. The wind’s ability to reach into the depths of the ocean symbolizes its role in touching the most profound parts of existence, bringing change to even the most hidden or stagnant places. 

In the fourth canto, the poem shifts to a more personal tone, as the speaker identifies with the West Wind and longs for its power to influence his own life. Shelley portrays the speaker as feeling weighed down by the constraints of his physical and emotional existence, yearning for the freedom and energy of the wind. He asks the West Wind to “make me thy lyre,” hoping that, like an instrument, he can channel the wind’s energy and spread his ideas and emotions. This canto emphasizes the Romantic idea of the poet as a visionary figure, one who seeks to transcend personal limitations and become a voice for universal truths. 

In the final canto, the speaker pleads with the West Wind to carry his thoughts and words across the world, much like it spreads dead leaves and storm clouds. Shelley famously concludes the poem with the line, “If Winter comes, can Spring be far behind?” This suggests an optimistic belief in the inevitable cycle of renewal, even in the face of despair or destruction. The poem, therefore, is not only about the power of the West Wind in nature, but also about the poet’s hope that his ideas and works will inspire change and regeneration in society. 

8. Describe Mary Shelley’s Frankenstein as a gothic novel. 

Ans) Mary Shelley's Frankenstein is widely regarded as one of the earliest and most influential Gothic novels. Written in 1818, it combines elements of horror, science fiction, and Romanticism to create a story that explores themes of human ambition, isolation, and the consequences of playing God. The novel embodies many of the core characteristics of the Gothic genre, such as an atmosphere of mystery and dread, the presence of supernatural or unnatural elements, and the exploration of dark, emotional, and psychological depths. Through its setting, characters, and themes, Frankenstein exemplifies the Gothic tradition while also pushing its boundaries into new literary territory. 

One of the key Gothic elements in Frankenstein is its use of dark, foreboding settings that evoke an atmosphere of fear and isolation. Much of the novel takes place in desolate, often hostile environments, such as the icy wastelands of the Arctic or the remote, stormy mountains of Switzerland. These settings heighten the novel's sense of isolation and alienation, particularly for the protagonist, Victor Frankenstein, and his monstrous creation. The wild and untamed landscapes reflect the inner turmoil of the characters and serve as a backdrop for the dark and tragic events of the story. Gothic novels often emphasize the emotional and psychological effects of the setting, and Shelley’s use of eerie, desolate locations helps create a mood of terror and suspense. 

The figure of the monster itself is another hallmark of Gothic fiction. In Gothic literature, there is often a character or creature that embodies the unnatural or the supernatural, and in Frankenstein, the monster fulfills this role. Created from dead bodies and brought to life through unnatural means, the creature is an embodiment of both horror and tragedy. It is physically monstrous and terrifying to those who encounter it, but Shelley also gives the creature a deeply human aspect, exploring its emotional suffering and isolation. The monster’s existence challenges the natural order and evokes questions about life, death, and what it means to be human—central themes in Gothic literature. The creature is both victim and villain, an outcast who yearns for companionship and acceptance but is driven to violence and revenge by the cruelty of his creator and society. 

Another important Gothic element in Frankenstein is the theme of forbidden knowledge and the dangers of overreaching ambition. Victor Frankenstein’s obsessive quest to unlock the secrets of life and death reflects the Gothic fascination with transgression and the consequences of defying natural limits. Like many Gothic protagonists, Victor is driven by a desire for power and control that ultimately leads to his downfall. His pursuit of knowledge is not tempered by ethical considerations, and as a result, he brings about his own destruction and the destruction of those around him. This theme of overreaching ambition is central to the Gothic tradition, where characters often face disastrous consequences for their attempts to defy the natural order. 

The novel also explores themes of guilt, isolation, and the darker sides of human emotion, which are typical of Gothic fiction. Victor's growing sense of guilt and responsibility for the monster's actions torments him throughout the novel, and his increasing isolation from society mirrors the isolation of the creature itself. Both creator and creation are trapped in a cycle of loneliness and despair, which drives much of the novel's tragic tension. The psychological depth of both Victor and the creature aligns with the Gothic focus on exploring the darker and more complex aspects of the human mind. 

In addition to these themes, Frankenstein also incorporates Gothic motifs such as the idea of the double or doppelgänger, where Victor and the creature mirror each other’s inner turmoil. Victor’s creation of the monster can be seen as an external representation of his own inner darkness and the consequences of his unchecked ambition. This duality between creator and creation is a recurring theme in Gothic literature, where characters often confront their own worst fears and desires in the form of an external entity. 

10. Discuss the connection between the life sketch of Mary Shelley and her novel Frankenstein. 

Ans) Mary Shelley’s Frankenstein is deeply intertwined with her personal life, as her experiences, relationships, and intellectual influences significantly shaped the themes and characters of the novel. Born in 1797 to two radical thinkers, Mary Wollstonecraft, a pioneering feminist, and William Godwin, a philosopher and political writer, Mary Shelley grew up surrounded by intellectual discourse, which laid the foundation for her literary career. Her life was marked by personal tragedies, deep philosophical inquiry, and a rebellious spirit, all of which resonate in Frankenstein. 

One of the most significant aspects of Shelley’s life that influenced Frankenstein was her experience with death and loss. Mary’s mother, Mary Wollstonecraft, died shortly after giving birth to her, which had a lasting impact on Mary. Throughout her life, Shelley was haunted by the theme of premature death. She experienced the death of her children—only one of her four children survived to adulthood—and the death of her husband, the poet Percy Bysshe Shelley, who drowned when he was just 29. These personal losses are mirrored in Frankenstein, which revolves around themes of life, death, and the consequences of defying the natural boundaries of existence. The novel explores the idea of creating life and the pain that can result from it, perhaps reflecting Mary’s own grief and her contemplation of mortality. 

The creation of life, as portrayed in Frankenstein, also draws parallels to Shelley’s experiences with motherhood. Mary Shelley wrote Frankenstein shortly after losing her first child, a traumatic event that deeply affected her. The novel can be seen as an exploration of the responsibilities and risks associated with creation, whether it be biological, scientific, or intellectual. Victor Frankenstein’s creation of the monster, and his subsequent abandonment of it, may reflect Shelley’s anxieties about motherhood, creation, and the consequences of neglecting one’s responsibilities toward one's creations. The novel reflects the ambivalence and fear surrounding birth, creation, and the inevitable suffering that follows. 

Shelley’s relationship with Percy Bysshe Shelley also played a critical role in shaping Frankenstein. The Shelleys shared a deep intellectual partnership, and their conversations about science, philosophy, and literature influenced Mary’s work. Percy was fascinated by the scientific developments of their time, particularly the experiments related to electricity and galvanism, which were thought to have the potential to reanimate dead matter. This scientific curiosity is evident in Frankenstein, as Victor Frankenstein’s experiments are rooted in the scientific ambition of the era. The novel reflects the Shelleys’ shared interest in the ethical implications of scientific advancement and the potential dangers of unchecked ambition. 

Additionally, Mary Shelley’s exposure to the Romantic literary movement, which emphasized emotion, nature, and the sublime, is apparent in Frankenstein. The novel’s exploration of the relationship between man and nature, as well as its focus on the emotional and psychological turmoil of its characters, reflects the Romantic ideals that Mary Shelley encountered through her relationships with key Romantic figures, including Percy Shelley and Lord Byron. The novel’s desolate landscapes and Victor’s emotional struggles are characteristic of Romantic literature, which often depicted the internal conflict between human ambition and the forces of nature. 

Mary Shelley’s sense of isolation, another key theme in Frankenstein, can also be traced back to her personal life. She often felt alienated, both emotionally and intellectually. Following Percy’s death, she lived a life marked by loneliness and the challenge of raising her surviving child while maintaining her identity as a writer. In Frankenstein, both Victor and the creature experience profound isolation. Victor isolates himself in his pursuit of knowledge, while the creature is shunned by society due to his monstrous appearance. Their isolation ultimately leads to their mutual destruction, mirroring Shelley’s own feelings of alienation and grief.