By Steve Clark, Tristanne Connolly
What, and while, is British Romanticism, if obvious no longer in island isolation yet cosmopolitan integration with eu Romantic literature, background and tradition? The essays right here diversity from poetry and the unconventional to technology writing, philosophy, visible paintings, opera and melodrama; from France and Germany to Italy and Bosnia.
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Extra resources for British Romanticism in European Perspective: Into the Eurozone
The closing chapter takes the European perspective on British Romanticism back into oral tradition and forward into the twentieth century. In ‘“Some Steve Clark and Tristanne Connollyy 23 roads unfold before us / Without a beaten track”: Unearthing Bosnia’s r Maja Romantic Spirit through the Hasanaginica and Mark Dizdar’s Stone Sleeper’, Pašovicc´ reveals the hidden roots of Romanticism’s ties to Bosnian literature, then expounds upon quintessential Bosnian Romanticism, which is both thoroughly Bosnian and thoroughly Romantic, through texts such as the Hasanaginica (translated by Goethe and Scott) and Safvet-beg Bašagicc´’s early twentieth-century poetry, with its impassioned call for cultural progress as a modern nation.
On the top of the Montenvers, about 7,000 feet high, he embraced the mixed feelings of ‘terror’ and ‘pleasure’ inspired by the ‘extraordinary’ view: We had an uninterrupted View quite to the Bottom of the Mountain, and the Steepness of the Descent, join’d to the Height where we were, made a View terrible enough to make most People’s Heads turn. In short, after climbing with great Labour for four Hours and three Quarters, we got to the Top of the Mountain; from whence we had the Pleasure of beholding Objects of an extraordinary Nature.
Robert Burns in Global Culture, The Reception of Robert Burns in Europe and The Reception of Sir Walter Scott in Europe. 31. For a thorough analysis of the role of Ossian in Die Leiden des jungen Werthers and its composition, see Lamport. 32. In particular, Auszug aus einem Briefwechsel über Ossian und die Lieder alter Völker [[Extracts from a Correspondence about Ossian and the Songs of the Ancient Peoples] (1773), but also later writing such as ‘Homer und Ossian’ (1795). See Bealle. 33. In the original context of the poem, a letter to George Thomson from circa 30 August 1793, Burns remarks, ‘I shewed the air to Urbani, who was highly pleased with it, & begged me to make soft verses for it; but I had no idea of giving myself any trouble on the Subject, till the accidental recollection of that glorious struggle for Freedom, associated with the glowing ideas of some other struggles of the same nature, not quite so ancient’ t (2:236).