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SABCL - Sri Aurobindo Birth Centenary Library

CWSA - Complete Works of Sri Aurobindo

CWM - Collected Works of The Mother

Resource name: /E-Library/Disciples/Amal Kiran (K D Sethna)/English/Classical and Romantic/precontent.htm
CLASSICAL AND ROMANTIC Classical and Romantic AN APPROACH THROUGH SRI AUROBINDO AMAL KIRAN (K. D. SETHNA) SRI AUROBINDO ASHRAM PONDICHERRY First published 1997 (Typeset in 10.5/13 Palatino) ©Sri Aurobindo Ashram Trust 1997 Published by and Printed at Sri Aurobindo Ashram Press Pondicherry - 605 002 PRINTED IN INDIA (0660/14.1.95/500)
Resource name: /E-Library/Disciples/Amal Kiran (K D Sethna)/English/Classical and Romantic/The compexity of the problem.htm
1   The complexity of the problem - the approach through Sri Aurobindo - the nature of poetry - the common poetic power, the differences of expression - differences of degree and of kind   Perhaps more ink has been shed in making a distinction between "Classical" and "Romantic" than on any other prob-lem in literature: already in 1936 F. L. Lucas1 could count 11,397 books, including his own. Once even some blood was about to be shed: on the night of November 25, 1830, the theatre at Paris where Victor Hugo's Romantic play Hernani was first shown became a roaring cockpit of combatant critics. But not always has much light been shed: possibly the heat of the
Resource name: /E-Library/Disciples/Amal Kiran (K D Sethna)/English/Classical and Romantic/Forward.htm
FOREWORD We were doing Coleridge's Kubla Khan in the first year Poetry Class at the Sri Aurobindo International Centre of Education in Pondicherry. When we had recovered enough from the intoxication of reading it and could ask critical questions, the very first and the most general and fundamental that arose were apropos of the line: But oh! that deep romantic chasm which slanted... They were, "What exactly does the epithet 'romantic' mean here? And how does it reflect the mind of the movement in English and Continental literature called Romanticism as distinguished from the other called Classicism - Romanticism of which Kubla Khan is itself considered one of the quint
Resource name: /E-Library/Disciples/Amal Kiran (K D Sethna)/English/Classical and Romantic/The climax of the second Romanticism.htm
6   The climax of the second Romanticism: poetry of the Age of Wordsworth - the Romantic quintessence of Kubla Khan   In appearance, the second Romantic Movement started in England at the end of the eighteenth century by a revolt against the artificial "poetic diction" of the pseudo-Augustan Age. Wordsworth asked for a natural language and, though in some respects he went to an extreme by insisting on almost conversational naivete, what ultimately he and his contemporaries wanted was a living speech not ruled by a too externalised mind. Naturalness connoted the mind of thought expressing itself vividly from a depth of the being. Here it is inte
Resource name: /E-Library/Disciples/Amal Kiran (K D Sethna)/English/Classical and Romantic/The planes of poetic expertion.htm
2   The "planes" of poetic expression - the psychological plane of Classicism: the creative Intelligence - the four phases of Classicism   We have quoted Sri Aurobindo as saying that the poet, by means of the images Nature affords us not on one but on many planes of her creation, aims essentially at interpreting what she conceals from us but is ready, when rightly approached, to reveal. "Many planes of creation" - it is through such a vision of things that we get Sri Aurobindo's formula of
Resource name: /E-Library/Disciples/Amal Kiran (K D Sethna)/English/Classical and Romantic/The climax of the first Romanticism.htm
4   The climax of the first Romanticism: Elizabethan poetry -Shakespeare and Spenser   As a poet of Romantic drama, Shakespeare is - to quote Sri Aurobindo's words1 - "quite unique in his spirit, method and quality. For his contemporaries resemble him only in exter-nals'; they have the same outward form and crude materials, but not the inner dramatic method by which he transformed and gave' them a quite other meaning and value; and later romantic drama, though it has tried hard to imitate the Shakespearian motive and touch, has been governed by another kind of poetic mind and its intrinsic as distinguished from its external method has been really d
Resource name: /E-Library/Disciples/Amal Kiran (K D Sethna)/English/Classical and Romantic/The psychologial plane of the second Romantic phase.htm
5   The psychological plane of the. second Romantic phase: the complex modern mind of intellectual and imaginative curiosity - the contribution of "dreamers of daring tales" - the seminal significance of Rousseau   Looking at certain elements of the Renascence Romanticism - the curious, the audacious, the subtly sweet, the drive towards the intimately inward and strangely symbolic or at least allegoric and away from the pressure of the rational as well as the dogmatic - we might be disposed to mix up with it the Romanticism which came much later and to consider as almost its revival in a new garb that revolt against a pseudo-Classical
Resource name: /E-Library/Disciples/Amal Kiran (K D Sethna)/English/Classical and Romantic/Tomantic Panthesim and its philosophy.htm
8   Romantic Pantheism and its philosophy - Coleridge on the Imagination -Keats on Beauty and Truth   In a general way all the great Romantics of Wordsworth's time are true to the "type of the wise" illustrated by him when he let his poem To a Skylark end as an answer in the negative to its owri opening question: Ethereal minstrel! pilgrim of the sky, Dost thou despise the earth where cares abound? C. M. Bowra1 rightly remarks: "There are perhaps poets who live entirely in dreams and hardly notice the familiar scene. But the Romantics are not of their number... We cannot complain that by their devotion to the mysteries of life the Rom
Resource name: /E-Library/Disciples/Amal Kiran (K D Sethna)/English/Classical and Romantic/Romanticism and Classicim.htm
3   Romanticism and Classicism - the two phases of Roman-ticism - the psychological plane of the first phase: the Life-force of the Renaissance   When we turn to Romanticism we need to make two capital distinctions. We have not only to mark Romanticism off from Classicism. We have also to mark off two Romanticisms one from the other - and in a sense in which we do not mark off the various phases of the Classical. Differentiating Romanticism from Classicism, R. A. Scott-James1 labels as Classical the virtues and defects which go with the notions of fitness, propriety, measure, restraint, conservatism, authority, calm, experience, comeliness and in contrast he la
Resource name: /E-Library/Disciples/Amal Kiran (K D Sethna)/English/Classical and Romantic/The qualites and defecty of Romanticism.htm
9   The qualities and defects of Romanticism, English and Continental - the Romantic pointer to a new poetry of the Spirit   "If we wish to distinguish a single characteristic which differentiates the English Romantics from the poets of the eighteenth century," writes Bowra,1 "it is to be found in the importance which they attached to the imagination and in the special view which they held of it... Blake, Coleridge, Wordsworth, Shelley and Keats, despite many differences, agreed on one vital point: that the creative imagination is closely connected with a peculiar insight into an unseen order behind visible things... They brought to poetry not m