Romantic Era

The main objective of this research work is to examine the effects of Hellenistic period and use of imagery elements of romantic in nineteen century poetry by studying these poems which are Ode to a Nightingale by John Keats, Ode to the West Wind by Percy Shelley and I Wandered Lonely as A Cloud (Daffodils) by William Wordsworth. These works create a sense of blending elements of Greek culture and elements of romantic poetry in the nineteenth century. Compose of elements from mythology, personification, supernaturalistic elements, imagination, spirituality, beauty, individualism are observed correlatively in these works. The important features of the Hellenistic period are individual and freedom of the individual. The fundamental principle, as can be seen in Hellenistic poems, is hedonism which means that is the pursuit of pleasure. Beginning of the romantic era, personification and individualism come into prominence. In addition to this, Hellenism, containing the culture of Greek in itself, reflects its effects into literature, especially poetry. The purpose of this research will be of sufficient potential significance to justify the findings of the Hellenistic approach in romantic poetry.

Keywords: Hellenistic poetry, Greek mythology, Romantic era, Individualism, Personification, Hellenism, Beauty, Poetry

Perhaps one of the most prevalent topics discussed among musical theorists today is tonality—specifically, how it is perceived aurally and compositionally. For centuries, beginning as early as the Renaissance era and continuing on through the Classical era, composers have used the reliability, strength, and balance of tonal harmony to fashion cherished masterpieces of musical creativity, using what is called common-practice tonality. In the nineteenth and early twentieth century however, the foundations of this established tonal system began to crumble with the embracing of a new ideology—modernism, championed in music by figures such as Arnold Schoenberg. In spite of radically new ideologies, composers in the twentieth century sought to return to the principles and aesthetics of common-practice tonal harmony in what is known as neoclassicism. In this paper, I will discuss the evolution of tonality by discussing the expansion of common-practice tonal harmony in the Romantic era, the embracing of new approaches to music theory and composition in the Modern era, and the reacceptance of tonal principles in neoclassicism. By outlining these and other topics of discussion, I believe that one is able to shed light on the seemingly vague topic of tonality and broaden one’s understanding of the nature of tonality in general.

Distraughted reality and disillusioned youth though the reality of war is always the same but misapprehension about it has time and again blurred the vision of generations. Be it the expeditions of Britain or the 'French Revolution' one staggering emotion has always held the youth bound to the glory attached to war i.e., liberation. Therefore, the romantic age poets namely Wordsworth, Coleridge, PB Shelley or Lord Byron though they never promoted violence and bloodshed of the war-front, still they couldn't escape from the dazzled glory of war. Owing to the ignition of the world, the current of romanticism found its roots in the very soil of nature, thereby came the primitive radical attitude. Edward Dowden, prominent Victorian critic, viewed 'French Revolution' as an expounding force that framed the ideology of romanticism and intertwines in the pretext of major works of the era. These romantic writers were stirred from the belittling attitude of government towards nature and citizens. Romanticism was slowly but steadily ushering on the frontier of liberty, equality and fraternity further strengthening the dilemma of war being fruitful for the common man. In this paper, we aim to actualize the reality of war being romanticized by poets to the extremity of squandering their own life in it.