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Titlebook: Romanticism; John B. Halsted Book 1969 Palgrave Macmillan, a division of Macmillan Publishers Limited 1969 Austria.chronology.Deism.eighte

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Giuseppe Mazzini: Because of his youthful involvement in his native Genoa with the underground Carbonarist group, which sought to revive some of the unity and freedom Italians had enjoyed during the Napoleonic régime, he was imprisoned in 1831. Exiled, he spent most of the next two decades in Switzerland, where he s
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Heinrich Heine: promoter of the Romantic school first-hand. His early life was unsettled; he depended upon his uncle, a banker, for income while he turned his talents to poetry. He left Germany for Paris in 1831. Three years later he was implicated (without much foundation) in the Young Germany movement and formally exiled from his native land.
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William Wordsworth: Preface to s fully evident when he took the post of stamp distributor. His emotional ties were to the countryside of the Lake District, where he spent so much of his life. As an old man, in 1843, on the death of Southey, he became Poet Laureate.
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Charles Baudelaire: “The Salon of 1846”artist took rank as a profound truthteller—as he does for Shelley—but of a truth far different from the philosopher’s. As a critic, he sought to share some of the artist’s effort to counteract the materialism of the age, a task to be performed by fulfilling his duty toward art, not toward philosophy, politics, or society.
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Friedrich Schleiermacher: n 1810 he became a member of the theological faculty at the new University of Berlin, while serving as preacher at a Berlin church. As he grew older he revised the ., clarifying what had been rather vague conceptions, expressing more fully the views of a mature theologian, rather than those of a young, enthusiastic controversialist.
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Walter Savage Landor: ssian government) by Karl Sandt, a probably unbalanced member of the ., the liberal and nationalist student movement that grew up just after the Napoleonic wars. The act itself served as a pretext for the Carlsbad Decrees of 1819, which brought the German universities under strict governmental control and disrupted the liberal movement.
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John Keats: Letter to Benjamin Baileyvative, were felt deeply and lived fully. Few have so entirely adopted the Romantic dedication to art as a means of knowing and shaping reality, and to feeling as the test of reality, or shown such sensitivity to the beauties of the natural world.
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Victor Hugo: Preface to ch stage. Not at all incidentally, it heralded a blurring of the distinctions that had long set off the popular melodrama as an entertainment of the lower classes from the high tragedy aimed at cultured audiences.
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