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    Transcendentalism in American Romanticism: What is the role of the "Self"?

    It becomes clear with times that the Romanticism holds an internal contradiction. These disagreements have a very humanistic nature. Thus, the theme of the concealed self plays particularly integral role in works of some romantic artists such as Emily Dickinson, Nathaniel Hawthorne, Edgar Allan Poe, and etc.. The role of artist, the role of artist’s self can be considered as a one of main themes of the romantic age. Although, the new limitless artistic and creative possibilities begun with understanding of their godlike nature, the faith in the absolute “thereness”, in the man’s transcendental origin faded. Did it lead to the logical conclusion that faith in the God needs to be replaced with the faith in the man, his mind, his creative powers and possibilities, his nobleness, dignity, and his ability to “self-rely”?

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      Latest Comments

      For those who enjoy reading Byron, and is fascinated by the idea of Byronic Hero, try Lermontov’s “Hero of Our Times”, or Pushkin’s “Eugene Onegin”. These works represent the golden age of Russian Romanticism.

      The Sublime's Effects in Gothic Fiction

      I recommend reading Paul Celan. “Death Fugue” for instance. Just google it.

      here is an excerpt: “Black milk of morning we drink you at night
      we drink you at noontime Death is a gang-boss aus Deutschland
      we drink you at dusktime and dawntime we drink and drink
      Death is a gang-boss aus Deutschland his eye is blue
      he shoots you with leaden bullets his aim is true
      there’s a man in this house your golden hair Margareta
      he sets his dogs on our trail he gives us a grave in the sky
      he cultivates snakes and he dreams Death is a gang-boss aus Deutschland “

      Poetry and the Great War Soldiers: Necessity of Emotion

      Have anyone noticed how often Shakespeare addresses the theme of “nothingness”? Only in “King Lear” the world “nothing” repeats multiple times. This word repeats furthermore throughout the play, thus emphasizing how important the word is. “Nothing come of nothing”, says King Lear, but we can see what further really comes from nothing. I think the implied idea is that things we are considering not important could be just the opposite, and vise-versa, sometimes we give a high value to things that do not matter in reality. As a result of “nothing” King Lear loses everything, and becomes truly nothing. So what is ‘nothing’ for Shakespeare?

      The Obscure Shakespeare