módulo 8. Romanticismo

Romanticism

Lord Byron’s conception of beauty.


Police. Every breath you take.

Every breath you take a
and every move you make a
Every bond you break a
Every step you take, a
I'll be watching you
Every single day b
and every word you say b
Every game you play b
Every night you stay, b


I'll be watching you
Oh can't you see
you belong to me?
How my poor heart aches
with every step you take
Every move you make
and every vow you break
Every smile you fake
Every claim you stake,
I'll be watching you
Since you've gone I've been lost without a trace
I dream at night
I can only see your face
I look around but it's you I can't replace
I feel so cold and I long for your embrace
I keep crying baby, baby please

Oh can't you see you belong to me?
How my poor heart aches with every step you take
Every move you make
And every vow you break
Every smile you fake
Every claim you stake, I'll be watching you
Every move you make
Every step you take, I'll be watching you, I'll be watching you
Every breath you take
Every move you make
Every bond you break
Every step you take, I'll be watching you
Every single day
Every word you say
Every game you play
Every night you stay, I'll be watching you
Every move you make
Every vow you break
Every smile you fake
Every claim you stake, I'll be watching you
Every single day
Every word you say
Every game you play
Every night you stay, I'll be watching you
Every breath you take
Every move you make
Every bond you break
Every step you take, I'll be watching you
Every single day
Every word you say
Every game you play
Every night you stay, I'll be watching you
Every move you make
Every vow you break
Every smile you fake
Every claim you stake, I'll be watching you
Every single day
Every word you say
Every game you play
Every night you stay, I'll be watching you
Every breath you take
Every move you make
Every bond you break
Every step you take, I'll be watching you


SHE WALKS IN BEAUTY
by: George Gordon (Lord) Byron (1788-1824)

SHE walks in beauty, like the night a 1
Of cloudless climes and starry skies; b 2
And all that's best of dark and bright a 3
Meet in her aspect and her eyes: b 4
Thus mellow'd to that tender light a 5
Which heaven to gaudy day denies. B 6 metonymy

One shade the more, one ray the less, c 7
Had half impair'd the nameless grace d 8
Which waves in every raven tress, c 9
Or softly lightens o'er her face; d 10
Where thoughts serenely sweet express c 11
How pure, how dear their dwelling-place. d 12 metaphor

And on that cheek, and o'er that brow, e 13
So soft, so calm, yet eloquent, f 14
The smiles that win, the tints that glow, e 15
But tell of days in goodness spent, f 16
A mind at peace with all below, e 17
A heart whose love is innocent! f 18
Romanticism (or the Romantic Era) was a complex artistic, literary, and intellectual movement that originated in the second half of the 18th century in Europe, and gained strength in reaction to the Industrial Revolution.[1] In part, it was a revolt against aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalisation of nature.[2] It was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography,[3] education[4] and natural history.[5]
The movement validated strong emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as trepidation, horror and terror and awe—especially that which is experienced in confronting the sublimity of untamed nature and its picturesque qualities, both new aesthetic categories. It elevated folk art and ancient custom to something noble, made of spontaneity a desirable character (as in the musical impromptu), and argued for a "natural" epistemology of human activities as conditioned by nature in the form of language and customary usage.
Romanticism reached beyond the rational and Classicist ideal models to elevate a revived medievalism and elements of art and narrative perceived to be authentically medieval, in an attempt to escape the confines of population growth, urban sprawl, and industrialism, and it also attempted to embrace the exotic, unfamiliar, and distant in modes more authentic than Rococo chinoiserie, harnessing the power of the imagination to envision and to escape.
The modern sense of a romantic character may be expressed in Byronic ideals of a gifted, perhaps misunderstood loner, creatively following the dictates of his inspiration rather than the mores of contemporary society.
Although the movement was rooted in the German Sturm und Drang movement, which prized intuition and emotion over Enlightenment rationalism, the ideologies and events of the French Revolution laid the background from which both Romanticism and the Counter-Enlightenment emerged. The confines of the Industrial Revolution also had their influence on Romanticism, which was in part an escape from modern realities; indeed, in the second half of the 19th century, "Realism" was offered as a polarized opposite to Romanticism.[6] Romanticism elevated the achievements of what it perceived as heroic individualists and artists, whose pioneering examples would elevate society. It also legitimized the individual imagination as a critical authority, which permitted freedom from classical notions of form in art. There was a strong recourse to historical and natural inevitability, a zeitgeist, in the representation of its ideas.