4. Shelley, it is often said (by me, anyway), is the most uncompromising advocate of the imaginative ideal among the Romantic poets. Describe Shelley’s handling of the imagination in comparison to Wordsworth’s, for example.
5. With regard to age and class, Keats stands apart from the other Romantics. There is a sense in which he is at once one of them and ‘after’ them. This ‘belatedness’ or lateness is an important theme in his poetry. Discuss ‘lateness’ in Keats’ work both in relation to the poetic tradition as a whole and to his Romantic predecessors.
6. Along with Pride and Prejudice, Frankenstein remains the most widely read novel of the period. How do you account both for its popularity and its importance? From a modern perspective, Austen and Shelley are the most important female authors of the period. Why is this; what could they possibly have in common?
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7. Scott’s Waverly is generally considered to be the first Historical Novel in English. What is a Historical Novel and how is it different from other novels? What is it about Waverly that suggests it needs its own subgenre? Is Gone with the Wind a Historical Novel? How about The Last of the Mohicans? Moby Dick? If not, why not; if so, how so? Course material: Jane Austen (cont.) ; Romantic Prose (Creativity and Criticism)– Lamb, Hazlitt, DeQuincey, Wordsworth (Preface to the Lyrical Ballads), Coleridge (Biographia Literaria), Shelley (Defense of Poetry), Edgeworth, Lewis, and Radcliffe; Mary Shelley- 1797-1851. Frankenstein (Monstrosity and Morality). Sir Walter Scott- 1771-1832. Waverly (The Historical Novel).