Chapter Summaries
Study Guide

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Romantic Age II
The Romantic Hero
To be discussed in class (not in text):
Read Arthurian Legend (course website) 
Print a copy of Blake's "O for a voice like thunder" (course website) 
Print a copy of Keats' "La Belle Dame Sans Merci" (course website) 
Print a copy of Tennyson's "The Lady of Shalott" (course website) 
Keats, Sand, Chopin, preraphaelites: videos, slides
Lewis Carroll : Neomedieval nonsense in multiple languges! Jaberwock (available via internet)
To be discussed in class (not in text):
I. Romantic Age & The Pre-raphaelites: neomedieval & stereotypes
A. Tennyson: poetry, music
B. Keats: poetry, video
II. Lewis Carroll : Neomedieval nonsense in multiple languges! Jaberwock (available via internet)
Be prepared to sing and provide percussive accompaniment.
III.  Art inspires art inspires art: Music! Visuals! Poetry!
Keats, Sand, Chopin (Impromptu "Fantasie"), preraphaelites: videos, slides

Outline, Terms, and Sample Questions:

I. The Romantic Hero: Napoleon

A. How are Napoleon's ambitions "heroic"? Was he liberator, or oppressor? 
1. What is Nationalism?
2. What is Imperialism?
B. If Napoleon was such a hero, why was the Duke of Wellington (and Europe) set on his defeat? (Refer to part IX Revolution & the Hero.)
1. Who is Prometheus? What is the Promethean hero?
2. What's the "tragic flaw" of the Promethean hero?

II. Revolution & the Hero
A. Spain against Napoleon: Goya "Third of May"
1. how does he speak agaist the butchery?
2. how is this a "nationalistic response"?
3. What does Goya's "Brave Deeds Against the Dead" document?
B. Gericault "Raft of the Medusa"
1. ripped from the headlines: what was the story? How was cannibalism involved? Why was Gericault angry?
2. Look closely at this painting; what details to you see? what is your intellectual response to the work? Your emotional response?
C. Delacroix: "Liberty Leading the People" (view more of the work on pages 332-333)
1. Look closely: what classes of people areportrayed? Genders? Ethnicities? Ages? 
2. How does this work convey a sense of nationalism?
D. How does Romantic Age transcendentalism and passive resistance fit into abolitionism?
1. Frederic Douglass & Sojourner Truth: brilliant achievement and self-determination; how are they heroes?
2. What does Douglass say about moral responsibility and crime in terms of slavery? Why might this make slave owners want to think twice about slavery?

III. Prose
A. Byron: summarize the excerpt; how did he express natioanlism?
B. Goethe:Faust 
1. Why is Goethe's "Faust" considered to be "a quintessential romantic hero"? How is this compatible with the romantic age? summarize the excerpt.
2. How does Faust redeem himself? How does this have meaning in the romantic age? How does it have meaning in the 21st century?
C. The female voice: Amadine Aurore-Lucile Dupin ("George Sand")
1. defied society; examined stereotypes & male-female dynamics, wore "male" clothing & smoked cigars
2. "If I give myself up to love, I want it to wound me deeply, to electrify me, to break my heart or to exalt me...what I want is to suffer, to go crazy..." (George Sand)
D. Mary Shelley:  Frankenstein
1. Gothic novel & scientific horror; scientist/philosopher & the supernatural: how might this be compared to Faust?
2.  Why is it that everyone seems to relate to the "monster"? ("I was was benevolent and good, but misery made me a fiend.") Think of the romantic age love of nature and the growing industrial age.
3. What does she say about the age of science and human progress?
E. Frederick Douglass and abolitionism: summarize the excerpt
1. Why is he a hero? 
2. How is he nationalistic?

IV. The romantic heroine
    A. Popular stereotypes
    B. George Sand & female writers: how do they "break the rules"?

Terms: nationalism, promethean, imperialism, abolition, neomedieval

Sample questions: (these are from the text; the next test will include questions on material
 presented in class)
1. Why is Napoleon considered a "romantic hero"?

2. Why is "Faust" a "romantic hero"?

3. What is "nationalism" and "imperialism"? How do they create conflict?

4. In Frederick Douglass’ My Bondage and My Freedom, what two principles confer rights upon the slave, and how does Douglass arrive at them?

5. What distinctions does Douglass make between ethical heroes and people who break the law?

6. What stereotype is created by the simile in Heine’s poem “You are Just Like a Flower”? What stereotypes in Tennyson and Keats?

7. How does George Sand contradict the stereotype created by romantic poets like Heine or Tennyson?

8. In what way was Gordon, Lord Byron himself a "romantic hero"?

9. Why would some people consider Faust to be the symbol of Western man?

10. In his Diary, Napoleon states that his power comes ultimately from what?

11. In “My Bondage and My Freedom,” Frederick Douglass tells us that he stole food on what grounds?

12. According to the text, Doctor Faustus is symbolic of  the Western what?

13.  How did George Sand’s life and works defy social convention?

Check the text website for Multiple Choice Quizzes that accompany each chapter.

In class (additional material presented in class):
Blake (O For  A Voice), Keats (La Bell Dame) Tennyson (Lady of Shalott), George Sand, Chopin (Impromptu)




Copyright by 2007 D.A.Maukonen, MLS, University of Central Florida. All rights reserved. Certain images and material may be copyrights of their respective owners.
Last modified February 27, 2010