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The Lady of the Lake

Chapter 5 SCOTT'S PLACE IN THE ROMANTIC MOVEMENT

Word Count: 1666    |    Released on: 01/12/2017

ry, and within a space of twenty-five years completely changed the face of English literature. Both the causes and the effects of this movement were much more than merely literary; the

to such aspects of the revival as s

similar tendency in diction. The simple, concrete phrases of daily speech had given way to stately periphrases; the rich and riotous vocabulary of earlier poetry had been replaced by one more decorous, measured, and high-sounding. A corresponding process of selection and exclusion was applied to the subject matter of poetry. Passion, lyric exaltation, delight in the concrete life of man and nature, passed out of fashion; in their stead came social satire, criticism, gene

. They were born within four years of each other, Wordsworth in 1770, Scott in 1771, Coleridge in 1772, Southey in 1774. As we look at these four men now, and estimate their worth as poets, we see that Southey drops almost out of the account, and that Wordsworth and Coleridge stand, so far as the highest qualities of poetry go, far above Scott, as, indeed, Blake and Burns do also. But the contemporary judgment upon them was directly the reverse;

e charge of "attempting to set up a new school in poetry," and he never throughout his life violated the conventions, literary or social, if he could possibly avoid doing so. This bias toward conservatism and conventionality shows itself particularly in the language of his poems. He was compelled, of course, to use much more concrete and vivid terms than the eighteenth cen

erses, that went on their way with the sharp tramp of moss-troopers, and heated the blood like a drum. The meters of Coleridge, subtle, delicate, and poignant, had been passed by wit

ear. Wordsworth's pantheism was too mystical, too delicate and intuitive, to recommend itself to any but chosen spirits; Crabbe's descriptions were too minute, Coleridge's too intense, to please. Scott was the first to paint nature with a broad, free touch, without raptures or philosophizing, but with a healthy pleasure in its obvious beauties, such as appeal to average men. His "scenery" seldom exists for its own sake, but serves, as it should, for background and setting of his story. As his readers followed the fortunes of William of Deloraine or Roderick Dhu, they traversed by sunlight and by moonlight landscapes of wild romantic charm, and felt their beauty quite naturally, as a part of the excitement of t

rests on considerations of style, it is hardly to be granted, for nothing could be farther than the hurrying torrent of Scott's verse from the "long and refluent music" of Homer. But in this other respect, that he deals in the rudimentary stuff of human character in a straightforward way, without a hint of modern complexities and super-subtleties, he is really akin

d about my poetry ... it is a hurried frankness of composition which pleases soldiers, sailors, and young people of bold and active dispositions." The poet Campbell, who was so fascinated by Scott's ballad of "Cadyow Castle" that he used to repeat it aloud on the North Bridge of Edinburgh until "the whole fraternity of coachmen knew him by tongue as he passed," characterizes the predominant charm of Scott's poetry as lying in a "strong, pithy eloquence

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1 Chapter 1 No.12 Chapter 2 No.23 Chapter 3 No.34 Chapter 4 No.45 Chapter 5 SCOTT'S PLACE IN THE ROMANTIC MOVEMENT6 Chapter 6 No.67 Chapter 7 No.78 Chapter 8 No.89 Chapter 9 No.910 Chapter 10 No.1011 Chapter 11 No.1112 Chapter 12 No.1213 Chapter 13 No.1314 Chapter 14 No.1415 Chapter 15 No.1516 Chapter 16 No.1617 Chapter 17 No.1718 Chapter 18 No.1819 Chapter 19 No.1920 Chapter 20 No.2021 Chapter 21 No.2122 Chapter 22 No.2223 Chapter 23 No.2324 Chapter 24 No.2425 Chapter 25 No.2526 Chapter 26 No.2627 Chapter 27 No.2728 Chapter 28 No.2829 Chapter 29 No.2930 Chapter 30 No.3031 Chapter 31 No.3132 Chapter 32 No.3233 Chapter 33 No.3334 Chapter 34 No.3435 Chapter 35 No.3536 Chapter 36 SONG37 Chapter 37 No.3738 Chapter 38 No.3839 Chapter 39 No.3940 Chapter 40 No.4041 Chapter 41 SONG 4142 Chapter 42 No.4243 Chapter 43 No.4344 Chapter 44 No.4445 Chapter 45 No.4546 Chapter 46 No.4647 Chapter 47 No.4748 Chapter 48 No.4849 Chapter 49 No.4950 Chapter 50 No.5051 Chapter 51 No.5152 Chapter 52 No.5253 Chapter 53 No.5354 Chapter 54 No.5455 Chapter 55 No.5556 Chapter 56 No.5657 Chapter 57 No.5758 Chapter 58 BOAT SONG59 Chapter 59 No.5960 Chapter 60 No.6061 Chapter 61 No.6162 Chapter 62 No.6263 Chapter 63 No.6364 Chapter 64 No.6465 Chapter 65 No.6566 Chapter 66 No.6667 Chapter 67 No.6768 Chapter 68 No.6869 Chapter 69 No.6970 Chapter 70 No.7071 Chapter 71 No.7172 Chapter 72 No.7273 Chapter 73 No.7374 Chapter 74 No.7475 Chapter 75 No.7576 Chapter 76 No.7677 Chapter 77 No.7778 Chapter 78 No.7879 Chapter 79 No.7980 Chapter 80 No.8081 Chapter 81 No.8182 Chapter 82 No.8283 Chapter 83 No.8384 Chapter 84 No.8485 Chapter 85 No.8586 Chapter 86 No.8687 Chapter 87 No.8788 Chapter 88 No.8889 Chapter 89 No.8990 Chapter 90 No.9091 Chapter 91 CORONACH92 Chapter 92 No.9293 Chapter 93 No.9394 Chapter 94 No.9495 Chapter 95 No.9596 Chapter 96 No.9697 Chapter 97 No.9798 Chapter 98 SONG 9899 Chapter 99 No.99100 Chapter 100 No.100