The Second Wave of Romantics in Napoleonic Years - Essay Example

The Myth of Napoleon and the second Wave of Romantics in Napoleonic years Name Course Instructor’s Name Date Introduction Romanticism can be described as a revolution or beginning of an era of self expression in fine arts like literature, music, paintings in response to oppressive regimes and administrations that exalted capitalism, aristocratic leaderships, and seeking to support the voice of the common man. Romanticism was as a result of oppression of freedom of speech, and societies being confined within circles stated by the government with laws which were unfair, favorism in distribution of wealth and resources and controlling every aspect of people’s lives including their religion (Murray, 2004). Thus, the aim of this paper is to discuss and analyse the myth of Napoleon and the second Wave of Romantics in Napoleonic years The Myth of Napoleon After the fall of the Catholic King Louis XVI, Napoleon Bonaparte was elected the empire of France. King Louis’ administration was based on enlightment thinking, aristocratic administrations where the rich got richer and the poor got poorer. The king ruled in dictatorial systems, eliminating anyone who defected or opposed his reign (Herold, 2002). Upper class people had the privilege of accessing literary materials; the artists of literature and the art during King Louis reign, ignored the existence of the working class population preferring to base their literal works on the rich and the select few. Classical music like Mozart was for the rich and influential during his reign. Napoleon was born in Corsica in 1769 under the colony of France, ironically, the nation he would later rule. His father an elite Carlo Bonaparte submitted to the rule of the French, becoming a-not so rich Corsican aristocrat, offering Napoleon a chance to go to private school (Herold, 2002). During the early years of the French revolution, Napoleon returned from the French Army to Corsica as an ideal revolutionary, but an year later, the residents of Corsica led by its governor Paoli ex-communicated him since they felt he was aggressive, a French sympathizer, and selfish. Napoleon returned to France and led the revolutionary army to attack the English army marking his first victory (Murray, 2004). This victory elevated him to the position of a national patriot and hero. Due to his intense ambition, Napoleon would support the government of Paris to fight rebels and Parisian mob wishing to overthrow the Republic. He generously rewarded those in his favor and destroyed those who defied him. He had established his reign throughout France through a vast network of spies. He directed plays that he saw fit and disbanded the ones he did not like (Herold, 2002). Moreover, he muzzled the freedom of expression by reducing the number of press centers to only four countrywide. Although a warrior, Napoleon was a schemer and he created events and paintings to depict himself as a mythical hero. He carefully drafted war reports that intensified his might and glory while covering up the cruelty with which he fought with. He used religion to show that he was a God sent mythical hero and commissioned his own paintings (Lefebvre, 2001). He used the press to propel his propaganda, spreading his name as a hero rather than a tyrant. He would later submit to British rule and exiled to a remote island st. Helena as prisoner. Romanticism in Napoleonic years Pre-napoleon rule, literature and art were based on fighting for nationalism, and romantics in that time expressed their feelings and emotions to rebel and criticize the unfairness and lack of social justice (Charles, 1998). When Napoleon came to power to replace King Louis XVI, romantics were ecstatic since he seemed like a nationalist. The French revolution which was just before Napoleon was meant to reinforce liberty, fraternity, equality for the people, change policies signed by Louis that brought poverty and hunger to the poor people, and overturn the rule of a republic that preferred the use of reason over religion. Initially, Romantics therefore, applauded the French revolution but would later revolt against as the reality of the revolution set in. During the French revolution and the reign of Napoleon, many people died by use of guillotines by the Jacobins and in battlefields respectively (Lefebvre, 2001). During the phase referred to as the terror, many were executed and oppressed for expressing their opinions, morals and ideologies. Due to this atrocities and rapid social changes in Napoleonic era and the French revolution, there emerged a second wave of romantics. These new generation of romantics traced the origins of wrongs to enlightment thinkers who promoted reason, science and logic as the human unifying factor over religion and superstition. This era of revolved romantics was called romantic era. Unlike their former colleagues, the second wave of romantics post French revolutionary and post Napoleonic reign, changed their approach to facing oppression by not necessarily supporting social and political changes, but being hardliners opposing democratic sweep characterized in imperial leadership in France (Murray, 2004). They preferred to adapt to earlier mystical thinking where nationalism and cohesive cultural ties were uphold through language and culture and placing value to the spirit of an individual nation. The second wave of romantics was diverse in their literal works, depicting the art of romanticism as a culmination of praise of medievalism, emotions, and ideals in classics and propelling the folk tradition (Charles, 1998). Language was a fundamental element in this new phase of romanticism, which produced romantics in the fields of music, art, writings on philosophies and politics and literature. Writing and artistic expression was forever changed after the reign of Napoleon since they involved themselves in the politics of the time, pressing for radical changes (Jessica, 2008). It was an avenue that the less fortunate found to voice their opinions, and this avenue did not favor the rich and elites of the society as their predecessors had done. The romantics were to later target the era of urbanization and industrialization which brought about social strife to the working population, violation of labor laws and greed by the industrialists. They viewed industrialization of labor as oppressive as enlightment thinkers had been because concern for the people, virtues, taste and morality were overrode by greed and materialism. Second wave of romanticism necessitated cultural exchange which brought along critics and utopian socialists who were ready to challenge the status quo, form new social frameworks and systems thus upholding basic human rights (Lefebvre, 2001). Outcomes of the Napoleonic Era and the Second Wave of Romanticism Romantic literals were able to shift from aesthetic positions to political ones, and experimented in understanding the relationship between political powers and poetic powers, only possible in the reign of Napoleon. Therefore, Napoleon was pivotal in revolutionizing romanticism itself. Writers emerged to support or contest the emperor’s rule (Lefebvre, 2001). Napoleon formed a point of cultural contest since his personage, and mythical history laid a foundation for exploration of romanticism depending on which perspective a romantic had taken, since romanticism has a liking for the past good or bad, creating a sense of nostalgia. Napoleon formed a cultural contention because, a romantic depending on their perspective, may be seen as supporting the revolution or violating the principles of the revolution at the time. Post-Napoleonic romanticism brought the rise of exceptional romantic writers like Vigney, Wadsworth, Coleridge, Samuel Taylor, Percy Shelley, Lord Bryon, Keats, and Mary Shelley believed to have had a hand in the creation of the Gothic novel. Artists that emerged are like the famous John Constable and William Blake. Among French romantics are Eugene Delacroix, Jean- Auguste- Dominique Ingres, Francois Rude, and Theodore Gericault among others (Charles, 1998). A young man called Chateaubriand is believed to have been the among the first French romantics in revolutionizing romanticism to the second wave of romanticism, among play writer like Vigney, the great poet Hugo, and the writer Joseph de Maistre. Napoleon had presented himself as a hero, a God sent victor for France and a larger than life legend. This influenced greatly romantic artists in his time since they were intrigued by nature, passion, the genius, heroes, psychological potentials, their moods and struggles. Their artistic nature of evaluating human personality and nature, the mysterious and even the medieval, made Napoleon a prime candidate for their works. The second wave of romanticism saw female romantics emerge (Jessica, 2008). This was a new phenomenon that had not been experienced before. Among female romantics were Mary Favret, Elisabeth- Louise Vigee-Lebrun, Jean-Baptiste Carpeaux and Anne- Louis Girodet-Trioson among others. This was because during wars women were left behind lonely with no means of expressing their emotions apart from arts which allowed them to fight for their causes, express their emotions, and connect with people around them. The French revolution and Napoleon rule are credited to causing movement of literal and cultural works across Europe, brought about by romantics in those times that used their profound creativity and imaginations in expressing their inner turmoil, struggles, moods and emotions in exceptional literature and other forms of art (Charles, 1998). The two moreover, creates the fault line between pre-romanticism and the second wave of romanticism which is referred to as the romantic era. Just as the pre- romanticism era artists, romantic era artists influenced modern art as we know it (Jessica, 2008). They used art to express their opinions not only in actions, but in words in poetry, songs, folk tales, paintings, sculptures and in literature. They showed appreciation, satisfaction, dissatisfaction and opposition using the impeccable skills of literal and artistic skills. They formed movements that were so powerful than the political regimes that ruled, thus being able to influence social reforms, challenge social orders and influence implementation of policies that upholded liberty, fairness and equality. The writings of the second wave of romantics was different from the predecessors whose work was in style and written for the wealthy aristocratic (Charles, 1998). They wanted to join forces with the victims of atrocities rather than those who funded the war. The writings are also different in that they were unique and had three distinct qualities. These qualities are a sense of pride and nationalism, adoration for nature and a sense of being supernatural and exotic. This was as a result of political unrest in which the writers were involved in. Conclusion Romanticism can be referred to as a revolution of literal and artistic fields in regards to how artists expressed themselves. Romanticism can be traced to the romantic era associated with the French revolution, during and after the reign of Emperor Napoleon. Romantic revolution or beginning of a unique and articulate era of self expression in fine arts like literature, music, arts and paintings, was a response to oppressive regimes and administrations that exalted capitalism, aristocratic leaderships, and sought to support the voice of the common man. The second wave of romanticism is referred to as the romantic era. It is identified to have had particular outcomes like emergence of female romantics, fought for equality, liberty, and fraternity for the working population. Industrialization period, the French revolution and the reign of Napoleon was viewed by the romantics t be similar since concern for the people, virtues, taste and morality were overrode by greed and materialism. Romantic writings in the romantic era unlike their predecessors, were accessible to commoners and not only for the wealthy aristocratic. Its purpose was to challenge the status quo and force the administration to offer equal distribution of resources. References Charles, R. (1998). The romantic generation. Harvard: Harvard University Press. Herold, J.C. (2002). The Age of Napoleon. New York: Houghton Mifflin Harcourt. Jessica, G. (2008). Romanticism; Movements in Art. London: The Creative Company. Lefebvre, G. (2001). The French Revolution: from its origins to 1793. London. Routledge. Murray, C.J. (2004). Encyclopedia of the romantic era, 1760-1850. Stanford: Fitzroy Dearborn. Read More

The French revolution which was just before Napoleon was meant to reinforce liberty, fraternity, equality for the people, change policies signed by Louis that brought poverty and hunger to the poor people, and overturn the rule of a republic that preferred the use of reason over religion. Initially, Romantics therefore, applauded the French revolution but would later revolt against as the reality of the revolution set in. During the French revolution and the reign of Napoleon, many people died by use of guillotines by the Jacobins and in battlefields respectively (Lefebvre, 2001).

During the phase referred to as the terror, many were executed and oppressed for expressing their opinions, morals and ideologies. Due to this atrocities and rapid social changes in Napoleonic era and the French revolution, there emerged a second wave of romantics. These new generation of romantics traced the origins of wrongs to enlightment thinkers who promoted reason, science and logic as the human unifying factor over religion and superstition. This era of revolved romantics was called romantic era.

Unlike their former colleagues, the second wave of romantics post French revolutionary and post Napoleonic reign, changed their approach to facing oppression by not necessarily supporting social and political changes, but being hardliners opposing democratic sweep characterized in imperial leadership in France (Murray, 2004). They preferred to adapt to earlier mystical thinking where nationalism and cohesive cultural ties were uphold through language and culture and placing value to the spirit of an individual nation.

The second wave of romantics was diverse in their literal works, depicting the art of romanticism as a culmination of praise of medievalism, emotions, and ideals in classics and propelling the folk tradition (Charles, 1998). Language was a fundamental element in this new phase of romanticism, which produced romantics in the fields of music, art, writings on philosophies and politics and literature. Writing and artistic expression was forever changed after the reign of Napoleon since they involved themselves in the politics of the time, pressing for radical changes (Jessica, 2008).

It was an avenue that the less fortunate found to voice their opinions, and this avenue did not favor the rich and elites of the society as their predecessors had done. The romantics were to later target the era of urbanization and industrialization which brought about social strife to the working population, violation of labor laws and greed by the industrialists. They viewed industrialization of labor as oppressive as enlightment thinkers had been because concern for the people, virtues, taste and morality were overrode by greed and materialism.

Second wave of romanticism necessitated cultural exchange which brought along critics and utopian socialists who were ready to challenge the status quo, form new social frameworks and systems thus upholding basic human rights (Lefebvre, 2001). Outcomes of the Napoleonic Era and the Second Wave of Romanticism Romantic literals were able to shift from aesthetic positions to political ones, and experimented in understanding the relationship between political powers and poetic powers, only possible in the reign of Napoleon.

Therefore, Napoleon was pivotal in revolutionizing romanticism itself. Writers emerged to support or contest the emperor’s rule (Lefebvre, 2001). Napoleon formed a point of cultural contest since his personage, and mythical history laid a foundation for exploration of romanticism depending on which perspective a romantic had taken, since romanticism has a liking for the past good or bad, creating a sense of nostalgia. Napoleon formed a cultural contention because, a romantic depending on their perspective, may be seen as supporting the revolution or violating the principles of the revolution at the time.

Post-Napoleonic romanticism brought the rise of exceptional romantic writers like Vigney, Wadsworth, Coleridge, Samuel Taylor, Percy Shelley, Lord Bryon, Keats, and Mary Shelley believed to have had a hand in the creation of the Gothic novel.

Read More