Abstract
It has often been urged that the terms "romanticism"
and "realism" are not susceptible to precise and comprehensive
definition. However, a simple detailed list of their commonest
connotations will be sufficient to show how completely opposed
the two concepts are. The realist is supposed to deal with
contemporary life and commonplace scenes; the romantic yields
to the charm of the past and delights in dreaming of distant
places. The realist fîxes his look upon the world of Men, the
streets where they push roughly against and the rooms where
they meet and converse; the romantic seeks solltude and finds
it in nature, in the fields, in the woods, the lonely seashore and
the lonelier mountain crag. The realist is drawn into the social
vortex, depicts the cross-currents of ambition and self-interest,
is familiar with ali the processes, ups and downs of economic
life; the romantic looks on with comtempt such dull or
commonplace preoccupations; instead he idealizes the purer
passions and cultivates the obscure and darker ones, having
leanings towards the satanic as well as the spiritual; wheres
the typical realist, especially in France, levels passion down to
the play of the senses and has no patience with intimations of
immoıtality. The romantic exalts the Creative spirit and puts
faith in intuition; the realist’s approach to his material is
detached and analytic. On literary plane, the value the realist
sets on stylistic quality contrasts with the romantic's
cultivation of exuberance and emotive imageıy; the former, in
short, stick to prose, while poetıy remains an authentic
medium for the expression of the romantic mood and the
romantic world-view.
References
- Referans 1
Abstract
It has often been urged that the terms "romanticism"
and "realism" are not susceptible to precise and comprehensive
definition. However, a simple detailed list of their commonest
connotations will be sufficient to show how completely opposed
the two concepts are. The realist is supposed to deal with
contemporary life and commonplace scenes; the romantic yields
to the charm of the past and delights in dreaming of distant
places. The realist fîxes his look upon the world of Men, the
streets where they push roughly against and the rooms where
they meet and converse; the romantic seeks solltude and finds
it in nature, in the fields, in the woods, the lonely seashore and
the lonelier mountain crag. The realist is drawn into the social
vortex, depicts the cross-currents of ambition and self-interest,
is familiar with ali the processes, ups and downs of economic
life; the romantic looks on with comtempt such dull or
commonplace preoccupations; instead he idealizes the purer
passions and cultivates the obscure and darker ones, having
leanings towards the satanic as well as the spiritual; wheres
the typical realist, especially in France, levels passion down to
the play of the senses and has no patience with intimations of
immoıtality. The romantic exalts the Creative spirit and puts
faith in intuition; the realist’s approach to his material is
detached and analytic. On literary plane, the value the realist
sets on stylistic quality contrasts with the romantic's
cultivation of exuberance and emotive imageıy; the former, in
short, stick to prose, while poetıy remains an authentic
medium for the expression of the romantic mood and the
romantic world-view.
Keywords
References
- Referans 1
Details
| Primary Language | Turkish |
|---|---|
| Subjects | British and Irish Language, Literature and Culture |
| Journal Section | Research Articles |
| Authors | |
| Publication Date | March 3, 2024 |
| Published in Issue | Year 1990 Issue: 18 |
Content of this journal is licensed under a Creative Commons Attribution NonCommercial 4.0 International License