Romanticism Research Articles

Los dibujos del escenógrafo Charles Ciceri (1782-1868) El mundo a escena: entre la evocación romántica y la precisión positivista

Set designers’ drawings have a similar instrumental character to painters’ drawings, but unlike painters’ drawings, set designers’ drawings refer to works that are not exhibited in museums, are not studied by art historians and, for the most part, are not preserved. These circumstances explain the usual reluctance to approach set designers’ drawings. However, these drawings have similar characteristics to those of contemporary painters and can give a very accurate picture of the spirit of an era. This is the case with the drawings of Charles Ciceri (1782‑1868), chief decorator at the Paris Opera and the most important set designer of the first half of the 19th century. His drawings, of unquestionable mastery, represent a wide repertoire of sets imbued with a romantic spirit: ancient ruins, medieval fantasies, orientalist evocations, picturesque natures, etc. The typology of the drawings is also varied: sketches from life, sketches and drawings as inventions for final works (decorations, in the case of Ciceri) and drawings with an autonomous value. The variety of techniques and typologies of Ciceri’s drawings is similar to that of the most important painters of the time, although they have a number of specifically ‘theatrical’ nuances, such as the framing of the scenes, the variety of lighting effects, especially the underlining, and – perhaps most importantly – the arrangement in successive planes. These drawings are an exemplary combination of romantic evocation and positivist precision. It is no coincidence that Ciceri was a student, son-in-law and friend of the Romantic painter Isabey, and that his closest collaborator in his early years was Daguerre, inventor of the diorama and father of photography. At this crossroads of aesthetic and multidisciplinary convergences, Ciceri’s drawings are undoubtedly a significant expression of the drawing art of his time.

The Horror of Serenity

The sublime is a common subject in European literary studies, particularly in Victorian and Romantic period literary scholarship. The Greek writer Longinus proposed the concept in the 1st century in On the Sublime (first printed in 1554), and Edward Burke later popularized it in his work A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). The sublime is less discussed in anime studies due to its European origins, but it has a robust history in Japanese literature and philosophy. Recently, scholars have begun discussing its presence in anime. This paper examines European and Japanese definitions of the sublime and then applies the European Romantic definition to Psycho-Pass. Psycho-Pass’s focus on horror, self-knowledge, and European philosophy makes it an ideal subject for examining the sublime in anime. Rikako Oryo is a schoolgirl who murders her classmates and is hunted by the protagonists in one of the show’s side arcs. Her art emphasizes how the sublime's "horror" element can stimulate critical thought and concurs with the Kierkegaardian theory of the sublime. The primary antagonist, Shogo Makishima, represents the more transcendent aspects of the sublime and its role in self-knowledge and identity. After examining Rikako and Makishima, the paper takes a step back and apply the principles of the sublime to anime as a medium and Psycho-Pass as a whole. Psycho-Pass reminds viewers that violent media like horror anime and crime stories can use the sublime as a catalyst for critical thinking without endorsing violence.

Romantic Painters on Art

Philipp Otto Runge and Caspar David Friedrich, well known Romantic painters, were not only notable masters of the brush but also theorticians of art. The present essay is devoted to an analysis of their theories. Its novelty consists in the fact that it analyzes for the first time the theoretical views that are expressed in the texts of both artists. Runge’s charactertistic feature is a pantheistic experience of God. According to him, it must be expressed in art. He proposes his own dialectic of being, which essentially consists of development, struggle, and mutual annihilation of opposite elements at the moment of achieving perfection. It is precisely this dialectic that, according to him, forms the foundation of art, where he sees an opposition between feeling and reason. Runge pays special attention to the notion of the “spirit of art,” which appears on the basis of the feeling of mutual connection between the human being and the universe, as well as of the artist’s foresentiment of God. In its foundation, art is symbolic and therefore close to religion. The spirit of art manifests itself in what one can call the music, poetry, or symbolism of a work of art. In art, Friedrich sees the spiritual foundation of the world. He distinguishes between skill and “spirituality” in it. According to him, one can master the skill, but one inherits spirituality from birth, and few artists possess it. As a Romantic landscape artist, he opposed illusionism in painting. He considered the creative element in art, which is born in the artist’s inner world, as pivotal. Feeling plays the principal role in art. For this reason Friedrich foregrounds the uncon-scious, although he is convinced that reason and skill must actively participate in the creative process as well. Friedrich preferred winter, foggy, and crepuscular landscapes, which expressed Romantic moods well.

''Visible is a symbol'': Nature as an animated creature pictured by Russian and German romantics

The topicality of the research refers to the problem of national identity, national code, embodied among other spheres of spiritual life and in literature. Romantics' worldview was composed on the foundation of folklore, myth and literary tradition. The system of symbolic motifs of 'infancy' and 'pre-earth life', affinity of souls, joining in death and others became significant elements of the works in the Romanticism period. The study object is the collection of writings connected to natural-philosophic ideas of Nature as a living creature. The subject-matter of the research is national identity of Romanticism, manifested in the peculiarities of Nature perception. In the process of analysis, a comprehensive literary approach was used, combining historical-literary, historical-genetic, comparative-typological methods, which made it possible to establish the specifics of the embodiment of ideas about Nature by writers of Russia and Germany of the Romantic era. Presenting the natural-philosophic system of life conception, the writers relied on F. Schelling's philosophy. It is demonstrated that Russian romantics associate the origin of ideal female images with Heaven (angel-woman) and German romanticists – with the Earth (flower woman). Angel woman and flower woman help the characters to understand the essence of the existence. Natural symbols used in the works (sky, earth, flower atc.) and other symbolic images (melody, kiss, icon etc.) convey the specific mystic world understanding of the authors. Novelty of the research lies in the analysis of dominant images, that makes it possible to determine 'the independence of the face' of romantics in Russia and Germany, basing on the idea of a man dependent on Nature that existed in the developed national tradition. This approach makes it possible to specify the understanding of the particular characteristics of archetypic female images presented in ethnic-cultural sphere.

Vokaalide ja klusiilide intensiivsussuhted laulmisel teksti arusaadavuse mõjutajana

Aim. The objective of this study is to ascertain (1) whether there is a tendency in operatic singing by which, compared to speaking, the intensity of all speech sounds is greater, but the intensity of voiceless plosive bursts increases proportionally less than that of vowels, which may make the recognition of plosives more difficult; and (2) whether pronouncing the bursts of voiceless plosives more strongly would improve their recognition. Method. The investigation was split into two stages. In the first stage, five classically trained professional Estonian singers (soprano, mezzo-soprano, tenor, baritone, bass) were asked (1) to sing an aria in Italian from a romantic period opera, and (2) to read the text of the same aria. The recordings were segmented on the level of single speech sounds, and the intensity level of each sound was measured with the help of the software Praat. In addition, recordings of sung performances by three Italian singers (two sopranos and a baritone) and examples of spoken text by two different speakers were similarly analyzed. In the second stage, a perception test with 60 listeners (21 male, 38 female, and one non-binary) was carried out. The listeners were aged between 11 and 74. Seventy-two sequences /a/–/k/–/a/, /a/–/p/–/a/ and /a/–/t/–/a/, sung by a mezzo-soprano on G4, were played to the listeners as stimuli. The listener had to identify the plosive in the middle of each stimulus. The intensity level of the plosive varied in four steps (including one step in which the plosive burst was removed and replaced with silence). To some stimuli sets were added either reverberation (to imitate room acoustics) or pink noise (to imitate masking sounds from accompaniment or ensemble partners); further stimuli sets included the addition of both reverberation and pink noise. Results. The first stage of the research showed that in the case of the Estonian singers the intensity of the sung vowels was, on average, 14.2 dB greater than that of the corresponding spoken speech sounds, whereas the intensity of the voiceless plosive bursts increased by an average of only 7.1 dB. The intensity difference between sung and spoken speech sounds was similar in the case of Italian vocalists. Producing the plosive bursts more strongly generally tended to improve the recognition of plosives only when reverberation and/or pink noise were added to the stimuli. The probable cause of lowered recognition is the masking of plosives by the room reflections of the preceding vowels and sounds from the accompaniment and ensemble partners. In the case of /p/, too intense a burst could actually diminish recognition to some extent. The recognition was often above the level of chance even if the burst was removed, indicating that besides the plosive burst some other clues to identify the plosive exist (such as the formants’ glide from the locus of the plosive to the adjacent vowel). Conclusions. There is no need to pronounce voiceless plosives with exaggerated vigor in singing if the room reverberation is small and there are no masking sounds from other musicians. The exception is /k/, which may remain unidentified if the plosive burst is not perceived. In poorer acoustic conditions, a stronger burst may improve intelligibility. However, the singer should be cautious not to overemphasize the /p/, as this may worsen its recognition.

Redistancing Romanticism: Kent Monkman, Indigenous Perspectives, and the Art of History

Abstract: Over the last decade, Cree visual and performance artist Kent Monkman has undertaken an innovative and searching exploration of Romantic painting. Yet, the centrality of Romanticism in his oeuvre has hitherto been misunderstood. Drawing on the resources of Romantic historiography, he modulates historical distance—sympathetic proximity and cerebral distanciation—not only to "redistance" history to meet contemporary needs, but to complicate the movements of identification and alienation. Monkman's work may be ironic, but his is a strangely compassionate irony in which the relationship between European and non-Indigenous peoples is framed with a delicate hope for sincere reconciliation.

The Status of Women in the Poetry of Wordsworth

Abstract: Exploring Wordsworth's poetic universe unveils intriguing insights into the portrayal of women. This abstract delves into the multifaceted status of women within Wordsworth's poetry. Through an extensive analysis of his works, it scrutinizes the nuanced roles, perceptions, and treatment of women, shedding light on their significance as muses, nurturers, and symbols of nature's purity. Wordsworth's verses often depict women in varying lights, from ethereal beings embodying innocence and grace to pragmatic figures grounding human experiences. The abstract navigates through the spectrum of emotions evoked by Wordsworth's portrayal, revealing the dichotomy between idealized femininity and societal constraints. Moreover, this study examines the socio-cultural milieu influencing Wordsworth's depictions, emphasizing the intersections of gender, power, and societal norms prevalent during the Romantic era. It also analyzes how these representations resonate with contemporary discourses on gender equality and empowerment. Ultimately, this abstract aims to unravel the complexities surrounding women in Wordsworth's poetry, providing a comprehensive understanding of their roles, significance, and the poetic nuances shaping their portrayal.

Simulating Chromatic Harmony in Romantic Era Music using Diophantine Approximation

The Romantic period of music is known for its intricate and emotionally expressive harmonic style. Nevertheless, recreating authentic melodies of the Romantic period in contemporary compositions poses a considerable challenge for composers and musicians. In this paper, we present a method for simulating chromatic harmony in Romantic Era music through the use of Diophantine Approximation. Inspired by the works of renowned composers of that period, such as Richard Wagner, Franz, Liszt, and Frederic Chopin, my transitional model was constructed to preserve the essence of the preceding melody as the harmonic progression unfolds. The model helps with the creation of harmonic progressions that contain the nuances of the preceding harmonic structure and musical style, providing composers with a novel way to explore a wide range of musical possibilities. Experimental validation involving human hearing shows that the model is successful in imitating authentic Romantic-era harmonic structures. This finding suggests that the model is a promising tool that could inspire contemporary composers to create almost authentic chromatic harmonic progressions.

The Glorious Rise of Early Indo-English Poetry in Pre-Independence Epoch – A Sublime Study

Poetry is a written verse which expresses the feelings, emotions, and ideas of a poet in his literary work and in own style and rhythm. In Ancient Indian tradition, Kavya (Poetry) is hailed as equivalent to fifth Veda. Indians have a vast history of traditional arts and have a long directory of poems from various prolific writers which resonates in modern Indian English literature. Indian English poetry has come into the play around 150 years ago, and well matured in this era. The Indian English literature has bifurcated into three phases, and they are Imitative, Assimilative and Experimental. Very few poets in India were well educated before to independence, and they were affected by Victorian and Romantic era works, beginning to repeat the works of Shakespeare, Wordsworth, Keats, Byron, Shelley, Tennyson, Swinburne, and others. The approach and tactics of Byron and Scott were echoed by great pioneers such as V Derozio and the Dutt family, respectively. The topic of Indian poetry was heavily dependent on the environment, cultural heritage, nationalism, and so on i.e., highly anthropogenic, and self-styled and were highly nostalgic among themselves of their works in the comparisons to predecessors works. Indian Poet also thought of indigenous reader, so it ought to have a desi appeal which was favorable to all, for them the feature of Indianness made it eye catching. The poet tried to remain natural and honest. Indian English poetry is a mixture of all anglicized variety of different ethnic culture across the globe. This paper shall focus on the Indian English Poetry during the Pre-Independence epoch and conglomerate them and brainstorm their works in details.

The Emergence and Application of Violin Virtuosity During the Romantic Period

Musicians used virtuosity to showcase the pinnacle of human mastery over musical instruments, and the violin, known as the king of instruments, excels in terms of its range, tone, and flexibility. The combination of the violin and virtuosity allows for an infinite range of possibilities in musical expression. The virtuoso style emerged during the Romantic period, an era that celebrated the beauty of humanity and freedom, and it propelled violin artistry to unprecedented heights. This phenomenon was not a coincidence but the result of the interplay of musical style inheritance, advances in violin-making techniques, social change, and commercial development. The historical context imbued violin virtuosity with unique significance, determining the characteristics of virtuoso musical genres, composition styles, and performance contexts. This holds a special place in the history of Western music and violin development, profoundly influencing the philosophy of violin music performance. However, the ultimate goal of virtuosity is not just to perform fast and seamless notes flawlessly but to use technique as a means to showcase a unique style and evoke musical emotions. Violin students, when practicing and performing virtuosic music, should possess a certain understanding of virtuosity as an art form and endeavor to uncover the musical depth behind the technical prowess.

Amelia B. Edwards and Romantic Egyptology

Abstract Amelia B. Edwards (1831–1892) was renowned for her profound mastery of Egyptology, possessing a knowledge some said surpassed that of her male counterparts. Her archaeological endeavours in Egypt merged with a vivid narrative approach, evident in seminal works such as A Thousand Miles up the Nile (1877) and her captivating lectures across Britain and America. This harmonious blend of meticulous observation and romantic aesthetics not only carved her niche as a distinguished Egyptologist, but also heralded her as a forerunner in public history, adept at fusing erudite exploration with charming storytelling. Set against the tapestry of the Romantic era, Edwards forged a distinctive narrative, eschewing traditional academic boundaries to imbue her writings with heartfelt sentiment. This article delves into Edwards’ impact on Egyptology’s popularization: from her pivotal 1873 Egyptian sojourn, followed by her compelling lectures, to her personally curated Egyptian collection at home. With an adept fusion of artistic verve and academic rigour, Edwards bridged literature and archaeology. Her legacy signifies a refreshing deviation from orthodox methodologies, presenting a more immersive perspective on ancient Egypt. In stark contrast to the staid styles of her contemporary archaeological peers, she proclaimed herself the only romancer also versed in Egyptology, ardently championing a scientific discourse with broader appeal.

On the Emotional Colors and Performance Techniques in Brahms' Interlude Op.118 No.2

Johannes Brahms was the last German Austrian classical master of the romantic period. In this era of significant changes in music style, Brahms' early creative style still retained some traces of classical style. However, in his later years, he became more passionate about small genre lyrical works. I believe that these works must be the gentlest and most monologue works of Brahms' life. The interlude Op118 No.2, created in the late period of Brahms, possesses extremely clever creative techniques and extremely beautiful melodies, and is later known as the "Love Letter to Clara". The emotions and performance techniques involved are worth further exploration.

The Prosaics of Weak Grammar: Novel Theory at the Crossroads of Linguistic Transformation

Abstract Novelistic sentences dramatically simplified in structure and contracted in length throughout the 1800s and early 1900s. This article places these changes within the longer process of grammatical “weakening” (the loss of inflection for regular order). Building on the linguist Otto Jespersen's theorization of the relationship between grammar and social change, the article argues that the grammar of modern novels, irrespective of their representational content or individuating style, has a proleptic relation to the rise of mass society. The problems that Georg Lukács and Theodor Adorno would articulate in terms of reification and alienation are already enacted grammatically as words break down into their linguistic properties and increasingly derive their meaning through placement. The article focuses on three pivotal moments of this development: the “prosification,” or the virtual conflation of poetic and prosaic syntax, in the Romantic era; the conspicuous intensification of uninflected prose that is generally taken to be the stylistic innovation of the modernist era exemplified by Virginia Woolf; and the sedimentation of syntax into generic idioms in subsequent decades in such writers as Doris Lessing and Samuel Beckett. Novelistic grammar, precisely by prefiguring the social changes to come, models a rationality that constrains the possibilities of moving past those changes. By analyzing the contradictions constitutive of novelistic grammar, this article questions what is reinforced or foreclosed in the endless generativity of grammar.

"The Golden Hoop" by B. Lyatoshynskyi in the Inheritance of Spiritual and Mythological Instructions of the Musical Theatre of Europe

The purpose of the research is to reveal the poetic and intonation uniqueness of B. Lyatoshynskyi's "The Golden Hoop" in the stream of spiritual and mythological instructions of the European musical theatre of the XIX-XX centuries. Research methodology. Interdisciplinary, historical-cultural, genre-stylistic approaches, which allow us to reveal the spiritual and mysterious foundations of the opera "The Golden Hoop" by B. Lyatoshynskyi and its literary primary source, were essential for this work. The scientific novelty of the article is determined by its analytical perspective, which reveals the spiritual and mysterious genesis of the opera "The Golden Hoop" by B. Lyatoshynskyi, imprinted not only by the poetics of the Ukrainian musical theatre and its spiritual and aesthetic guidelines, but also by the Christian and mythological foundations of the Western European opera of the Romantic era. Conclusions. “The Golden Hoop” by B. Lyatoshynskyi (1929) became an outstanding work of Ukrainian and European musical theatre in general in the first half of the 20th century. On the one hand, this opera arose at the intersection of the “social” ideas of I. Franko and their artistic embodiment in the story “Zakhar Berkut”, as well as the spiritual and ethical guidelines of the work of B. Lyatoshynskyi, formed against the background of the mysterious and mythological background of the Ukrainian “image of the world” and cultures. On the other hand, the spiritual and semantic specificity of the analysed opus with the obvious minimisation of the actual historical factor in it, the strengthening of the mythological beginning (the coexistence of three worlds – gods, heroes and people), the reinterpretation (in comparison with the literary original source) by the authors of the opera of its finale with an emphasis on its sacrificial-redemptive meaning – all this evokes certain analogies between “The Golden Hoop” and a wide range of themes and images of European culture of the past and present and its biblical and Christian mystical background.
 Keywords: “The Golden Hoop” by B. Lyatoshynskyi, “Zakhar Berkut” by I. Franko, mystery and opera, Ukrainian musical culture.

Semantics of programmaticism in r. Schumann’s piano music

The author substantiates the semiotic approach to the study of the semantic content of music, reveals a multifaceted panorama of its scientific facets, allowing us to focus on a specific historical and cultural period and the work of the great German composer R. Schumann. First of all, it is associated with the Romanticism era and its aesthetic canons. The article examines the semantics of programmaticism in R. Schumann's piano music through a number of key works in different genres. It is shown that R. Schumann's programmatic piano music embodies the principle of cultural intertextuality both in the form of a reflection extra-musical realities of literary and social life and the formation of a new type of man in the Romantic era.

Stéphane Mallarmé on Impressionism and the Impressionists in the context of French art criticism

The article prefaces the publication of the first Russian translation of Mallarmé’s essay ‘The Impressionists and Edouard Manet:’ originally printed in English in a London-based periodical in 1876, it was not rediscovered until the early 21st c., when the essay’s translation back into French became available. In his work, Mallarmé offers the first contemporary interpretation of Impressionism as a natural next step in the development of art, revealing it to be a form of self-reflection that gazes at reality. He notes that Manet’s manner of depicting landscapes and people in them bears a similarity to Japanese prints — an art form much beloved by the Impressionists. Other innovative viewpoints expressed by Mallarmé include his interpretation of mimesis, which, rather than mimicking nature, means its recreation, ‘touch by touch:’ the idea that the representative art of the period cannot be isolated from the characteristic politics and industry of the era, and the suggestion that, rather than treating artists as spiritual aristocrats, as was customary in the Romantic era, one should consider them as ‘energetic modern workers,’ exemplified by Impressionist painters. The article sets out to present Mallarmé’s ideas in the context of French art criticism from the 18th c. until the present day.

Imagination as Dynamism: Shaping Romantic Poetic Expressions

Imagination is one of the significant characteristics of Romantic poetry. Romantic poetry is subjective and clairvoyant. The subjectivity and extrasensory instinct are revived due to sharp imagination. The principal purpose of this article is to explicate imagination as dynamism in shaping Romantic poetic expressions. For this purpose, poetic works of Blake, Wordsworth, Coleridge, Shelley, Keats and Byron have been analyzed by considering imagination as the core of poems. This article employed a qualitative approach, drawing upon an extensive compilation of primary and secondary sources pertaining to Romantic poetry and the role of imagination in shaping literary expressions during the Romantic era. The primary sources consisted of poems by Romantic poets, while secondary sources encompassed scholarly articles, books, and critical essays, all of which contributed valuable insights into the topic and enhanced the comprehension of Romantic poetry and imagination. Materials for the study included terms, phrases, and assertions related to Romantic Imagination, and the method employed for analysis consisted of critical analysis. The primary focus of the analysis was to examine how Romantic poets explored and portrayed imagination across a wide range of their poetic works. This analytical process was executed subsequent to an extensive literature review on the subject matter. The study of this article will not only offer a comprehensive analysis of how imagination served as a dynamic force in shaping Romantic poetic expressions, but will also explore the broader implications of imagination in literature, culture, and art.

‘Such conduct bears Philanthropy’s rare stamp’: The Byronic Hero’s Good Works

This article presents for the first time a file of petitions sent to Lord Byron, now held in the John Murray Archive of the National Library of Scotland (MS 43523) and catalogued in 2022. It analyses a sample of the letters and argues that Byron’s correspondents (all outside his regular social circle) framed their requests for assistance based on their reading of scenes of philanthropy in Childe Harold’s Pilgrimage and the Turkish Tales, where the image of the Byronic hero was consolidated. The article goes on to discuss the nature of the Byronic hero’s imaginary giving, characterised by secrecy and unknowability, and why this model was attractive to petitioners in real life. Byronic philanthropy thus provides a new lens to examine the entanglements between literary and epistolary and material cultures in the Romantic period, as well as offering scholars valuable new evidence of Byron’s personal generosity and charitable practices.

Acoustical affordances and challenges with indigenous and orchestral wind instruments

All our orchestral wind instruments evolved over many centuries from indigenous prototypes. The latter were developed using found hollow objects like animal horns for early brass instruments, vulture bones for flutes, and termite-infested eucalyptus branches for the Australian didjeridu. Already over 40,000 years ago, the concept of finger holes was conceived that allowed musicians to play various scales on instruments. During the Rennaissance and early Baroque, wind instrument ranges were extended to 1 1/2 octaves and beyond on a diatonic scale and extended cross-fingering capabilities, but it was during the romantic period that our orchestral instruments reached their final form, with chromatic extended tonal ranges and known well balanced timbral qualities. Built on an industrial scale, these instruments became a commodity without real alternatives for subsequent music styles, including jazz, rock, and classical avant-garde. These styles often sought a new timbral expressiveness that can go beyond the intended design of orchestral instruments. In this paper, it will be discussed how different wind instrument designs offer(ed) unique opportunities for music genres over time and how the original design of indigenous instruments better meets some of the more recent requirements than our commonly used orchestral instruments.

The evolution of ideas about vegetarianism in British literature in the Late 18th – Early 19th Century (a case of ‘An Essay on Abstinence from Animal Food, as a Moral Duty’ by J. Ritson, ‘Queen Mab’ and ‘A Vindication of Natural Diet’ by P.B. Shelley)

The article examines the literary representation of the topic of vegetarianism in the works of British writers in the Late 18th – Early 19th Century. English sugar merchant, author of popular self-help books Thomas Tryon was one of the first to propose the concept of vegetarianism, which was new to his contemporaries. His works, like those of his followers, inspired Joseph Ritson and Percy Bysshe Shelley. Joseph Ritson in his essay ‘An Essay on Abstinence from Animal Food, as a Moral Duty’ (1802) summarizes the experience of his predecessors and proposes an original concept of vegetarianism, close to the romantic philosophy. P. B. Shelley used Ritson's ideas in his philosophical poem ‘Queen Mab’ (1813) and his essay ‘A Vindication of Natural Diet’ (1813). The article presents the results of a productive dialogue between intellectuals of the Enlightenment (such as T. Tryon and G. Cheyne) and J. Ritson. This influenced the further development of the philosophy of vegetarianism in European culture. Thus, the poet of the romantic era P.B. Shelley, inspired by Ritson's essay, rethought his ideas in his own way and presented them in his works.