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English Extension 1 Essay Marking
elysepopplewell:
--- Quote from: marcusgrahamm on June 16, 2017, 09:59:23 am ---Yes I would like to get it marked still !
Thanks.
--- End quote ---
No worries marcus! Comments are attached below :)
SpoilerThe individual’s pursuit of truth was inextricably linked to the natural world during the Romantic period. Evaluate to what extent this statement reflects the perspective in your core text and one related text.
Ensuing the Age of Enlightenment’s process of scientific reasoning, a Romantic movement emerged. Central to new-found ways of thinking, and fundamental to the conceptualisation of free thought and nature’s relevance in pronouncing the deeper, sub-textual meaning of humanity. Lord Byron’s 1816 poem Darkness, emphasises the pantheistic role nature plays in man’s pursuit of veracity and its linkage in understanding life’s purpose in the face of death. Similarly, Mary Shelley’s 1818 Gothic Novel, Frankenstein, explores the uniqueness and the jeopardies arising from an unbounded quest for ingenious virtuosity. Through nature’s role in developing truth within, and for the individual, coinciding with the notion of sublimity and its significance in shaping candour these thematic concerns forebode a parallel, interrelationship. I like this, There's literally no waffling, it's to the point, really strong.
The complex notion of individualism is concurrent with veracity’s formation of humanity. Romantics valued the oneness of human life intertwined with a unification of human experience through the realistic traits nature offers man. Shelley’s Frankenstein epitomizes the idea of truth through the scientific paradigm, whereby Victor is symbolic of the Age of Enlightenment’s rational ways of thinking. Hence, in his pursuit of a ‘logically true creation’ we witness an intricate link between the natural and metaphysical world. Driven by a desire to highlight sagacities role in natures evolution Victors conjures the plans to create what will become an abomination of the biological world. I'm just going to point out that at this part of the paragraph, we've not yet had any analysis. Up until the second last sentence I was thinking this is ok, but the last sentence for me had me wondering "when does the analysis start?" You do get to the point right after I had these thoughts, so it's ok...but if you have the opportunity to revise and refine this bit, I would just to see if condensing it works, or if you can connect this last sentence with some analysis.His instincts of philosophical rationality can be interpreted from the hyperbolic recount of Victor’s naïve years “I had not been content…with the results…of natural science…and exchanged the discoveries…for the dreams of modern philosophy”. However, contrasting to his interpretation of what genuine livelihood embodies is the creature which is characterized characterised* by the dominant traits of romanticism through its harmonious response when surrounded by the physical world. Subsequently, it is obvious that Shelley has interwoven the impact pursuit of rational truth has on the realistic outcomes nature ultimately forebodes. Thematically we are presented with the contextually contemporary concern of individualism which was treasured by the Romantics but despised by their rational counterparts. Throughout the progression of the novel the creature comes to stand as an extended metaphor for humanities humanity's* ignorance and inability to accept the inevitable truth of change. This is highlighted when he suggests “Did I request thee, Maker, from my clay to mould me Man, did I solicit thee from darkness to promote me?” this dichotomising the story of ‘Adam and Eve”, This doesn't seem to make sense, maybe it needs "this dichotomising OF"? I'm not sure what you're trying to say. specifically Adam’s apologies for his sins. Here the monster pictures himself as a tragic figure, primarily shown through the religious iconography and allusiveness to his alikeness of both Satan and Adam. Rhetorical questions fortify the confusion of the monster’s mentalities and his foist of Victor’s choice to pervade natures barriers for true science. Consequently, Frankenstein comes to symbolise Satan through the sacrilege of his attempt to arrogate God’s power and bend the authentic process of natural evolution. Furthermore, the pathetic fallacy manifested in “a dreary night of November” foreshadows Frankenstein’s forthcoming demise due to his unruly desire to overcome natures laws. Aiding this is “I saw the dull yellow eye of the creature open… and a convulsive motion agitated its limbs”; here visual imagery alludes to further negative connotations, and the reader comes to the realisation that Victor’s choice to avail truth has resulted in an unfixable mistake. Consequently, he decrees “the beauty of the dream vanished”, in turn elucidating the philosophical enigma of Romanticism. His ardent, enigmatic psyche correlates with the bizarre powers of nature. Romantics rejected the absolutes of scientific thought in its attempt to reduce nature’s answers validity. Thus, Shelley’s Frankenstein exemplifies the inseparable connection the natural world evokes when resonating with the notion of truth. Link back to way of thinking: what do people think about the notion of truth? Is it being challenged or agreed with?
Human experience is central to the romantic ideal of truth through its illustration of nature’s pertinence to man’s survival and sense of self. So far your essay has a lot of direction - it's really going forward in a way that I can easily organise and understand! Lord Byron’s Darkness tackles humanities degradation, through a post-apocalyptic description of earth in order to challenge societies ignorance relating to nature’s significant role in sustaining genuine life and developing truth. Composed in the Year Without A Summer, whereby the world was succumbed in volcanic ash clouds, Byron cultivates a sense of irony and metaphorical substance in the title of this poem. “Darkness” itself expounds on the fear and uncertainty striking society contextually. Thus, the bleak, gloomy mood is symbolic of the dangers incited when forgoing nature’s bliss in the industrial metropolis which ultimately disregards core ways of Romantic thinking. Aiding such This makes sense, I just don't know that the wording is appropriate for this essay. I'm being picky with this,
but I think there are better expressions you could use than "such" for this section. is the paradoxical remark of “I had a dream, which was not at all a dream” here true existence is intertwined with an elusive reality. Subsequently, Byron’s perplexing tone prompts the audience to query the corruptive demeanour of humankind within the natural world as civilisations consecutively and continually overlook their genuine existence with scientific and rational progression. Therefore, within the philosophical paradigm the notion of truth is presented with an inseparable linking to nature- If hu*mankind relentlessly questions the truth of his existence, nature will undoubtedly suffer and with it humanity fails. Developing this interpretation is the visual imagery in ‘the bright sun extinguished…and the stars did wander darkling in the eternal space’ which highlights a world without order, living environments and actuality itself. Consequently, the ambiguous persona, demonstrates the literal meaning as overpowering darkness and the end of times. However, a subjacent angle indicates the self-destruction man experiences in an unrealistic pursuit of truth above pantheistic laws. As a result, Byron had conjured a world lacking in Romantic ideals, thus accentuating the human experiences need for an authentic understanding of idealism, creativity and individualism. But how does this link to ways of thinking? An understanding of idealism prompts what kind of way of thinking? Additionally, the amplification of contextual fears through the pathetic fallacy of weather heightened apprehensions that the destruction of the world was a celestial reckoning, “vipers, hissing but stingless…they were slain for food”. The religious iconography allows us to interpret this as a direct biblical allusion to a utopic worlds descent into suffering. Likewise, to Shelly, Byron now offers a truthful mirror of humanities concerns in a gothic representation of nature’s power above man in its sheer, corruptive force. Primarily, “The meagre by the meagre were devour'd” reinforces the selfishness of Enlightenment idealists who Byron compares to as beasts amidst animalistic imagery, yet again strengthening man’s inextricable connection to the natural world and its ominous abilities when discredited. Hence, ‘Two…of an enormous city did survive…and they were enemies’ deepens the impression of civilisations meekness to the physical. This mirrors Frankenstein’s creature as the monster desires revenge on the human community for disobeying the divine prospect of truth. Similarly, Byron’s apocalypse extends such as it warns how discounting Romantic values could destroy life as we know it. Thus, the oceanic imagery of ‘ships lay sailorless on the sea…rotting, the sails fell down piecemeal’ finalises the chaotic pandemonium initiated when man strives to rise beyond truth into the logically scientific. The link between this sentence and the next seems a bit rushed, not very fluid. Accordingly, Lord Byron’s Darkness resonates with the idea of an ignorant, industrialisation of society and its lasting connotations on the natural landscape. Perhaps you could adjust the wording here from "the idea of an..." to something about the practical way of thinking. Ways of thinking and ideas have relationships - but you need to make that link clearer.
Conclusively, both texts typify the core traits of Romantic thinking through their discussion of respective zeitgeist’s perception of truth when tackling the natural world vs the industrial. Whilst vastly different in their sensualisation of this notion Shelley and Byron effectively contemplate man’s existence and reliance on nature when seeking to comprehend humanities reality and individual place in the world.
For the most part, my comments are in the spoiler :) But I will add that I think there needs to be a greater attack on ways of thinking. So you're obviously dealing with important IDEAS of the time, but you need to say how IDEAS manifest in WAYS OF THINKING. So - do ideas change ways of thinking? Do ideas produce ways of thinking? Or, do ideas come about because of ways of thinking? It won't hurt you to actually say "ways of thinking" in there a few times, so you don't need to avoid that wording if it makes it easier for you to address the demands of the module that way. In saying this, I know you know what you're talking about because all the comment is there, we just need to see more in the way of directly addressing the module. In ATB we engaged with critics and philosophers a lot - do you think this would help your response?
Let me know! :)
thewayitis:
Hey!
With trials coming up I'm pretty worried about how to prepare for the intense and unpredictable nature of the english extension essay question. I know that there are about 7-8 different types of questions they can ask on anything from form to modular elements to elective elements and I don't know how to prepare an essay for so many different seemingly unrelated questions.
We've done an in school assessment for an essay and I did really well in that but everytime I try and apply that essay to past questions it takes a lot of adapting and thinking (something I can't afford in the exam) to answer - and even then it can be sketchy at best.
I'd love some help with tips on preparing for the essay, this subject is driving me crazy!
Thanks so much. :D :D
elysepopplewell:
Hey all, in 48 hours from now we will be locking these marking threads for the trial period. The two main reasons being, we want to be able to help lots of students in the time it takes to mark an essay/creative (usually 30-45 minutes at least) while lots of students need the help during trials, and also because feedback becomes less constructive with minimal time until the exam because we want to avoid panicking you with big changes, so the feedback isn't as worthwhile for you.
Not to fear - you still have 48 hours to post your work and we will get to marking them even after the threads are locked (if there's backlog).
We'll still be here to help you during the trials with all of our Q+A threads, downloadable notes, thesis statement feedback and so on. Thanks for understanding! We're still here to help on all of the boards that aren't marking threads! :)
dancing phalanges:
Hey guys, I was just wondering if you could take a look at my Romanticism essay as my trial is next week :) I'm a bit unsure about the conclusion and whether I should just make it a rewording of the intro or leave the marker with a really powerful ending.
Thanks!
Spoiler'The Spirit of Individualism is a celebration of the self'
To what extent does this statement reflect your understanding of Romanticism?
The Romantic Movement was highly interested in the celebration of the individual as it reacted against social, political and economic developments in society that threatened the creative power of the individual. The growth of the Industrial Revolution made human beings replaceable parts in a system and the strict rules of the Enlightenment period limited the expression of unrestrained emotions. Therefore, in response, the Romantics underlined the importance of a personal relationship with nature and a trust in emotion and subjective experience. This celebration of the individual is heavily featured in Samuel Taylor Coleridge’s ‘Lime Tree Bower My Prison’, Mary Shelley’s Frankenstein, William Blake’s ‘The Chimney Sweeper’ and Emily Brontë’s Wuthering Heights. However, while the Romantics treasured the imaginative genius of the individual, Shelley’s Frankenstein also warns against the dangers of the ‘Romantic overreacher’. Therefore, whilst Romanticism was greatly influenced by the spirit of individualism, it also acknowledged the potential issues that may arise if the individual is given too much freedom.
The works of Coleridge, belonging to the “first wave” of Romanticism, reveal his pantheistic view of nature, and his belief in the power of the imagination to liberate, enlighten and transform the individual. This is evident in his conversational poem This Lime Tree Bower My Prison. Here, Coleridge celebrates the ability of the individual imagination to liberate the individual and achieve a closer connection between man and God. This mental illumination is chronicled primarily through the persona’s change in tone as the poem progresses. The first stanza begins with the negative connotations of “prison” and “must” in “here must I remain”, reflecting the persona’s melancholy and unwillingness to remain in his surroundings. However, Coleridge expresses the transformative powers of the imagination in experiencing the sublimity of nature when he describes the grandeur of “the wide wide Heaven” and “hues as veil the Almighty Spirit.” Furthermore, Coleridge continues to profess that nature “ne’er deserts the wise and pure” disclosing the role of nature as the source of true wisdom, rather than science and reason as previously believed in the Neo-Classic era. In this sense, Coleridge celebrated the Romantic belief in the power of the individual imagination within the natural world.
The concept of the Romantic individual is one captured in the ‘heroic overreacher’ based on figures such as Napoleon, the mythical Prometheus and Paradise Lost’s Satan, who embodied the Romantic quest for knowledge and sense of tragic heroism. Similarly, the Romantic idealism that Shelley presents is based upon the faith in men’s divine and creative powers. Shelley, however, subverts this construct by foreshadowing the dangers of humanity’s hubris through her representation of the Romantic ‘overreacher’ Victor Frankenstein. Following the outburst of the French Revolution, a belief in divine creative activity emerged, to which Dr. Frankenstein is guilty of when professing “an eager desire to learn . . . the secrets of heaven and earth.” While Victor is highly Romantic in the sense that he personifies the belief in Romantic idealism and imagination, his ignorance ultimately separates him from the Romantic’s respect for the power of nature and humanity’s limits of control over it. Once his creature begins to murder Victor realises “a panic on seeing the pale yellow light fill the chamber.” Shelley transforms the symbolism of light in the Enlightenment, being civilised knowledge into a Gothic Romantic representation of the disturbing knowledge Victor is now constrained by. Here, Shelley is warning the dangers of the spirit of individualism in the form of the overreaching ambition of the Romantics.
Conversely, William Blake’s ‘The Chimney Sweeper’ is a celebration of the self as Blake protests against the exploitation of the individual within Industrial England. Blake’s poem appeared in Songs of Innocence in 1789, the year which marked the outburst of the French Revolution, revealing his revolutionary attitude towards the treatment of chimney sweepers, with the 1788 Chimney Sweepers Act yet to bring any great change to their conditions. Blake’s work intellectually challenged the responder as it mirrors the ways of thinking put forward by philosopher Jean Jacques Rousseau in Emile (1762). Rousseau argues that innocence is a child’s essential quality, which is menaced by social institutions such as family and the state. The exploitation of the children is established by Blake through the line “in soot I sleep” which displays the bleak hope of escape from the inhumane conditions of child labour. The tale of “little Tom Dacre” is introduced by Blake to give a sense of identity to the child sweeper, thus also emphasising to the audience his individuality, a key aspect of the Romantic way of thinking. Yet, this is abruptly destroyed through the narrator’s imitation of an adult, when advising Tom that it is all for the best, so “soot cannot spoil your white hair.” The juxtaposition between black and white contrasts the angelic nature of childhood with the darkness of the soot, and thereby, alluding to the malevolence of those who exploit him, namely adults. The power of the condition of innocence, however, is powerfully symbolised by Blake through Tom’s dream where they are “set free” to run over “a green plain.” To this extent, Blake expressed the desire of English Romantic intellectuals for a yearning for the pre-industrial past and reaction to the perversion of individual spirit as a result of the modern industrial world.
Romantic writers also challenged the constraints of the social hierarchy and moral code of the Enlightenment period on the individual, an idea expressed in Emily Brontë’s Wuthering Heights. Through characterisation, Brontë argues the Romantic belief that nature, even in its most frightening and uncontrollable state, is superior to civilisation. The construct of civilisation as a corrupting force on the spirit of the individual is also reflected in Rousseau’s Discourse on Inequality (1754). Rousseau taught that men would be free in the state of nature and that emotion, when not distorted by the unnatural limitations of civilisation, is a great source of wisdom. Bronte represents Rousseau’s way of thinking through the dichotomy of Catherine and Edgar’s values. The novel’s very name – Wuthering Heights, is closely associated with a powerful, stormy wind, and so are its inhabitants. For instance, when Heathcliff overhears Catherine saying that marriage with him will “degrade” her, she runs out of the house and experiences a raging storm. The violent thunder and rain of the storm are symbolic of Catherine’s own conflicted state as well as her passionate feelings for Heathcliff. In contrast, the uncontrollable Wuthering Heights is juxtaposed by Thrushcross Grange, a “splendid place carpeted with crimson.” Compared with Catherine’s emotional plea for Heathcliff in the storm, Edgar’s reaction to the dying Catherine represents the rational way of thinking present during the Enlightenment Period. Her cries for help remain unheard as instead, Edgar “is continually among his books”, which are emblematic of civilisation.
In addition, the characterisation of Heathcliff appears to align with Rousseau’s idea of the Noble Savage. While Rousseau never actually used the phrase, the wildness of Heathcliff’s character connects with Rousseau’s view that the Noble Savage stands in direct opposition to the man of culture. For instance, after Catherine’s death, Heathcliff “howled, not like a man, but like a savage beast”, emphasising that even after Heathcliff has acquired manners and appears to be cultivated, he is still inseparably linked with the natural world. Catherine’s own desire to return to her “savage” self on the moors leads her to the conclusion that death is the only way she can escape the entrapment of civilised life. Therefore, through characterisation, Emily Bronte celebrates the individual emotion over reason as well as the importance of a deep union with nature.
Thus, the Romantic Movement was deeply infused with an interest in celebrating intense individualism and emotional expression that had been constrained by the previous Age of Enlightenment. (Ideas on a powerful ending without just rewording ideas of introduction)
elysepopplewell:
--- Quote from: dancing phalanges on August 04, 2017, 10:56:26 pm ---Hey guys, I was just wondering if you could take a look at my Romanticism essay as my trial is next week :) I'm a bit unsure about the conclusion and whether I should just make it a rewording of the intro or leave the marker with a really powerful ending.
Thanks!
--- End quote ---
Heya! I regret I have to look at this through the eyes of an ATB student, but the ways of thinking modules aren't so varied in what's expected.
Spoiler'The Spirit of Individualism is a celebration of the self'
To what extent does this statement reflect your understanding of Romanticism?
The Romantic Movement was highly interested in the celebration of the individual as it reacted against social, political and economic developments in society that threatened the creative power of the individual. Nice! The growth of the Industrial Revolution made human beings replaceable parts in a system and the strict rules of the Enlightenment period limited the expression of unrestrained emotions. Therefore, in response, the Romantics underlined the importance of a personal relationship with nature and a trust in emotion and subjective experience. I've learned a whole lot about romanticism so far! This celebration of the individual is heavily featured in Samuel Taylor Coleridge’s ‘Lime Tree Bower My Prison’, Mary Shelley’s Frankenstein, William Blake’s ‘The Chimney Sweeper’ and Emily Brontë’s Wuthering Heights. However, while the Romantics treasured the imaginative genius of the individual, Shelley’s Frankenstein also warns against the dangers of the ‘Romantic overreacher’. Therefore, whilst Romanticism was greatly influenced by the spirit of individualism, it also acknowledged the potential issues that may arise if the individual is given too much freedom. Wonderful!
The works of Coleridge, belonging to the “first wave” of Romanticism, reveal his pantheistic view of nature, and his belief in the power of the imagination to liberate, enlighten and transform the individual. This is evident in his conversational poem This Lime Tree Bower My Prison. Here, Coleridge celebrates the ability of the individual imagination to liberate the individual and achieve a closer connection between man and God. This mental illumination is chronicled primarily through the persona’s change in tone as the poem progresses. The first stanza begins with the negative connotations of “prison” and “must” in “here must I remain”, reflecting the persona’s melancholy and unwillingness to remain in his surroundings. Not 100% on board with the way you've quoted "prison" and "must" but then only "must" is in the quote that comes after? Just not 100% clear. However, Coleridge expresses the transformative powers of the imagination in experiencing the sublimity of nature when he describes the grandeur of “the wide wide Heaven” and “hues as veil the Almighty Spirit.” Furthermore, Coleridge continues to profess that nature “ne’er deserts the wise and pure” disclosing the role of nature as the source of true wisdom, rather than science and reason as previously believed in the Neo-Classic era. In this sense, Coleridge celebrated the Romantic belief in the power of the individual imagination within the natural world. Wonderful - exceptionally well rounded article.
The concept of the Romantic individual is one captured in the ‘heroic overreacher’ based on figures such as Napoleon, the mythical Prometheus and Paradise Lost’s Satan, who embodied the Romantic quest for knowledge and sense of tragic heroism. Similarly, the Romantic idealism that Shelley presents is based upon the faith in men’s divine and creative powers. Shelley, however, subverts this construct by foreshadowing the dangers of humanity’s hubris through her representation of the Romantic ‘overreacher’ Victor Frankenstein. Following the outburst of the French Revolution, a belief in divine creative activity emerged, to which Dr. Frankenstein is guilty of when professing “an eager desire to learn . . . the secrets of heaven and earth.” While Victor is highly Romantic in the sense that he personifies the belief in Romantic idealism and imagination, his ignorance ultimately separates him from the Romantic’s respect for the power of nature and humanity’s limits of control over it. Once his creature begins to murder Victor realises “a panic on seeing the pale yellow light fill the chamber.” Shelley transforms the symbolism of light in the Enlightenment, being civilised knowledge into a Gothic Romantic representation of the disturbing knowledge Victor is now constrained by. Here, Shelley is warning the dangers of the spirit of individualism in the form of the overreaching ambition of the Romantics.
Conversely, William Blake’s ‘The Chimney Sweeper’ is a celebration of the self as Blake protests against the exploitation of the individual within Industrial England. Blake’s poem appeared in Songs of Innocence in 1789, the year which marked the outburst of the French Revolution, revealing his revolutionary attitude towards the treatment of chimney sweepers, with the 1788 Chimney Sweepers Act yet to bring any great change to their conditions. Blake’s work intellectually challenged the responder as it mirrors the ways of thinking put forward by philosopher Jean Jacques Rousseau in Emile (1762). Rousseau argues that innocence is a child’s essential quality, which is menaced by social institutions such as family and the state. The exploitation of the children is established by Blake through the line “in soot I sleep” which displays the bleak hope of escape from the inhumane conditions of child labour. The tale of “little Tom Dacre” is introduced by Blake to give a sense of identity to the child sweeper, thus also emphasising to the audience his individuality, a key aspect of the Romantic way of thinking. This is really good the way you've embedded the idea of the individual in the middle. It's too often that people just top and tail their paragraph with it (across all subjects with essays!)Yet, this is abruptly destroyed through the narrator’s imitation of an adult, when advising Tom that it is all for the best, so “soot cannot spoil your white hair.” The juxtaposition between black and white contrasts the angelic nature of childhood with the darkness of the soot, and thereby, alluding to the malevolence of those who exploit him, namely adults. The power of the condition of innocence, however, is powerfully symbolised by Blake through Tom’s dream where they are “set free” to run over “a green plain.” To this extent, Blake expressed the desire of English Romantic intellectuals for a yearning for the pre-industrial past and reaction to the perversion of individual spirit as a result of the modern industrial world.
Romantic writers also challenged the constraints of the social hierarchy and moral code of the Enlightenment period on the individual, an idea expressed in Emily Brontë’s Wuthering Heights. Through characterisation, Brontë argues the Romantic belief that nature, even in its most frightening and uncontrollable state, is superior to civilisation. The construct of civilisation as a corrupting force on the spirit of the individual is also reflected in Rousseau’s Discourse on Inequality (1754). Nice engagement! Rousseau taught that men would be free in the state of nature and that emotion, when not distorted by the unnatural limitations of civilisation, is a great source of wisdom. Read this sentence back - "is a great sense of wisdom" doesn't make sense. The way I realise is that when you take out the comma splice out, so the things between the commas, you realise it doesn't make sense to read it through. I can't suggest how to fix it because I don't know what you're trying to say with the end bit unfortunately! It's not a huge thing, just a one-off slip. Bronte represents Rousseau’s way of thinking through the dichotomy of Catherine and Edgar’s values. The novel’s very name – Wuthering Heights, is closely associated with a powerful, stormy wind, and so are its inhabitants. For instance, when Heathcliff overhears Catherine saying that marriage with him will “degrade” her, she runs out of the house and experiences a raging storm. The violent thunder and rain of the storm are symbolic of Catherine’s own conflicted state as well as her passionate feelings for Heathcliff. In contrast, the uncontrollable Wuthering Heights is juxtaposed by Thrushcross Grange, a “splendid place carpeted with crimson.” Compared with Catherine’s emotional plea for Heathcliff in the storm, Edgar’s reaction to the dying Catherine represents the rational way of thinking present during the Enlightenment Period. Her cries for help remain unheard as instead, Edgar “is continually among his books”, which are emblematic of civilisation. Splendid! Wonderful paragraph.
In addition, the characterisation of Heathcliff appears to align with Rousseau’s idea of the Noble Savage. While Rousseau never actually used the phrase, the wildness of Heathcliff’s character connects with Rousseau’s view that the Noble Savage stands in direct opposition to the man of culture. For instance, after Catherine’s death, Heathcliff “howled, not like a man, but like a savage beast”, emphasising that even after Heathcliff has acquired manners and appears to be cultivated, he is still inseparably linked with the natural world. Catherine’s own desire to return to her “savage” self on the moors leads her to the conclusion that death is the only way she can escape the entrapment of civilised life. Therefore, through characterisation, Emily Bronte celebrates the individual emotion over reason as well as the importance of a deep union with nature.
Thus, the Romantic Movement was deeply infused with an interest in celebrating intense individualism and emotional expression that had been constrained by the previous Age of Enlightenment. (Ideas on a powerful ending without just rewording ideas of introduction) I think one of the strongest points of your essay is the way that each idea seems to flow from each other without you making overly obviously comparisons between the texts, if that makes sense. It reads like butter, very smooth. You could be creative here, and do something along the lines of, "Romantic Literature echoes the blah blah of content and the blah blah of thinkers...manifesting in the texts that offer a window to the spectacle today." And be a little creative in your wording, despite being an essay. That could be nice and simple, and it avoids using the exact same language as above.
An incredible essay. I'm not sure if there are more mini ways of thinking to be explored within Romanticism, but from your paragraph structure I can see this is clearly an incredible essay. The writing is, as always, clear, wonderful, insightful, and judiciously selected. Another incredible essay from you dancing phalanges! A few wording things throughout, and obviously need to consider your conclusion. But from my viewpoint as a non-romantic student, this is an exemplary piece.
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