Romanticism in literature

3.6. PERSONIFICATION AND PATHETIC FALLACY:
 
Romantic literature’s focus on nature is characterized by using of both personification and 
pathetic fallacy heavily. Mary Shelley used these techniques in order to get effect in 
Frankenstein: 
Its fair lake reflects the blue and gentle sky; and when it is troubled by the winds, their 
tumult is but as the play of a lively infant, when compared to the blaring of the giant ocean. 

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© 2022 IJCRT | Volume 10, Issue 5 May 2022 | ISSN: 2320-2882
 
IJCRT2205067 
International Journal of Creative Research Thoughts (IJCRT) 
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Romanticism has been influencing literature till today; Stephenie Meyers’ Twilight novels 
are brighter examples of the movement, incorporating most of the characteristics of classical 
Romanticism in spite of being published a century and half after the end of the active life of 
the movement. 
4. VISUAL ARTS
: 
In the 1760s and 1770s a number of British artists at home and in Rome, began to paint on 
those subjects that were very unique with strict decorum and having mythological, classical 
and historical subject matter of conventional figurative art, which includes James Barry, 
Henry Fuseli, John Hamilton Mortimer, and John Flaxman, These artists’ were in favour of 
themes that were queer, miserable or extravagantly heroic and they described their images 
with tensely linear drawing and bold contrasts of light and shade. William Blake, the other 
principal early Romantic poet as well as painter in England, generated his own powerful and 
special visionary images. 
In the next generation the great differentiation of English Romantic skeletal painting 
emerged in the works of J.M.W. Turner and John Constable. These artists aimed on 
impermanent and dramatic effects of light, atmosphere, and colour to exhibit a dynamic 
natural world capable of evoking awe and grandeur. 
In France the chief early Romantic painters were Baron Antoine Gros, who painted the 
dramatic representation of contemporary incidents of Napoleonic Wars and Théodore 
Géricault, whose depiction of individual heroism and suffering in The Raft of the Medusa 
and in his portraits of the insane truly inaugurated the movement around 1820. The greatest 
French Romantic painter was Eugène Delacroix, who is considered to be outstanding for his 
free and expressive brushwork, his rich and pleasurable use of colour, his dynamic 
compositions, and his unnaturalized and unique subject matter, ranging from North African 
Arab life to revolutionary politics at home, Paul Delaroche, Théodore Chassériau, and 
occasionally, Jean-Auguste-Dominique Ingres represented the last, more academic phase of 
Romantic painting in France. Germany Romantic painting took on symbolic and 
metaphorical overtones as in the works of Philipp Otto Runge. Caspar David Friedrich, the 
greatest German Romantic artist, painted supernaturally silent and stark sceneries that can 
lead the beholder a sense of puzzle and religious astonishment. 
Romanticism conveyed itself in architecture are basically through imitating older 
architectural styles and through eccentric buildings are known as “follies.” Medieval Gothic 
architecture was fascinated to the Romantic imagination in England and Germany and this 
renewed interest has led to the Gothic Revival. 
Musical Romanticism was marked by the emphasis on originality and personal emotional 
expression of an individual; and freedom and experimentation of form. Ludwig van 
Beethoven and Franz Schubert bridged the Classical and Romantic periods since their formal 
musical techniques were basically Classical. Their music had intensely personal feeling and 
their use of programmatic elements provided an important model for 19th century Romantic 
composers. 
The possibilities for a considerable expressiveness in music were engraved both by the 
expansion and perfection of the instrumental repertoire and by the creation of new musical 
forms, such as the lied, prelude, intermezzo, capriccio, nocturne, and mazurka. The 
Romantic spirit was often found as an inspiration in poetic texts, legends, and folk tales and 
the linking of words and music either programmatically or through such forms as the concert 
overture and incidental music is another distinguishing feature of Romantic music. The 
principal composers of the first phase of Romanticism were Hector Berlioz, Franz Liszt 
Frédéric Chopin, and Felix Mendelssohn. These composers expanded the harmonic 
vocabulary to exploit the full range of the chromatic scale, pushed orchestral instruments to 

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