Page 115 - Aldi Lukman Nurhakim_How to Write Critical Esays: A Guide for Students of Literature
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114  How to write critical essays
               What a seventeenth-century love-poet thought reasonable as
             a definition of a human relationship might strike an eighteenth-
             century essayist as insane in its perversely impassioned
             hyperbole. Moreover intelligently deviant texts may challenge
             even those definitions of acceptably rational behaviour which
             their own contemporary societies favour. A list of authors who
             have been diagnosed as dotty by contemporary reviewers might
             constitute, in the mind of a radical critic, a roll of honour.
               Madness is arguably one of those redefined topics whose
             growing prominence in writings of the late eighteenth and early
             nineteenth centuries constitutes a phenomenon called
             Romanticism. This involves another set of terms that you must
             use with care. Much Romantic poetry is explicitly opposed to
             those values which ‘romantic’ in ordinary modern usage evokes.
             Shelley’s ‘Epipsychidion’, for instance, describes the convention
             of monogamous marriage in terms which Barbara Cartland’s
             readers could hardly approve:

                 I never was attached to that great sect
                 Whose doctrine is that each one should select
                 Out of the crowd a mistress or a friend
                 And all the rest, though fair and wise, commend
                 To cold oblivion, though it is in the code
                 Of modern morals, and the beaten road
                 Which those poor slaves with weary footsteps tread,
                 Who travel to their home among the dead
                 By the broad highway of the world, and so
                 With one chained friend, perhaps a jealous foe,
                 The dreariest and the longest journey go. (ll. 150–60)
             When E.M.Forster quoted from these lines in the title of The
             Longest Journey, he was announcing a novel whose view of
             human relationships could be described as ‘soberly unromantic’.
             Yet the lines do adopt a convention-defying stance which some
             literary historians would call characteristically Romantic. Get
             such discriminations clear and be sure which kind of
             romanticism you wish to suggest before using the term. When
             you do use it, design a context which will allow your reader to
             know precisely what you mean.
               Even if you determinedly use ‘Romantic’ in the literary, as
             opposed to popular, sense, there are still distinctions to be
             drawn. Do you wish to make a reference to English or, more
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