Romanticism: Romantic Period in America 1828-1865.

1. Belief in natural goodness of man, that man in a state of nature would behave well but is hindered by civilization. The figure of the "Noble Savage" is an outgrowth of this idea.

2. Sincerity, spontaneity, and faith in emotion as markers of truth. (Doctrine of sensibility)

3. Belief that what is special in a man is to be valued over what is representative; delight in self-analysis.

4. Nature as a source of instruction, delight, and nourishment for the soul; return to nature as a source of inspiration and wisdom; celebration of man’s connection with nature; life in nature often contrasted with the unnatural constraints of society.

5. Affirmation of the values of democracy and the freedom of the individual. (Jacksonian Democracy)

6. High value placed on finding connection with fresh, spontaneous in nature and self.

7. Aspiration after the sublime and the wonderful, that which transcends mundane limits.

8. In art, the sublime, the grotesque, the picturesque, and the beautiful with a touch of strangeness all were valued above the Neoclassical principles of order, proportion, and decorum. (Hudson River School of painters)

9. Interest in the “antique”: medieval tales and forms, ballads, Norse and Celtic mythology; the Gothic.

10. Belief in perfectibility of man; spiritual force immanent not only in nature but in mind of man.

11. Belief in organicism rather than Neoclassical rules; development of a unique form in each work.

 

 

17. Творчество Э. По и особенности его эстетической концепции.

 

Edgar Allan Poe (born Edgar Poe; January 19, 1809 – October 7, 1849) was an American author, poet, editor, and literary critic, considered part of the American Romantic Movement. Best known for his tales of mystery and the macabre, Poe was one of the earliest American practitioners of the short story and is generally considered the inventor of the detective fiction genre. He is further credited with contributing to the emerging genre of science fiction.

Genres

Poe's best known fiction works are Gothic. His most recurring themes deal with questions of death, including its physical signs, the effects of decomposition, concerns of premature burial, the reanimation of the dead, and mourning.

Many of his works are generally considered part of the dark romanticism genre, a literary reaction to transcendentalism, which Poe strongly disliked.

Dark Romanticism (often conflated with Gothicism or called American Romanticism) is a literary subgenre.^[1] It has been suggested that Dark Romantics present individuals as prone to sin and self-destruction. Works of Dark Romanticism frequently show individuals failing in their attempts to make changes for the better.

Beyond horror, Poe also wrote satires, humor tales, and hoaxes (leg-pulls). For comic effect, he used irony and ludicrous extravagance, often in an attempt to liberate the reader from cultural conformity.

Examples of Poe’s use of mysterious writing are the tactic of using vagueness and lack of detail especially concerning time and space. By doing this, Poe keeps the readers guessing and asking questions which keeps them reading.

 

Poe achieves an aesthetic, or artistic, impression in his writings. Poe manages this by creating what he terms the "Philosophy of Composition."

Poe's "Philosophy of Composition" is basically a guideline that he created to determine what separates "art" from "fiction." According to this guideline, Poe believes the author must decide the purpose of the work, and the desired reaction from the reader. Secondly, Poe asserts the author can find ways to achieve this result by considering the theme, the plot, the setting, and the characters as well as the central conflicts within the story.

Poe's "Philosophy of Composition" can be applied to several of his works. Following this theory, when examining a piece of literature, the reader should first consider the author's intent. Understanding Poe's history, it is easy for the reader to understand that Poe's dark, Gothic roots could have been planted early in childhood. Secondly, the reader should thoroughly examine the plot, characters, setting and theme to find ways the author accomplishes the intended goals. Careful examination of word choice, theme, setting and character conflicts will reveal the ways in which Poe attains his literary goals.

Ruins and destruction are common elements of Gothic literature which help paint the picture of a terrifying setting for the reader.

Poe's "Philosophy of Composition" helped him follow guidelines to create aesthetic fiction. Aesthetic fiction paints a picture for the reader instead of merely tells the story. Anyone can tell a story, it takes remarkable talent to aesthetically illustrate the story to the imagination of millions of readers using limited tools-- tools like plot, setting, theme, characters and conflicts. Poe aesthetically shows many readers why they should be afraid rather than merely telling them to be afraid.

По часто повторял, что удел поэзии – воплощать прекрасное. Под прекрасным он подразумевал порядок, соразмерность и гармонию. Всякая диспропорция, отсутствие чувства меры, в том числе и пафос, им отвергались. Любовь к гармонии и отвращение к хаосу, полагал Э. По, были дарованы человеку самой природой. В его стихах царит пропорция, тождество, повтор, причем ритм, рифма, размер и строка – лишь форма выражения идеи равенства. Отсюда его приемы звуковой организации стиха: акцентировка ритма, аллитерация, ассонанс, внутренняя рифма, синтаксические повторы. Все эти приемы, связанные в одно целое, образуют законченную систему, определяющую особенности творческой манеры поэта.

Давно уже замечено, что монотонный скандирующий ритм многих поздних стихотворений, и, в частности, “Ворона”, оказывает завораживающее, близкое к гипнотическому воздействие на читателя. Такое воздействие позднее стали называть суггестивным, то есть основанным на внушении. Именно этот прием принес необыкновенную славу “Ворону”.

 

18. Разработка жанра исторического и приключенческого романа: Д.Ф.Купер

 

A novel is a long prose narrative that describes fictional characters and events in the form of a sequential story, usually.

historical novel is "a novel that has as its setting a usually significant period of history and that attempts to convey the spirit, manners, and social conditions of a past age with realistic details and fidelity (which is in some cases only apparent fidelity) to historical fact. The work may deal with actual historical characters...or it may contain a mixture of fictional and historical characters.

Adventure fiction is a genre of fiction in which an adventure, an exciting undertaking involving risk and physical danger, forms the main storyline.

James Fenimore Cooper, (born September 15, 1789, Burlington, New Jersey, U.S.—died September 14, 1851, Cooperstown, New York), first major American novelist, author of the novels of frontier adventure known as the Leatherstocking Tales, featuring the wilderness scout called Natty Bumppo, or Hawkeye. They include The Pioneers (1823), The Last of the Mohicans (1826), The Prairie (1827), The Pathfinder (1840), and The Deerslayer (1841).

This novel introduces Natty Bumppo as "Deerslayer", a young frontiersman in early 18th-century New York. He is contrasted to other frontiersmen and settlers in the novel who have no compunctions in taking scalps in that his natural philosophy is that every living thing should follow "the gifts" of its nature—which would keep European Americans from taking scalps. Two such characters in the work who actually seek to take scalps are Henry March ("Hurry Harry") and floating Tom Hutter.

In the dead of night Hutter and March sneak into the camp of the besieging members of the Huron tribe in order to kill and scalp as many as they can. Their plan fails, and Tom Hutter and March are captured. They are later ransomed by Bumppo, his lifelong friend Chingachgook (the Delaware word for great Serpent), and Hutter's daughters, Judith and Hetty. Bumppo and Chingachgook come up with a plan to rescue Chingachgook's kidnappedbetrothed Wah-ta!-Wah from the Hurons; but, in rescuing her, Bumppo is captured. In his absence, the Hurons invade Hutter's home, and Hutter is mortally wounded and scalped. After the death of Hutter his supposed daughters find out that they were not his natural daughters and he had been a notorious pirate. Bumppo's remaining allies and friends plan how to aid his escape from his Huron captors. (1744 год^[1]. Случайно встретившись, два совершенно разных человека, Гарри Марч по прозвищу Непоседа и юный охотник Натти Бампо по прозвищу Зверобой, направляются к озеру под названиемМерцающее зеркало. Зверобой должен помочь своему другу могиканину Чингачгуку вырвать из рукгуронов его возлюбленную Уа-та-Уа, а Гарри безуспешно добивается сердца красавицы Джудит Хаттер, живущей на озере вместе с сестрой Хетти и пожилым отцом^[2] Томасом.

В ходе столкновений с племенем гуронов Зверобой получает новое прозвище Соколиный глаз, Чингачгук освобождает Уа-та-Уа, Хетти Хаттер погибает от шальной пули, Томас Хаттер заживо лишается скальпа, а отряд гуронов практически полностью уничтожен.)

At the height of his fame in the early nineteenth century, James Fenimore Cooper was America's foremost novelist and one of the most successful writers in the world. Building on the example of the British novelist Sir Walter Scott, Cooper wrote the first American historical novels and in the process made subjects such as Native Americans, the western wilderness, and the democratic political system compelling and popular topics for fiction.

Cooper was raised in Cooperstown, the village his father founded in the forests of upstate New York. His third novel, The Pioneers, is closely based on his memories of growing up in this frontier community.

In 1820, Cooper changed the course of his life when he wrote his first work of fiction, Precaution, a conventional novel of manners set in England. Despite his initial offhand attitude toward writing, Cooper took the American Revolution as the subject for his second book and composed the first important American historical novel, The Spy (1821). It met with enormous critical and financial success.

In 1823 Cooper published The Pioneers, the first of his five Leather-Stocking novels and the most autobiographical of his books. In it he introduced Natty Bumppo (known as the "Leather-Stocking"), who seized the American imagination as the independent backwoods hunter and friend to the Indians. Figured as a sort of personification of the American wilderness, Natty helped construct the mythology of the frontier and fuel American nostalgia for an idealized past before "civilization" intruded into the woods. Cooper followed The Pioneers with other successful novels, including The Last of the Mohicans, which chronicles Natty's adventures in upstate New York during the French and Indian War of 1754-63.

The Pioneers: The Sources of the Susquehanna; a Descriptive Tale is a historical novel, the first published of the Leatherstocking Tales, a series of five novels by American writer James Fenimore Cooper.

Plot summary

The story takes place on the rapidly advancing frontier of New York State and features an elderly Leatherstocking (Natty Bumpo), Judge Marmaduke Temple of Templeton, whose life parallels that of the author's father Judge William Cooper, and Elizabeth Temple (based on the author's sister, Hannah Cooper), of the fictional Templeton, New York. The story begins with an argument between the Judge and Leatherstocking over who killed a buck, and as Cooper reviews many of the changes to New York's Lake Otsego, questions of environmental stewardship, conservation, and use prevail. Leatherstocking and his closest friend, the Mohican Indian Chingachgook, begin to compete with the Temples for the loyalties of a mysterious young visitor, a "young hunter" known as Oliver Edwards, who eventually marries Elizabeth. Chingachgook dies, exemplifying the vexed figure of the "dying Indian", and Natty vanishes into the sunset.

Naturalist Ideas: Although not classified as a naturalist novel, Cooper depicts many naturalist based ideas in the Pioneers. His use of language, dialogue and description help to convey this movement within this novel.

· Landscape: In The Pioneers, Cooper thematically debates the complexity of landscape within a new American frontier. The battle between nature and civilization is a constant and competing force within the minds of the characters and in the general surroundings. Cooper evaluates his landscape as one that will be established by a civilization unable to escape its own traits of wastefulness and arrogance.

Tone: Cooper’s tone in The Pioneers is one of criticism and mock towards Puritan society, “established society”. The dialogue of the settlers displays the carelessness of their society towards the wilderness. Through this Cooper mocks and belittles their society because of their attitudes. The whole scene in Chapter II (The Judge’s History of Settlement) is an over exaggerated depiction of the reactions of the settler’s to a falling tree and storm. The naivety of the settler’s is portrayed in their responses to their journey into the wilderness. Cooper’s mocking and critical tone is seen throughout the novel, and the natural wilderness versus a civilized society furthers this tone.

James Fenimore Cooper wrote some novels of sea adventure, and during his lifetime they were at least as famous as his stories of the frontier. It was not until about 1850 that America abandoned its longstanding tradition as a leading maritime nation, and turned its face inward to conquer the new frontiers of the American West.

Cooper's sea novels cover the world, and much of its history. They deal with naval warfare, piracy and privateering, and with the quieter if often as dangerous adventures of merchant ships.

 

19. Творчество Г. Мелвилла.

 

Herman Melville (August 1, 1819 – September 28, 1891) was an American writer best known for the novel Moby-Dick.

Сюжет

Повествование ведётся от имени американского моряка Измаила, ушедшего в рейс на китобойном судне «Пекод», капитан которого, Ахав, одержим идеей мести гигантскому белому киту, убийце китобоев, известному как Моби Дик (в предыдущем плавании он откусил Ахаву ногу, и с тех пор капитан использует протез).

Ахав приказывает постоянно наблюдать за морем и обещает золотой дублон тому, кто первым заметит Моби Дика. На корабле начинают происходить зловещие события — капитан Ахав окончательно лишается рассудка. Вдобавок, выпав из лодки во время охоты на китов и проведя ночь на бочке в открытом море, сходит с ума и юнга корабля, мальчик Пип.

Тем временем корабль совершает кругосветное плавание. Несколько раз «Пекод» и его шлюпки почти нагоняют Моби Дика, попутно собирая большую добычу из обычных китов.

В конце концов «Пекод» настигает Моби Дика. Погоня продолжается три дня, за это время три раза команда корабля пытаются загарпунить Моби Дика, но он каждый день разбивает вельботы. На второй день умирает Федалла, который предсказал Ахаву, что он уйдет перед ним. На третий день корабль дрейфует невдалеке. Ахав бьёт гарпуном Моби Дика, запутывается в лине и тонет. Моби Дик полностью уничтожает лодки и их экипаж, кроме Измаила. От удара Моби Дика тонет и сам корабль вместе со всеми, кто на нём оставался.

Но погибают не все: пустой гроб (который заранее себе приготовил один из китобоев — простодушный дикарь Квикег — затем переоборудованный в спасательный буй), как пробка, всплывает рядом с Измаилом, и тот, схватившись за него, остаётся в живых. Через некоторое время его подбирает проплывавшее мимо судно «Рахиль».

Роман содержит множество отступлений от сюжетной линии. Параллельно развитию фабулы автор приводит множество сведений, так или иначе связанных с китами и китобойным промыслом, что делает роман своего рода «китовой энциклопедией». С другой стороны, Мелвилл перемежает такие главы рассуждениями, имеющими под практическим смыслом второе, символическое или аллегорическое, значение. Кроме того, он часто подшучивает над читателем, под видом поучительных историй рассказывая полуфантастические.

Moby Dick is a story told on three levels: 1. a magnificient adventure novel of the sea and whaling; 2. a novel of fantasy and symbolysm; 3. and a psychological novel, about man’s relationship to the universe.

Melville’s novel is a most extraordinary work including many literary types—sermons, drama, non-fiction. The author has contrasted a romance, a tragedy, and a natural history, not without numerous gratuitous suggestions on psychology, ethics, and theology, etc.—encyclopedic scope. A form that fits the national character.

Melville's last and best and most wildly imaginative story has influenced attitudes and beliefs on the destiny of man and has shown that there is more than one view of every object. It shows people that they need to be open-minded and examine things from more than perspective before passing judgment. One of Melville’s goals was of indicating man’s uncertainty in the universe. Melville also shows the reader about Man’s absolute insignificance in the universe. He represented objects with ideas and beliefs of deeper meaning. Throughout the book man’s insignificance in the universe is represented by the relationship of the crew to the ocean. It is also shown how a man’s decision, once executed, cannot be changed. Moby Dick is a significant piece of writing to every reader who is seeking to know more about man’s relation to the universe.

 

Romanticism is a type of writing in which the author describes nature. The author uses nature as a tool to express his thoughts, and make the story movement. Other aspects of romanticism are individuality, separating one from the rest of the civilization in order to increase emotional growth. There is an important focus in emotions, independence, and spirituality. It is believed that these aspects of life are natural, bringing out the creative and undistracted sides of humans. The visual arts are an important factor of romanticism as well, the authors making the reading as graphic as possible, leaving the reader to make his own imaginations of the environment described. Transcendentalism is a literary movement of the nineteenth century as well. The transcendentalists were based in New England, inspired by the romanticism movement. The believers thought that the intuition, emotion, individual conscience are more valid and believable then the left brain. An example of both of these terms, romanticism and transcendentalism, of Herman Melville’ writing is “Moby Dick”. The romantic side of the story is the nature. The man is out in the ocean, interacting with an animal, there are no distractions, and he is just out on his own. The main character learns information about himself. There is also the simplicity of the mind, which fits in categories, romanticism and transcendentalism. The man is away from rural and social distractions; he is simply using a piece of wood to live on as a boat. He is out in the nature, and any distractions that he will use are simple spiritual distractions. There is also a proof of simple transcendentalism in the book, regarding the intuitions. The main character is following his intuitions in the fight against nature: the whale. This action is the basis of transcendentalism.

 

20. Творчество У.Уитмена.

 

 

Walter "Walt" Whitman (May 31, 1819 – March 26, 1892) was an American poet, essayist and journalist. A humanist, he was a part of the transition between transcendentalism and realism, incorporating both views in his works. Whitman is among the most influential poets in the American canon, often called the father of free verse. His work was very controversial in its time, particularly his poetry collection Leaves of Grass, which was described as obscene for its overt sexuality.

The American Romantics used symbols of the external world ("nature") as representative of of an invisible inner reality. Whitman's work has been grouped with these earlier Romantics since he sought to use natural imagery such as the sea, the road, or personified animals to signify spiritual dimensions of the self and of the world. Whitman's "Song of Myself" is the best example of this element of the work, as the poet attempts to relate the body to the soul, and the physical world to the spiritual.

Whitman's poetry is significant because it is an artistic embodiment of the ideals of democracy, freedom, and revolution; the ideals on which the United States was founded and for which it fought during the Civil War. He recognized that America undertook a unique democratic experiment, one which was not at all certain to succeed. Whitman's poetry, like America's politics, broke the established form and structure. It relied not on tradition but on innovation.

Whitman's poetry idealized traveling, searching, and exploring. This mirrored the American landscape of the nineteenth century. During Whitman's lifetime, the United State grew from 22 states to 44 and acquired most of the territories that would later become the remaining six states. America was a wilderness, and Whitman sought to celebrate what was wild and what was natural about the land and the people that inhabited it. As the country traveled West, so did Whitman's poetry. It was an attempt to encapsulate an American spirit that crossed a vast landscape and was common to all people in the nation.

The Lyric and the Epic

Leaves of Grass became as famous for its style as for its content when it was first published in the second half of the nineteenth century. Just as his content sought to correlate paradoxical themes, his style also attempted to combine varying understandings of the American poetic form. Specifically, Whitman sought to combine the lyric and the epic. Lyric poetry is traditionally a short poem of reflection. It expresses the thoughts, beliefs, or actions of the writers. The epic, on the other hand, is a celebration of the deeds and adventures of a hero. It often focuses on the physical and real as opposed to the internal.

To combine these two poetic forms, Whitman cast himself as the poem's epic hero. His journey became both a physical journey across the American landscape, and a spiritual journey through his own soul and through nature. As opposed to the epic tradition, Whitman cast himself as a commoner. His epic deeds, as well as the epic deeds of the American people, were not great displays of heroism but simple, common work which extolled the democratic virtue of the new nation.

 

Реформатор американской поэзии. В сборнике стихов «Листья травы» (1855—1891) идеи об очищающей человека близости к природе приняли космический характер; любой человек и любая вещь восприняты священными на фоне бесконечной во времени и пространстве эволюции Вселенной. Чувство родства со всеми людьми и всеми явлениями мира выражено посредством преображения лирического героя в других людей и неодушевлённые предметы. Уитмен — певец «мировой демократии», всемирного братства людей труда, позитивных наук, любви и товарищества, не знающих социальных границ. Новатор свободного стиха.

Его главную книгу «Листья травы» пронизала идея демократии. В XX веке «Листья травы» признаны одним из важнейших литературных событий, знаменовавших собой революцию в поэзии, связанную с появлением свободного стиха (верлибра), новаторской стиховой системы, пионером которой выступил Уитмен.

Предки поэта были выходцами из Голландии. Родился он 31 мая 1819 года, в бедной семье фермеров, в поселке на острове Лонг-Айленд недалеко от Бруклина (штат Нью-Йорк). В многодетной семье было девятеро детей, Уолт был старшим. С 1825 — 1830 учился в бруклинской школе, но из-за нехватки денег был вынужден оставить учебу. Он поменял множество профессий: посыльный, наборщик-укладчик, учитель, журналист, редактор провинциальных газет. Любил путешествовать, пешком прошел через 17 штатов.

С конца 30-х годов в журналах появляются статьи Уитмена, в которых он выступал против культа доллара, подчеркивал что деньги приводят к духовному опустошению.В литературную жизнь Америки пришел поздно.

В 1850 г. были напечатаны некоторые стихотворения поэта, - в частности «Европа». В этом произведении автор высказал свое восприятие истории, событий революции 1848 г., воспевал свободу.

Ранние стихотворения были лишь предвестниками рождения оригинального самобытного поэта, который смело заявил о себе в сборнике «Листья травы», первое издание которого вышло в Нью-Йорке в 1855 году. Этот год был значимым в творчестве поэта, он разделил его жизнь на два этапа — до сборника и после. Особенное место в структуре книги занимает «Песнь о себе», которая является одной из наиболее важных ее частей. Она как и весь сборник целиком — выражение поэтического кредо автора.

Листья травы (англ. Leaves of Grass) — поэтический сборник американского поэта Уолта Уитмена. Хотя первое издание было опубликовано в 1855 году, Уитман продолжал писать сборник на протяжении всей своей жизни и до своей смерти успел выпустить несколько изданий. Сборник известен своим восхвалением и восхищением чувствами во времена, когда такая прямолинейность считалась аморальной. Когда большая часть поэзии того времени была сфокусирована на символизме и аллегориях на духовные и религиозные темы, в «Листьях травы» (в особенности первое издание) восхвалялся телесный и материальный мир. Однако Уитман, по примеру Эмерсона, который в значительной степени повлиял на его поэзию, не преуменьшает значение разума и духа, а, скорее, возвышает человеческий разум и форму, считая и то, и другое достойным поэтического восхваления.

 

 

21. Критический реализм второй половины XIX века: Э.Диккенсон, Г.Б. Стоу.

 

Realism – (1865-1915) - Realism is the presentation in art of the details of actual life. Realism was also a literary movement that began during the nineteenth century and stressed the actual as opposed to the imagined or the fanciful. The Realists tried to write truthfully and objectively about ordinary characters in ordinary situations. They reacted against Romanticism, rejecting heroic, adventurous, unusual, or unfamiliar subjects. The Realists, in turn, were followed by the Naturalists, who traced the effects of heredity and environment on people helpless to change their situations. American realism grew from the work of local-color writers such as Bret Harte and Sarah Orne Jewett and is evident in the writings of major figures such as Mark Twain and Henry James.

CRITICAL REALISM

Critical Realism as a trend in American literature reached full development after the Civil War. But already before it writers and men of reason turned their thought to the material environment around them. The deep-going changes in the country, the new type of human relations that had come into being compelled them to see man as a product of his environment, to deal with actual facts and realities. Hitherto writers had built their stories around ideal individuals through which they portrayed their own personal emotions and reactions. This no longer satisfied the new generation of writers; they realized that the people must be represented as a whole, the life of the individual interlinked with that of other human beings. The highly critical realistic literature that came into being differed greatly from that of the previous generation represented by Irving, Cooper and Longfellow.
Critical Realism embraced all aspects of American life. Many of the old themes were the same but they were treated in a new light including that of love, and of the role of art and the artist in society. The romantic school had treated love as a refuge from the commonplace in practical
life; the realists used the theme to show up the immorality of bourgeois society which made love and marriage a matter of business. The romanticists understood the role of art and the artist merely as a great power which could conjure up visions and influence the outlook of men and women; without denying this, realists also showed how the bourgeois commercialization of art and the artist could destroy the noble role of art and reduce it to a commodity.
The realists saw man on the background of social conflicts of the day I and analysed human nature and human emotions in relation to this background. The reader could imagine the past and the future of each I literary personage because the development of the image was closely linked with the historical development of the present. The American realists rejected sentimentality and the "genteel tradition” in the style of writing. Their portrayal of life, as they found it, may sometimes have been rude and unpolished but it was always original and truthful.
Mark Twain, Frank Norris, Stephen Crane, Jack London and Theodore Dreiser were among the many writers of that period.whose works were I brilliant examples of mature realism.
American Critical Realism developed in contact with European realism; it was greatly influenced by Balzac, Gogol, Turgenev and Tolstoy. But American realism enriched world realism by advancing the problems of social injustice, the Negro and Indian questions, the fate of the young generation and the problem of emancipation of women.
American authors armed with the methods of Critical Realism created great works of art which served to unmask the truth about the reactionary foundations of modern imperialism, and served to greatly influence the struggle for social justice.

Emily Dickinson

Since most of her writing falls in-between defined literary movements, Realism and Modernism, there has been much confusion on which period Emily Dickinson fits into. It is difficult to tell which movement she fits into, because she has qualities from both literary movements. Her unconventional methods could place her with the Modernists, though, because Modernism was basically a rebellion against traditional writing ("Early Twentieth Century"). The most common characteristic of Modernism writing was an unpredictable style, which Emily Dickinson definitely has ("Early Twentieth Century").

Even though her writing does have a few traits of the literary movement that would take place after her, Modernism, she has more features of Realism. Dickinson uses imagery in many of her poems, as well as personification (Fajardo-Acosta). According to Paul Reuben, realists highlighted morality, as Dickinson did. In fact, one of her most popular themes was death. Realists often focused on things familiar to them, which was, for Dickinson, loneliness and religion ("American Realism"). Like Realists, Dickinson develops her characters fully, even if her character is something nontraditional, like the sun or death ("American Realism"). For example, in " The Sun Just Touched the Morning," she describes the sun in detail, saying that it is a happy thing, and if it stayed out all the time, more people would be happy. Emily Dickinson could be a Realist because of her development of characters and themes, but could also be a Modernist because of her nontraditional style.

Major Themes:

Death, Truth and its tenuous nature, Fame and success(negative attitude),Grief, Faith,…

Harriet Beecher Stowe

Seeking to portray reality as it is, realist writers frequently dealt with social abuses and the sordid aspects of human behavior and social life. Harriet Beecher Stowe's Uncle Tom's Cabin (1852) depicted the horrors of slavery.