Romanticism+vs+Realism

=The World Is Too Much With Us= By [| William Wordsworth] The world is too much with us; late and soon, Getting and spending, we lay waste our powers;— Little we see in Nature that is ours; We have given our hearts away, a sordid boon! This Sea that bares her bosom to the moon; The winds that will be howling at all hours, And are up-gathered now like sleeping flowers; For this, for everything, we are out of tune; realism protrudes from the "getting and spending" which connotes work and how It moves us not. Great God! I’d rather be A Pagan suckled in a creed outworn; So might I, standing on this pleasant lea, Have glimpses that would make me less forlorn; Have sight of Proteus rising from the sea; Or hear old Triton blow his wreathèd horn.

Metonymy and synchedoche synechdoche: calling a "boat" a "sail" ; using a part to explain a whole. Ex: "a pair of hands" instead of a worker metonymy: calling a "military officer" a "brass"; using words to stand in for other words.


 * **Contrastive analysis, adapted from John Mersereau.** ||
 * Romanticism || Realism ||
 * 1. Dominance of plot (intrigue) (Charactersserve plot, dramatic events) || 1. Dominance of character (plot serves characterization; events reveal character) ||
 * 2. Story is largely "told." || 2. Story is largely "shown." ||
 * 3. Representation by metaphoric means (comparison between unlike levels) || 3. Representation by metonymic means (by contiguity) ||
 * 4. Metaphoric significance (triumph of good over evil) || 4. Pragmatic significance (good guys get ahead) ||
 * 5. Idealization || 5. No idealization (life as it is) ||
 * 6. Hyperbolization (exaggeration to depict ideal) || 6. Objectivity (show it as it is) ||
 * 7. Story material from supernatural and/or phenomenal world || 7. Story material only from phenomenal world ||
 * 8. Events range from impossible to probable (mysterious causes to some events) || 8. Events range from possible to probable(all events "naturally" motivated) ||
 * 9. Disturbed chronology (events reordered to exploit suspense) || 9. Normal chronology (events presented in order of occurrence insofar as possible) ||
 * 10. Limited disclosure (some information deniedto reader) || 10. Full disclosure of facts (all facts revealed to reader) ||
 * 11. Heterogeneous narrational means (variety of "voices") || 11. Homogenous narrational means (one "voice" neutral exposition) ||
 * 12. Intrusive author (=narrator) Addresses to reader, digressions, apostrophes to personages. || 12. Absence of author as narrator. No author-reader play; author remains invisible to enhance illusion of reality. ||
 * 13. Capricious author (play with reader. Romantic irony in Tieck's definition -- deliberate destruction of illusion of reality) || 13. Disciplined author (no author-reader play; author remains invisible to enhance illusion of reality) ||
 * 14. Unusual personages (bandits, homicides, gypsies, avengers, devils) || 14. Ordinary personages (typical people in mundane situations; daily routine, marriage) ||
 * 15. Personages arbitrary and static (dominatedby single passions; limited attitudes, no or un- motivated changes) || 15. Personages motivated, evolving (complex personalities, events change personages, inconsistent behavior is motivated) ||
 * 16. Personages' speech is stylized(enhances predetermined types and passions: vengeful artist, offended officer, heroic bandit, etc.) || 16. Personages' speech individualized (language of their class, gender, education, emotions, profession, etc., is reflected) ||
 * 17. Personages' psychic states are revealed through tirades, confessions, harangues || 17. Personages' psychic states revealed through dialogue, inner monologue, dreams. ||
 * 18. Personages' names metaphoric ("tag names reveal basic inner quality) || 18. Personages' names motivated by "real" life customs ||
 * 19. Personages have special physical properties (unusually ugly or handsome; magnetic eyes, incredible strength) || 19. Personages are like everyone else (mousey -looking, ordinary) ||
 * 20. Settings are exotic (distant lands, Transylvania, Caucasus, South Seas, fairy land, hell, Venus) || 20. Settings prosaic (Petersburg, an estate, Moscow) ||
 * 21. Local color used for exotic effect (gypsy dress, food, songs, Indian customs) || 21. Local color to enhance verisimilitude (to make personages credible) ||
 * 22. Description of the unusual for effect || 22. Description of the typical for verisimilitude ||
 * 23. Choice of detail for effect (this aspect of setting creates atmosphere, suspense) || 23. Choice of detail for illusion of reality (dirty window, stained teeth, smells) ||
 * 24. No "inessential" details (all details serve story line, plot) || 24. Peripheral, apparently inessential detail (walk-on characters, the nitty-gritty in the environment, etc.) to give impression of fullness & variety of life ||
 * 25. Temporal setting: past, present, or future, but usually the first or last are used to enhance exoticism || 25. Usually contemporary setting ||
 * 26. Setting is at the service of plot (exotic people in exotic settings, doing strange things) || 26. Setting is at the service of characterization (typical people in typical situations ||
 * 27. (In some Russian historical tales the setting became dominant: plot and personages are simply justifications for creating detailed setting: Medieval Reval, for instance) ||  ||
 * 28. Framed tale very common (shows how storycame about & justifies its telling; removes author from position of responsibility, author only reports what he heard) || 28. Framed tale uncommon ||