The Rise of Romantic Criticism 

The awakening of sensibility is the most radical change that comes over
the English literary scene about the middle of the 18th century. 'Sensibility'
primarily means the power of sensation on perception, but this meaning
has become over-laid with another, that of quickness and acuteness of
apprehension or feeling, which in turn was extended, during the 18th century,
to mean the capacity for refined emotion, sensitiveness generally in the face
of external nature, and the readiness to feel for the poor and the
suffering. Rationalism which had prevailed during the Augustan era, and the
order, discipline, and respect for tradition and authority which the Augustans
had inculcated, no longer satisfied. The commonly held assumptions about
man, God and society, were breaking down, and the writers were thrown back
on their own reactions and responses to the facts of life. Reason had failed to
answer the fundamental questions about the mystery of life, and so stress
shifted to emotion and imagination as safer guides to truth. Sensibility, in its
various manifestations, was the contemporary expression of what Johnson
called, “that hunger of the imagination which preys incessantly on life”. This
awakening of sensibility accounts for the change that comes both over
literature and literary inquiry in the later half of the 18th century. The neo-
classical dogma is felt to be too cramping and narrow, and writers turn to a
freer mode of self-expression. 

Its Causes 

Love of Liberty is ingrained in the English temperament. Hence it is that the

English could not servilely follow for any length of time the neo-classical rules.
Englishmen are too individualistic for any slavish imitation. As undercurrent of
liberalism is noticeable even at a time when neo-classicism was at its height. 

This temperamental leaning towards liberalism was fed and nourished

by Longinuswhose essay, "On The Sublime", had been translated into French
towards the close of the 17th century and was widely read in England. His
emphasis on 'transport' and enthusiasm had a far reaching impact both on
creative and critical literature.The French Revolution and the American War of
Independence further fostered the spirit of free thinking. Love of political
dependence led to the rise of the spirit of free inquiry. The Pseudo-classical
rules were questioned and their limitations exposed. Writers liked to create
unhampered by rules and conventions, and the critics to judge according to
their own light. 

The medevialisation movement about the middle of the 18th century, led to a
revival of interest in old English masters. The Reputation of Spenser and
Shakespeare increased and that of Pope and others went down. There was
fresh thinking on the subject of literary appreciation. Under German influence
there was rethinking on the nature of Beauty and aesthetic appeal, and a new
aesthetics was thus developed. 

There was also the growth of a new historical outlook following the publication

of Gibbon’s monumental work, The Decline and Fall of the Roman Empire.
Literature, ancient, medieval and modern was viewed as a whole. This
enlarged the horizon and widened the outlook. The rise of romantic criticism
was also helped by the Reviews. The Reviewers judged works of literature on
the basis of their own likes and dislikes and not on the basis of rules. No
doubt, much of their criticism is prejudiced, but they paved the way for the rise
of impressionism and individualism which is the key-note of romantic
criticism. 

Increasingly men of genius, like Wordsworth and Coleridge, voiced their

protest against Neo-classicism and through their critical pronouncement laid
the foundations of romantic criticism. They gave a definite programme and
consciousness to the Romantic Movement. 

Thus under the superficial calm of the 18th century, new forces were brewing,
an under-current of change was flowing, which burst into life with the
publication of Wordsworth’s Preface to the Lyrical Ballads. Hence it is true to
say, as Atkinspoints out, that the foundations of 19th century criticism were
laid in the 18th century. 

Romantic Criticism: The major features of the new school of romantic

criticism may be summarized as follows: 

1. Romantic criticism ignores rules whether of Aristotle or Horace or of the

French, and emphasizes that works of literature are to be judged on the basis
of the impression they produce, and not with reference to any rules. It is
impressionistic; and individualistic, and freedom of inquiry is its keynote. 

2. It is concerned with the fundamentals, such as the nature of poetry, and its functions,
and not merely with the problems of style, diction or literary genres. It is neither legislative nor
judicial. It is concerned mainly with the theory of poetry, and the process of poetic creation. 

3. Emphasis is laid on imagination and emotion and not on reason

and good sense. Poetic enthusiasm is no longer looked down upon, as by
the Neo-classics. 

4. New definitions of poetry are attempted. Poetry is no longer considered as

mere imitation or invention but becomes the expression of emotion and
imagination. Inspiration and intuition, rather than adherence to rules, are
regarded as the true basis of creation.

5. Pleasure rather than instruction becomes the end or function of

poetry: "If poetry instructs, it does so only through pleasure" —(Coleridge).
Poetry should transport and make people 'nobler' and 'better' through such
transport. Its appeal should be to the heart and not to the head. 

6. Imagination is emphasized both as the basis of creation and

judgment on what is created. It is imagination which leads to the production
of great work of art. Shakespeare is great because his works are the product
of imagination. Pope is not great as he is deficient in this respect. The critic
also must primarily be gifted with imagination; only then can he appreciate the
beauty of a work of art. He must enter imaginatively into the spirit of a work of
art. 

7. Views on poetic diction and versification undergo a radical

change. Simplicity is emphasized both in theme and treatment. 

8. Romantic criticism is creative. It is as much the result of imagination as

works of literature. Critics express their views after entering imaginatively
into the thoughts and feelings of the writers whose works they may be
examining. 

Recap
It flourished at the beginning and the end of the 18 th centuries.
It was a revolution against Classical criteria.
It emphasized the value of a literary work in itself, apart from any external
standards.
It ascertains the viewpoint and intentions of the writer.
It ignored ancient authorities and the doctrines of Aristotle in assessing
a literary work.

Romantic criticism is entirely subjective. The critics expresses what he feels

about the work, regardless of what others say about it.
The romantic critic imposes new readings that cause readers to see the
literary work in new lights. He can even create it anew.
Its extreme subjectivity, not guided by objective rules, can lead to extreme
and misleading views.