The Romantic movement in literature is not only one of the most prolific currents in the history of Western literature, but also one of the most misinterpreted in terms of motives, positioning, and objectives. While it is commonly associated with (comparatively) superficial emotional stories and flat descriptions of nature, critics prefer referring to it as the “reform movement” which came to existence as a direct consequence of the widespread will to break up with the rigid ideas which long controlled how society is organized.
Defining Features of the Romantic Movement
As a general preference, the Romantics believed that poetry is of a higher status than prose. It follows that most of the great Romantic figures were poets rather than novelists. The few novels which were published at that time were written by women, and thus, regarded as “a threat to serious and intellectual culture”. Bradford K. Mudge (1992) reported that eminent poets, such as Wordsworth and Coleridge, “campaigned against” popular fiction because, as stipulated by Wordsworth, would ‘‘encourage mental lethargy’’ and reduce readers to ‘‘a savage, uncivilized state.’’
- a. Self-Exploration and Individualism: Another distinguishing trait of the Romantic movement is the inclination towards individualism instead of the collective. It is argued that this tendency of the movement is what later paved the way for modernist writers to investigate the individual experiences of the world.
The Romantics’ fascination with self-explorations came as a reaction to previous movements’ (especially the Renaissance movement) interest in the lives of the “famous and rich” as if the lives of “ordinary people” were unworthy of attention. It was also a direct outcome of the socio-political theories informing the American and French revolutions, which made it clear that commoners have the same worth as any public figure.
It should also be reminded that the emphasis on individual experiences in writing goes hand in hand with the right to subjectively interpret those writings and experiences, instead of the dictated readings and explanations which were handed down by the traditional authorities (political and religious institutions for the most part).
In a nutshell, Romanticism relies on intuition -more than on rationality- in describing and viewing the world.
- b. The Devine in Nature: The Romantics equally gave importance to nature in their writings, justifying that the divine force (God) is present in his creatures and that nature is a place of “spiritual purity and peace”. This belief developed later into what came to be known as “Pantheism”, a doctrine that held that the creator and creation are but one unity, and that “God is not separate from the world, but manifested in it” (Gale, 2015).
It is true that up to that point in history, nature had always held a distinct place in the life of common people, but mainly as a place of living, farming, and harvesting, not as a room. Moreover, with the ever-growing (rather negative) impact of the industrial revolution on the lifestyle of city dwellers, Nature represented a place for recreation and reunion with the Divine, away from the filth and vulgarities imposed by the industrialization of cities.
Further Expansions of the Movement
- American Romanticism: Though Romanticism flourished in Europe first, The Americans were no strangers to the movement, as it originally stemmed from American (and French) principles. According to E. Miller Jr.:‘‘America has traditionally incarnated the romantic in almost every sense,’’ and ‘‘The American adventure, the great democratic experiment . . . are the essence of Romanticism.’’ (1964) Similar to European Romanticism, the American Romantics praised, in their productions, concepts such as individuality, self-esteem, and intellectual freedom, and called for a reunion with God via nature. The only difference is that the Americans were more familiar with Democracy, and rebellion and freedom of all kinds were not new to them. Therefore, American Romantics focused more on nature, something which was even easier with the vast, virgin, and largely unspoiled beauty of the American landscape. Two doctrines equally informed American Romanticism: Unitarianism and Frontier Individualism. Unitarians believe in the single manifestation of God (thus, rejecting the trinity) whose purpose was achieved in the forces. Bevir notes these beliefs ‘‘readily opened the way to a belief in a single spiritual deity existing within nature, rather than a transcendent God standing outside nature.” (1995). The forces of nature, according to the same doctrine, could offer a balance against the spreading forces of social progress. Consequently, representative figures of the movement (such as Emerson, Thoreau, and others) called for material simplicity and a rural lifestyle.
- The Celtic Twilight: at the end of the nineteenth century, Ireland witnessed a general revival that aimed at recreating a romantic vision of the local myths and legends. The works affiliated with this movement were characterized by their unreal and dreamy nature, in reaction to the problems faced in the new world.
- Platonism: named after the Greek philosopher Plato, this doctrine favored the “ideal” over the real, and sought to recreate Plato’s ideal vision of the city beyond the material world.
- Pre-Raphaelites: inspired by the artistic aspects of religious symbolism, the pre-Raphaelite movement was characterized by a mysteriousness and melancholy.
Representative Work of the Romanic Movement ‘The Story of an Hour By Kate Chopin
Since its publication in 1894, Kate Chopin’s The Story of an Hour has provoked large attention as it was read and interpreted in many controversial ways. Like her other best-seller, the awakening, the story tackles a plethora of themes, varying from realist to romanticist, and shedding light specifically on women's conditions and their position in a male-dominant society. In modern times, The Story of an Hour gained fame and became widely referenced in anthologies of American Literature. has understandably become a favorite selection for collections of short stories as well as for anthologies of American literature. Few other stories say so much in so few words.
Brief Analytical Notes and Remarks
One of the most distinguishing elements of the story is the title it bears, as it accepts two different readings and interpretations: It refers, on the one hand, to the story's duration (an hour), and on the other, to the episode of the protagonist’s awakening (Louise). This discrepancy is very important for the interpretation of the story since opting for one would dictate the way readers should approach the story, whether regarding plot organization, themes, and overall understanding.
The same goes for the word 'story'; it is a story Kate Chopin wrote and a life-story Mrs. Mallard lives. The title, 'story' both describes the technical form of the tale that Chopin is recounting about Mrs. Mallard, as well as the 'story' Mrs. Mallard tells herself about the possible turn her life can take if her husband has died.
It is equally important to mention that the original title under which the story was first published was “the dream of an Hour”. But because the author targets, among other things, the reality Louise was living, she changed it into the less fleeting word “story”.
Plot organization: two possible plots could be inferred from the organization of the events, and the second is encompassed in the other. The choice of which plot to analyze depends entirely on our understanding of the “story” (refer to the discussion of the title earlier mentioned).
Study of Characters
Mrs. Mallard: a woman afflicted with heart disease, is the central character around whom the whole story revolves.
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Louise is a round character, she is described from the outside as well as from the inside. Physically, her “two white slender hands” denote that she does never engage in manual labor, thus, that she has always been taken care of. She is also described as a 'young lady, with a fair, calm face, whose lines bespoke repression and even a certain strength'. Differently stated, Mrs. Mallard is not an extroverted person and does not let her feelings show, something which, according to the author, is a sign of strength, contrarily to the way other characters treat her, as someone weak and delicate, However, the narrator does never say the cause of this repression, or what she could be holding back.
If this leads to any speculation, then it is about the kind of marriage the Mallards had. If her husband is described as being nice to her and seemingly full of love, the narrator does not explain the tremendous relief after he dies.
It could also be conjectured that this feeling of relief has nothing to do with Mr. Mallard or the kind of marriage they’ve been having. It is rather about Ms. Mallard herself, and her conception of the whole enterprise of marriage. In other words, any man in her husband's position would have limited her freedom.
The feeling of “freedom” that she suddenly was overwhelmed with plunged Louise into a state of excitement about her future. Ironically, she realizes this only shortly before she dies, and her life abruptly came to an end moments before she felt that it (life) might be long.
Mr. Mallard: is an intriguing character, and it is very hard to situate him as flat or round: he is flat as he doesn't appear in person until the end of the story, and even then, so much mystery is accompanying him: He leaves home to work (that we still ignore the nature of), and his work is ostensibly in a place far from home (since he takes the train). However, this seemingly monotonous character gets suspicious if we take into consideration the reactions of other characters to his death.
Central to the story is Mrs. Mallard’s reaction to her husband’s death; while readers expect her to be ruined by the news (she cries up a storm after all), she immediately shifted to a positive and very hopeful picture of her life without him. We are informed that Mr. Mallard had 'had never looked save with love upon [his wife]', but this does not explain why she felt free when she heard the news of his death. We can suspect, at least, that it was a one-sided love, still, questions are raised as to whether or not he had any idea about how miserable she was with him, or, more importantly, where was he on the day of the accident.
3. Josephine: is another flat character. she is Mrs. Mallard's loving and caring sister, Other than that, nothing is revealed about her in the story.
4. Richard: another flat character and very few clues are offered about him.
Narrative Perspective
By using a third-person omniscient narrator, Chopin managed to tell a story that is not confined to the perspective of Louise. The pertinence of such a subjective point of view is that the story begins with us readers knowing something Mrs. Mallard doesn't, and also ends after Mrs. Mallard has already died. If the author opted for a first-person narrative perspective, the story would have been explained differently, and what is considered now as “mysterious elements” would have been presented differently.
The direct impact of using such a narrative perspective on the reader is to make a case for the innocence of Ms. Mallard, and not to hold her accountable for the “evil” thoughts that she was experiencing.
In other words, this suggests that it is not her fault if she was selfish and thrilled about the death of her husband: she is powerless and has no control over these mixed feelings.
Writing Style
Two major traits characterize “The Story of an Hour” writing style:
- It is Ironic in the sense that what we thought would kill her was exactly what gave her hope in a brand new life, the news of her killed husband was more liberating than devastating, and, ironically, the sight of him standing at the door, sound and safe, is what brought her to her doom.
- It is subtle, teasing, and withholding: Chopin's story encompasses many blanks which she invited the reader to fill in. Many questions are raised and so few answers. Her writing style is also characterized as mysterious and imagination-provoking. The most significant example is the unexplained death that immediately followed the liveliest experience she has ever lived, and the ironic wording of the cause as suggested by the doctors “of the joy that kills”.
Conclusion
The story of an hour transcends the mere realist representation of women in the 19th century, it is a narrative that is charged with emotional aspects, reflecting the feminist tendency of Chopin. Freedom and independence have always been two far-reaching dreams for women in patriarchal societies, and Mrs. Mallard gives us the example of a woman who, upon hearing the news of her husband’s death, immediately brushes off this idea of marriage and love for the thrilling sensation of experiencing freedom. This 'monstrous joy' is eventually explained as we can’t have it all, and that nothing can be obtained without a cost.
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