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Contrast, 1792

--- E sta Thomas Rowlandson cartoon, commissioned by the Association for the Preservation of Liberty and Property against Republicans and Levellers, is indicative of spin and counter-revolutionary nationalist who gave the English public opinion during the 1790's. ---

It is known as the Revolution discovered its history and was inserted into the European political scene, calling into question-and-forced to redefine the positions of other states, the opinion was turning in England Francophobia initial sympathy. The first government measures of repression and censorship in England dating back to 1792, from 1793, with the death of Louis XVI, Terror and the start of the war, the repressive measures became more radical, opinion was polarized and gained strength Together, the counterrevolutionary movement. ---

In this representation, 1792 the English ideal of freedom is built-values \u200b\u200bin contrast to those deposited in the "French liberty." So on the one hand, are, as we read in sections, "Religion, morality, loyalty, obedience to law, personal independence, security, justice, industry, national prosperity and happiness", values \u200b\u200brepresented by the medieval figure, noble and serene, with the Constitution in his lap, the lion at his feet, the balance in his hands, behind the green tree and the sea with boat in the background. And on the other hand, are aligned, "Atheism, perjury, rebellion, treason, anarchy, murder, equality, madness, cruelty, injustice, betrayal, ingratitude, vagrancy, hunger, and private national ruin, misery. "

--- The contrast axis articulating aesthetic (beautiful / ugly), moral (good / bad) and social (high / low) is the violence that English Freedom sublime and controls, and that French scarecrow displays in its onset, with a decapitated body and his head stuck in the sink and a corpse hanging from a lamppost in the background. (The problem is the head, evidently: the grotesque Medusa looks traits). The "natural" order of reading from left to right, is seen first to the quiet English liberty, and then as an aggression, going against, the French liberty. The question in bottom of the image sector, "What is the best?" Leaves no doubt about the views reflected in this work of art. ---

An interesting fact: the pen that drew this prudish English liberty is the same that drew the most "indecent" images of sexual picaresque period (see this gallery ).

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Ode to France, according to Abrams

E n the "politics of vision: domain, bondage and freedom," chapter six of Romanticism: tradition and revolution , Abrams works the various transpositions of the imaginary Revolution fields not political, as "metaphors of the spirit that invade the discussion of perception, insight and imagination" (358). After considering a body of German philosophical texts, in which the relationship between subject and object, spirit and nature, is represented from the drama of liberation, that is, in terms of submission and freedom, servitude and command, control, tyranny or equality, Abrams investigates how the same transposition is also detected in literary texts of the English Romantics. In particular, it stops in the case of Wordsworth and Coleridge, who "identify the failure of the goals revolutionary France as an opportunity that made them transfer their quest for freedom of the revolution and wars of liberation to the experience of the spirit in perception "(364). ---
In the context of this pose, inseparable from the overall theme of the book, Abrams aims to analyze "France, an Ode" by Coleridge , under the assumption that it is only understandable if we accept that "revolves around conversion of the political concepts of slavery and freedom in metaphors of the spirit in their relationship with nature "(ibid.). The following is the textual analysis of the ode [we replaced the translation the poem in the book by our own ]:

Ode opens with an invocation to the clouds, waves, forests, sun and sky, elements "compelling" the natural scenario, since "only follow eternal laws "and are thus independent of any" control "out of his own being, function as a type of" all things that are and will be free "are qualified as" witness "the uninterrupted adoration of the poet's" spirit of more Divine Freedom. " "When France lifted its giant angrily members / ... and said he would be free ", he had turned in her and her "opponent of tyrants spear" their hopes for universal freedom, and even during británcica war against France and the Reign of Terror, had kept his faith in the imminence of a new land of freedom, love and joy. "And soon," he said,

Wisdom
show their knowledge in the low huts of those who work and moan
and conquest only with happiness, France
force other nations to be free, until
love and joy
look around and see the land in his possession.

But now France has invaded in turn Switzerland into a war of conquest directed against the "bloodless freedom of Montanez, "and that event has led him finally to recognize that freedom can not be won or imposed by external power, and that the revolution by people who are perpetually enslaved-that is, that the spirit of its citizens is confined by the limits of their physical senses-slavery simply replaced by another.

The Sensual and the Dark rebel in vain,
slaves of their own compulsion. In a furious game
break their shackles and use the word
Liberation recorded heavy chains.
Oh, Freedom! ...
but you do not inflame the song of the winner and never breathed
your soul with form of human power.

The poem ends with a romantic situation in point: the speaker is alone on a cliff swept by the wind, facing the open landscape, and experiencing a freedom essential to the power of your joining the scene unfolds before him and hold it again in an act of liberated perception is an act of spontaneous love:

And there I felt the edge of that cliff ocean,
whose pines, just busy in the breeze,
come together in a single murmur at distant swell.
Yes, while standing admiring these things, his forehead naked and threw
my being for the land, by sea and by air,
embracing all the more intense love,
oh, freedom! there I felt my spirit.

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Ode to France

E sta Coleridge's ode was first published in the Morning Post the April 16, 1798, the same year was reprinted in a pamphlet in-room (with Frost at Midnight "and" Fears in Solitude "), was reissued with" Fears in Solitude "in Morning Post on 14 October 1802, and reprinted again in Poetical Register of 1812, was collected, Finally, in the collection of poems Leaves Sybilline 1817. ---
The long history of publishing Oda this indicates its value as a public statement of Coleridge shift from a radical position in favor of the French Revolution, the counter-revolutionary. The original title of 1798 was "The recantation: An Ode" ("The denial, an ode"). Such "resignations" public appeared throughout Europe in this period, after the French invasion of Switzerland in March 1798, which was interpreted as an advanced imperialist Germany, published odes of this style Goethe, Klopstock, Schiller, Wieland and Kotzebue. (The information is taken from Samuel Taylor Coleridge. Selected Poetry. Ed. Richard Holmes. London: Penguin, 1996, p. 350.)

France: An Ode

I

Clouds! that float and are delayed about me, go wandering
which no mortal control.
ocean waves! which always follow where they go, eternal laws. Forest
! you hear birds singing at night in the recumbent
gentle slope and dangerous, if not shaken
their own branches
overriding the wind and make a solemn music.
There, as a man of God loved the shadows
never trodden by other men,
how many times, pursuing fancies holy,
walked under moonlight the grass flourishing,
inspired more than dementia can assume, for each shade
rude and every wild unconquerable sound?
Oh, sound waves, and you, high Forest,
and you, oh, clouds that rise up,
you, rising sun, you, happy blue sky!,
yes, all things being and are free

witness where are the deep devotion that
always adored the most divine spirit of Freedom!

II

When France lifted its giant angrily
members and with the oath, which hit air, land and sea, said his enormous
up and said they are free, Esperance and
how I feared, testify,
with what joy my congratulations sang solemn
undaunted in the midst of a gang of tyrants
as to overwhelm the nation disenchanted as demons enraged
by the power of a sorcerer,
Monarchs marched in evil day, and England
joined the faction terrible
but were beloved beaches and surrounding ocean,
although many friendships, many youthful loves

support the patriotic emotion and cast a magical light on mountains and forests;
my voice, however, unaltered, sang defeat
of all who fought the tyrants
launches opposition and shame too delayed and vain retreat.
As ever, oh, Liberty, desire alone,
hid your light or licked your holy flame
blessed, yes, the bases of France redeemed
and dropped my head and cried in the name of England.

III

"What?" I said, "although the high cry of blasphemy
with the sweet music of salvation compete,
although all drunk and ferocious passions tied
dance wildest dream of a insane
despite storms, which are stacked eastern dawn, sunrise
but hiding your light. "
And when, to soothe my soul, full of hope and fear,
dissonance ceased, and everything seemed peaceful and bright
when France, his face bloody, scarred,
stacked capped with crowns glory
when moving irresistibly
mocked the attack arm of the warrior,
while, casting shy glances of anger, betrayal
domestic crushed beneath her fatal tread,
shook like a wounded dragon in his blood,
Then I reproached my fears that had not been withdrawn;
"And soon," he said, "Wisdom will teach his knowledge in the low huts
of those working and moan
and conquest only with happiness, France
force other nations to be free,
until love and joy
look around and see the land in his possession. "

IV

Forgive me, Freedom! forgive those dreams!
hear your voice, I hear your complaint powerful;
emitted from the icy caverns of the bleak Helvetia,
hear your moans about his blood-stained waters.
heroes who died for your
peaceful country and you who, fleeing, spot your mountain snow
with bleeding wounds, forgive me, because I encouraged
a thought that perhaps blessed
cruel enemies to sow hatred and traitorous guilt, where
Peace her jealous home had built;
to disinherit a race of patriots
of all that is so dear to his tempestuous lands and irredeemable

spirit to stain the bloodless freedom of Montanez-
Oh, France, you make fun of Heaven, adulterous, blind, and patriot
tasks only harmful
Are these your deeds, the champion of humanity?
Kings "Mix with the creeping lust for power,
screaming in hunting and sharing with them the spoils criminal?
"Insulting the shrine of Liberty with spoils stolen
free men? Tempted to betray?

V

The Sensual and the Dark rebel in vain,
slaves of their own compulsion. In a furious game
break their shackles and use the word
Liberation recorded heavy chains.
Oh, Freedom! with selfless efforts
chased many hours you weary;
but you do not inflame the song of the winner and never breathed
your soul in the form of human power. Unlike
all, as you praise,
(nor prayer nor boastful name you delay),
different from the priesthood lackeys and harpies and obscene
slaves factious Blasphemy,
your hurry you on your delicate wings, Guide
homeless winds and playmate of the waves.
And there I felt the edge of that cliff ocean,
whose pines, just busy in the breeze,
come together in a single murmur of the distant waves.
Yes, while standing admiring these things, his forehead naked and threw
my being for the land, by sea and by air,
embracing all with the most intense love,
oh, freedom! there I felt my spirit.

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The Prisoner The sans-culottes

E n 1814 Wordsworth published a poem in nine books called "The Excursion", "The trip. "books in three (" Abatement ") and four (dejection corrected") Wordsworth, using the character of a "loner", shared his thoughts about the failure of the French Revolution and how they should confront those who had deposited their hopes for the event. These books correspond, as Abrams notes, with the gesture of placing in the heart of Prelude crisis of the French Revolution. And both texts, "The tour" and "The Prelude", met in turn, the desire that Coleridge had said in a letter to 1799: "I wish to write you a poem in blank verse, addressed to those who, following the complete failure of the French Revolution ... "( Romanticism: Tradition and Revolution , 331).

--- In the preface to" outing "Wordsworth revealed facts about the work. The first and Most notable was a great poem that integrated tripartite still in progress, called "The Recluse", "The prisoner", and that it was the first part but the second of three. The excuse of the anomaly (publish the second part before the first!) saying that the deal "The tour" of more cyclical issues other parties planned, had been more encouraged to write and, following the advice of his friends, published now. The preface also explained the plan of "The Prisoner" and assigned a function to what we now know as "The Prelude", "Prelude." Without this title, set in 1850 by the widow of the poet Wordsworth referred to as a "preparatory poem" for "prisoner" that recorded "the origin and development of his powers" and should lead to the writing of the poem man, nature and society, he thought himself "The prisoner." This title is due to the situation of the poet himself, as Hyperion, reflects retired in solitude. ---

This major project, however, was not limited to what was yet to be written or published. It also extended to what Wordsworth had published and, once the great work, would fit into place. In addition, the project "The prisoner" was extended to identify with the entire work, yet unwritten, of the author. ---

To give a plastic form to the virtual mass of verse Wordsworth resorted to architectural image, devoid of all innocence. Transcribe the words of Wordsworth: "the two works [" The Prelude "and" prisoner "] are each the same kind of relationship that the ante-chapel and the body of a Gothic church. Continuing with this metaphor, I will add that his minor pieces, which are a long time ago before the public, they are properly accommodated, to the attentive reader will connect this with the major work that could be compared to small cells, oratories, and sepulchral patios are usually included in these buildings. "( William Wordsworth, Poetical Works , Oxford University Press, 1988, p. 589).

--- The prologue concludes with the 107 verses of the "Prospectus" (see Abrams, Romanticism: tradition and revolution ) .

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feed to Europe with the bread of freedom

--- R eproducimos down a British cartoon that interprets policy outside the revolution as an outrage of international law. The sans-culottes , under the pretext of giving bread to the governments of Europe, robbed of their wealth. In the middle of the image shows two well-known Whig (Fox and Sheridan) introducing force, with their daggers, a few slices of bread in the mouth of John Bull . In the loaves reads the word "Liberty." The cartoon is from January of 1793, is owned by James Gillray and we have taken from a site dedicated to the figure of Sheridan: http://people.pwf.cam.ac.uk/dft21/gillray.htm .

[click on image to enlarge]