Realism

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Realism in American Literature 1860-1890

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"For poetry the idea is everything; the rest is a world of illusion, of divine illusion. Poetry attaches its emotion to the idea; the idea is fact." This is said by Matthew Arnold. According to him, IDEA is supreme and in poetry, it is the idea that matters, that are attached by poetry through emotions. According to him THE FUNCTION OF POETRY is to interpret life for us, to console us, to sustain us. He says if SCIENCE IS APPEARANCE then the POETRY IS EXPRESSION and there is no appearance without expression. Then Arnold talks about setting our standard for poetry high. We must accustom ourselves to HIGH STANDARD and STRICT JUDGEMENT and there is no place for CHARLATANISM in poetry. Charlatanism is for confusing the difference between excellent and inferior, sound and unsound or only half sound, true and untrue or only half true. Judging with little differences has paramount importance, so there is no place for charlatanism in poetry.

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An Apology for Poetry[7] (also known as A Defence of Poesie and The Defence of Poetry) – Sidney wrote the Defence before 1583. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defence is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage. from wikipidea

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Below are the characteristics of Realism--pick one piece of literature. Then, pick three of the characteristics below and explain how the piece of literature you chose is a good example of them. This response should be (at least) 250-300 words in length. Definitions Broadly defined as "the faithful representation of reality" or "verisimilitude," realism is a literary technique practiced by many schools of writing. Although strictly speaking, realism is a technique, it also denotes a particular kind of subject matter, especially the representation of middle-class life. A reaction against romanticism, an interest in scientific method, the systematizing of the study of documentary history, and the influence of rational philosophy all affected the rise of realism. According to William Harmon and Hugh Holman, "Where romanticists transcend the immediate to find the ideal, and naturalists plumb the actual or superficial to find the scientific laws that control its actions, realists center their attention to a remarkable degree on the immediate, the here and now, the specific action, and the verifiable consequence" ( A Handbook to Literature 428). Many critics have suggested that there is no clear distinction between realism and its related late nineteenth-century movement, naturalism . As Donald Pizer notes in his introduction to The Cambridge Companion to American Realism and Naturalism: Howells to London , the term "realism" is difficult to define, in part because it is used differently in European contexts than in American literature. Pizer suggests that "whatever was being produced in fiction during the 1870s and 1880s that was new, interesting, and roughly similar in a number of ways can be designated as realism , and that an equally new, interesting, and roughly similar body of writing produced at the turn of the century can be designated as naturalism " (5). Put rather too simplistically, one rough distinction made by critics is that realism espousing a deterministic philosophy and focusing on the lower classes is considered naturalism. In American literature, the term "realism" encompasses the period of time from the Civil War to the turn of the century during which William Dean Howells, Rebecca Harding Davis, Henry James, Mark Twain, and others wrote fiction devoted to accurate representation and an exploration of American lives in various contexts. As the United States grew rapidly after the Civil War, the increasing rates of democracy and literacy, the rapid growth in industrialism and urbanization, an expanding population base due to immigration, and a relative rise in middle-class affluence provided a fertile literary environment for readers interested in understanding these rapid shifts in culture. In drawing attention to this connection, Amy Kaplan has called realism a "strategy for imagining and managing the threats of social change" ( Social Construction of American Realism ix). .

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Lecture 3 Realism, Naturalism, and the Short Story Introduction Many readers see similarities between Melville's Bartleby and Gogol's clerk in "The Overcoat," and these two stories typify many of the traits we have come to associate with realism. As literary Romanticism began to give way to more realistic traits in writing, a group of French and European writers definitively overturned literary conventions and heralded a new way of writing fiction. Literary realism continued to flourish and dominate the literary scene in Europe and North America well into the 20th century. As writers began to experiment with this new type of fiction, they felt free from the constraints of traditional literary structures and began to incorporate other literary techniques such as impressionism, naturalism, and regionalism into their short stories. Often minimizing the very real biases they brought with them to their works, they enthusiastically embraced realism as a more objective way to convey the truth of human life through fiction. Nineteenth Century Realism Before and during the early 19th century, the short story form was generally considered to be formulaic and simplistic. Writers merely followed a pattern in which the plot rose dramatically to a crisis and then quickly resolved itself. Enlightenment and even Romantic writers often employed stock or flat characters, or presented characters who allegorically stood for character traits or who were extraordinary in some way. A literary movement developed in France in the mid-19th century that had writers championing the ordinary person as a fitting subject for literature. In 1857, the French novelist, Champfleury, wrote a description of the goals of this new movement, which he called "Le Realisme" (Drabble, 1996, p. 824). His title produced the term realism, which has been associated with these writers and the many British, European, and American writers who were influenced by them. Literary works of realism are classified as such when they share most of the following characteristics:  They present the difficulties and daily experiences of the ordinary man or woman.  Their authors are more concerned with characterization than with other elements of fiction, as the human individual is their primary concern.  They are set in local, specific, and highly-detailed settings.  Their writers "stress 'sincerity' as opposed to the 'liberty' proclaimed by the romantics" (Drabble, 1996, p. 824).  Their authors view fiction writing almost as a form of journalistic documentation, in which they can convey a slice of life or snapshot of ordinary people and events accurately and as objectively as possible.  They contain accurate description and dialogue, including the use of local accents and speech patterns faithfully reproduced.  They explore all aspects of the common person's life, including situations and events that are sordid, unbecomi ...

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Realism

1. Realism in American Literature 1860-1890

Realism

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