Natural Supernaturalism: Tradition and Revolution in Romantic Literature by M.H. Abrams

Natural Supernaturalism: Tradition and Revolution in Romantic Literature Reviews

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  Quirkyreader

  Ok, for this book you need to have a background in Christianity, Biblical Studies, German Philosophy, Deutsche, and lastly the English Romantic Movement. With a special focus on William Wordsworth.
  
  When I selected it from the library I was lead to believe that is was going to be about Southey, Coleridge, Hunt, Byron, Percy Shelley, Mary Shelly, Dorothy and William Wordsworth. Boy, was I ever wrong. There was no mention of Dorothy Wordsworth or Leigh Hunt, and there was a very small blurb about Mary Shelley.
  
  The tittle of this book should have been, "Bildungsroman And Kunstlerrman: Philosohy In Germany And How It Influenced The Romantic Movement".
  
  I'm glad that I did read it because I came away with some German Romatic authors to read and it makes me appreciate E.T.A Hoffman even more.
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  Varad

  A complex, difficult, yet richly rewarding book. Abrams' thesis is simple enough: the failure of the French Revolution, and with it the collapse of hopes for a reformation of society, stimulated the chief figures of romanticism to turn their gaze inward and strive instead for the transformation of the soul. One of the main ways this was accopmlished was through the secularization of what had formerly beein chiefly theological modes of thought: hence the notion of "natural supernaturalism." This brief description hardly does justice to Abrams' mastery of the literatures of English and German romaticism, including poetry, prose, and philosophy. The book does become repetitive after the first 350 pages (given that they wrote on common themes, towards the end one has already encountered a particular theme several times already). Yet Abrams may be excused on the grounds that only such comprehensiveness can yield an accurate assessment of romanticism.
  
  
  
  Published Friday, 15 June 2012
• 
  Bill Wallace

  This is primarily a book about Wordsworth's poetry and the evolution of his ideas, but there are extensive digressions into the work of other romantics, Coleridge, Blake, and assorted German philosophers and writers. In the course of examining the work of these men, it paints a vivid picture of the evolution of thought from the old, religious way of viewing the world to a humanistic one, and lays the foundation for most of the literature, drama, and popular entertainment that follows for the next 200 years. The fundamental transformation of a world view is an awesome thing and Abrams does a great job of guiding the reader to understand some fairly profound shifts in the perception of the world and the way literary writing depicts it.
  
  The other strong current here is an examination of the profound impact of the French Revolution, specifically its descent into the Terror, on the developing notion of mankind free to pursue his own destiny. The disillusionment of Wordsworth and his peers affected their work and turned its potential influence in a sobered direction, both lighter in ambition and darker in tone. Abrams also makes a pretty good case for Marxism being an outgrowth of tempered Romanticism as much as it is an economic philosophy.
  
  It's not part of his thesis but the book also supports my belief that virtually all genre fiction as well as most modern "serious" literature owes its existence to the Romantics. The voyage to discovery of the mind, free from god, makes possible tales of deduction, scientific exploration, and adventure in a nature that is a protagonist or antagonist in its own right. My own favorite genre -- horror, weird tales, ghost stories -- is a direct descendant of Romantic thought, often twisted and always haunted by the older specters of ruined faith.
• 
  Thomas

  I wish more academic writing were of this caliber. The breadth and depth of this study of European Romanticism is truly incredible. Particularly insightful is Abrams' treatment of how Romanticism arose. Rather than simply stating that it was a secularization of Christian thinking or a reaction to Enlightenment rationalism, he describes in detail the subtle transformation that this worldview takes in literature and philosophy. Attributes of the Christian God become immanent parts of nature. Pagan classical thought is incorporated as well. The metaphysics that emerges is one of Mind and Nature, and desire to reconcile the two.
  
  This book is essential for anyone studying early nineteenth-century European thought. Of course, if I had my preference, Abrams would emphasize the German component of this movement. But to his credit, he treats Romanticism as an international movement, both English and Continental, and his survey is truly majestic.
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  Eric Marcy

  If you have any sort of interest in the Romantic period you owe it to yourself to read this book. Abrams' work is phenomenal, as he unpacks how the Romantic endeavor attempted to correct what they saw as the errors of the Enlightenment movement, swinging far towards a reductive view of reality. He illuminates how they attempted to preserve the spiritual and experiential essence of the old pagan and Christian traditions, bringing them into a post-Enlightenment society, making them intellectually reasonable but yet still satisfying the human need for spirituality. I have found the book an incredible resource as I conduct my own research on Romanticism, and it has also proved instrumental in forming my own theory that the filmmakers Steven Spielberg and George Lucas are best understood as performing a similar endeavor in their own context with films like "Close Encounters of the Third Kind" and "Star Wars."
• 
  Kristi Siegel

  A required book for a graduate class many years ago. I recall it being grindingly dull and the fact that the professor made no mention of the text the entire semester.
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  Keerthi Vasishta

  Kudos to the Man's scholarship. I usually refrain from reviewing Academic books but this is a book of vast knowledge that Abrams accumulated. I often didn't get the point in the first half of the book, though I sort of got it because of my own prior academic background but it comes together nicely in Part II. I must say, sometimes he does soar far and wide, a bit close to the Sun but if you're as high up as you need to be to write something like this, it's fair game.
  If there is weakness, it's that the connections and layers of thought Abrams parallels, while self-evident on ocassion, does not always translate into the cohesive narrative he thinks is being woven. There are 8 fantastic thesises and parallels in the Romanticisms, Theology and Literature of Europe *and North America. However, I'm not always certain they come together everytime. It feels like a look what is there book, rather than a book which presents deeper windows into either the poetry itself or the ideas they present. It's amazing to think about but the underlying historic context, which Abrams himself purpots often remains curiously absent a lot, replaced instead by a deep textual threads of thought. As a reader, I don't really care much about that because for me the breadth and scope of information, beyond anything else presented, was in itself worth delving into.
• 
  Sarah

  Interesting ideas about key ideas in Romantic literature
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  Patrick

  A pleasurable read on the English Romantics. Shelley, Blake, Wordsworth, Coleridge, Scott. The good ones.
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  Kristi

  A dense and challenging, yet rewarding academic text, providing a close reading of European Romanticism from its roots in both Classicism and a Biblical worldview, as it was transformed into a secularized philosophical and literary mode that coincided with political and social revolution, I would not recommend this book to a reader new to the study of European Romanticism, as it is rather specific and deep in its exploration, and assumes the reader can already swim soundly and with familiarity in the deep fathoms of this topic; this is a long and imposing academic text; yet, it is an astounding, eloquent, and respectable piece of scholarship.
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  Mir

  This is an excellent examination of the Romantic Movement's connections with and ideas about the natural world, the sublime, etc. However, readers should be aware that it is a pretty monocausal approach and does not deal with other factors relating to Romanticism, so it is not a good choice for introductory reading. Also, it is long and not particularly lively.
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  Lysergius

  Sympathetic at least.