1. 理性開始被揚棄: So as the 18th century continues we begin to find writers looking elsewhere for a principle or foundation or value around which to orient their lives.
2. 情感開始抬頭，史稱浪漫主義:There is the 'sentimental movement', putting its emphasis on feeling (Sterne, for example); there is the attempt to go back to pre-Roman values in Macpherson's Ossian. In fact at this point the west could have gone back to a full-blooded Christianity. Instead, we began to look more widely for what would be truly significant. So at the end of the 18th century and the beginning of the 19th we find the emergence of what we call the Romantic Movement.
3. 重視童年、大自然、預言、異象、想像:Again, this is a movement with partial parallels in painting (Goya, perhaps), or music (Beethoven, from one perspective). But in English poetry we would think of poets such as Blake, Wordsworth, Coleridge, Shelley, Keats. Where do they look to find that which is ultimately significant? Perhaps to childhood, considered as something pure before it is spoiled by society (Wordsworth's Prelude); or nature, considered as something wild, untamed, beyond humanity; apocalyptic prophecy, in Blake; visionary experience through drugs (Coleridge's Kubla Khan); the imagination (Keats). Romanticism offers to find what is worth writing about, what is truly significant and worthy of celebration, beyond the world of rationality.
4. 以想像代替上帝，同樣也是幻象：To the Christian, the impulse to look beyond our human world for what was ultimately worthwhile was a step in the right direction: if there really is a God, then we obviously need to hear what he has to say. But it seems that the marginalising of the God of the Bible that began in the Enlightenment continues in the mainstream of Romanticism. Instead of going back to God first, Romanticism turns often to the world of the imagination. But therefore there is always a tragic question beneath the romantic vision: Are we really finding a higher truth in all this, or are we just wandering in our own daydreams? The question is put powerfully at the close of Keats' famous Ode to a Nightingale. Keats listens to and celebrates the beauty of a bird's song. But at the end of the poem the bird is gone, and Keats asks, 'Was it a vision, or a waking dream?' Was it a vision, a momentary glimpse of ultimate beauty, or was it the kind of fantasy such as comes between sleep and waking? Have I something truly significant here, or am I just playing games with myself? As the 19th century goes on the question becomes more and more urgent. In Tennyson, for example, we find the end of this development: the sadness of a man who deep in his heart can hardly hope that what he is talking about has any reality.
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1. Imagination (that inward eye)
2. Nature, nature, nature 回歸自然, but not only details of nature; drink, touch nature, immerse in nature, gaze the nature; emotions aroused by nature 融情入景, ; nature teaches moral truth; nature is truth; has a mandate on nature
3. sublime, awe,
4. Self,inner life, individualism，詩人身份, self understaning
5. Past over present
6. Escape to the future
7. Emotion over reason; melancholy; spontaneous overflow of emotions; emotions recollected in tranquility
8. Innocence, children, simple words, simple living
9. Exotic, folk culture, middle ages
10. Common people, like peasants and shepherds, the poor/ leech-gatherer, over kings
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