Compose a 2250 words assignment on exotic settings and motifs in the poetry of the british romantic period. Needs to be plagiarism free!

Compose a 2250 words assignment on exotic settings and motifs in the poetry of the british romantic period. Needs to be plagiarism free! The author of the paper states that the romantic period of British English literature is full of the element of Romanticism, as literature is a reflection of all that is free-flowing and unimpressed in nature and in man, following its own image in its own right. &nbsp.In Coleridge, this freedom is visible through the populous orient in “Kubla Khan”. Kubla Khan is both poetic and philosophical. One of his later poems, “Kubla Khan” feels like a painting of a gorgeous Oriental dream picture of an October sunset. The peculiar exoticism of the period is described also as “Oriental exoticism” or “Oriental fantasy”, the other synonymic phrases used to describe the romantic period. Both phrases combine together two notions that have created complexity among theorists and literary historians. For practical reasons, “Romantic” mean the writers of the Romantic Period of English Literature during 1785–1830, while “Orientalism” denotes the location and culture of greater parts of Asia and North Africa, besides some regions of Eastern Europe. From a British perspective, “Orientalism” denotes foreign lands — things surely not British — and it sometimes gives the feeling as if the “East” represented by “Orient” is not only the east of Europe and the Mediterranean but everything on the eastern side of the English Channel (Carey, 2013, p. 1). In literary history, Romantic Orientalism is the reemergence of identifiable locations of Asian and African place names, historical and legendary people, religions, philosophies, art, architecture, interior decoration, costume, and much more in the compositions of the British Romantics. At first appearance, Romantic literature may look to be segmented between the natural environs of sheep farms in the southwest of England or the Lake District and the unnatural environs of medieval palaces that are, for all their forlornness from ongoing time, always Christian and at the minimum European, if ever British. But a nearer glance shows a tiger — for sure not inhabiting in the British Isles — in one of Blake’s most renowned songs. an impact-creating dream of “an Arab of the Bedouin Tribes” in book 5 of Wordsworth’s Prelude. the founder of the Mongol kingdom in China and an Abyssinian “damsel with a dulcimer” in Coleridge’s “Kubla Khan”. Eastern story-lines, role-plays, and themes in Byron’s “Oriental tales,” some of which appear afterwards in Don Juan. a poet’s walk into the deepest regions of the Caucasus (the legendary borders between Europe and Asia) in Percy Shelley’s Alastor. a luring affair with an Indian maiden in Keats’s “Endymion” and a party full of “dainties” from Fez, Samarcand, and Lebanon in “The Eve of St. Agnes”. an Arab maiden, Safie, as the most free character in Mary Shelley’s Frankenstein. Orientalism, through the literature and art of the time, was incensing the air with its fragrance in both London and the British village-side (Carey, 2013).

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