Cultural criticism conclusion referec introduction

SENTIMENTALISM IN ENGLISH POETRY OF THE 18TH CENTURY
CONTENT
INTRODUCTION
1.SENTIMENTALISM
2. MID-NINETEENTH-CENTURY SENTIMENTALISM
3. CULTURAL CRITICISM
CONCLUSION
REFEREC

Introduction
Sentimentalism in philosophy and sentimentalism in literature are sometimes hard to distinguish. As thephilosophical arguments developed, the literature soon tried to emulate by putting the philosophical into practicethrough narration and characters. As a result, it is common to observe both philosophical and literary movementssimultaneously in discourse.
Philosophically, sentimentalism was often contrasted to rationalism. While 18th century rationalism correspondeditself with the development of the analytic mind as the basic for acquiring truth, sentimentalism hinged upon anintrinsic human capacity to feel and how this leads to truth. For the sentimentalist this capacity was mostimportant in morality (moral sense theory). Sentimentalists contended that where the rationalists believed theycould create a morality based upon analytic principles (i.e. Immanuel Kant's "Categorical Imperative") theseprinciples could not be adequately founded in the empirical nature of humans—such as observing a sad image orexpressing a strong emotion physically. Therefore, one could not obtain a sound moral theory. However, bydeveloping the moral sensibility and fine tuning the capacity to feel, a person could access a sound moral theoryby building from an intrinsic human nature, which each person possessed. Sentimentalists were, thus, often seenas relating to the schools of humanism and empirical ethical intuitionism.
The literary work often featured scenes of distress and tenderness, and the plot was arranged to advanceemotions rather than action. The result was a valorization of "fine feeling," displaying the characters as a modelfor refined, moral and emotional effect. Sentimentalism in literature was also often used as a medium throughwhich authors could promote their own agendas—imploring readers to empathize with the problems they aredealing with in their books.
For example, in Laurence Sterne's novel, A Sentimental Journey Through France and Italy, the narrator is usingthe sentimental character Yorick as a device to critique the obligation of morality, whether it is sentimental orrational. There is a scene early in the novel where Yorick meets a monk and refuses "to give him a single sous [apenny]." He feels discontent when he disregards what he senses he ought to do, even though he appears to obey"better reason" (4). Rationally, he disregards his sentimental obligation because "there is no regular reasoningupon the ebbs and flows of our humours" (6) [i.e. our emotions]. While he argues against the authority of sense, ultimately this sense creates discontent in his conscience. After the monk leaves empty handed, it is Yorick's"heart" that "smote [him] the moment [the monk] shut the door" (7). Accordingly, Yorick has "behaved very ill" (7). He has complied with his rational maxim, the justified action of his "great claims" argument (6). Yet he sensesfrom the conscience of his sentimental nature that he has done wrong.
There are plenty of similar literary examples throughout the sentimentalist movement in Europe in the early to mideighteenth century. Even still we cannot be unimpressed by the title of one nineteenth century novel called Senseand Sensibility by Jane Austen. Tugging at the driving forces of the Eighteenth Century, Austen again calls to lightthe tension between rationalism in the senses and sentimentalism in the human's sensibility.