Romanticism is often misconstrued as being in complete opposition to Enlightenment rationality. The poets of the Romantic era would likely contest such a claim. This misunderstanding arises from our misinterpretation of poetry's significance during the 19th century. Poetry held a prestigious position, sometimes even surpassing rational discourse, serving as a platform for critique against philosophical and scientific endeavors.

In his work, The Passion of the Western Mind, Richard Tarnas describes the emergence of "two distinct streams of culture" stemming from the Renaissance. One stream, characterized by the Scientific Revolution and Enlightenment, emphasized rationality and secularism, while the other, embodied in Romanticism, focused on sensuality, spirituality, and non-rational modes of understanding.

It is crucial to note that the Romantic poets and authors did not consciously identify as part of what we now label the Romantic movement, a term that emerged during the Victorian era. This historical context impacts our interpretations of their perspectives and contributions. Therefore, when discussing the Romantic movement or its poets, we risk projecting contemporary understandings onto a historical landscape that did not view itself in those terms. Generalizations about the Romantic poets' views on science must be approached with caution, as they did not form a cohesive group advocating for a unified stance on any issue.

Similarly, the scientific field of the time was not a stagnant entity but a complex and evolving phenomenon with social dimensions. While it is accurate that Romantic writers reacted against the empirical approaches of early scientists like Newton and Locke, they were also captivated by contemporary advancements in chemistry and electricity, which sparked their imagination due to the allure of mystery and potential.

Romantic writers critiqued the reductionist tendencies of empirical science, which viewed all natural phenomena, including humanity, as mere mechanical parts. They believed that this perspective failed to capture the essence and grandeur of the world. Conversely, discoveries that hinted at new possibilities resonated with their sense of wonder and the belief in something beyond mere empirical facts—an aspect integral to Romanticism.

The Romantics would not have seen their critiques of figures like Newton as outright opposition to science. Instead, they sought to present an alternative and more holistic vision of existence. This was possible largely because poetry was regarded with a level of reverence on par with, if not surpassing, that of science during their time.

The 19th-century attitude toward language differed significantly from our modern perspective. In contemporary thought, speech often contrasts with action; however, historically, language was imbued with power and significance. The act of "giving your word" carried profound weight. An illustrative example is found in the Biblical account of Jacob and Isaac, where the spoken word held an almost sacred authority.

This reverence for poetry extended beyond mere language; it involved a specific application of language. Percy Bysshe Shelley asserted that genuine intellectual pursuits were inherently poetic. He contended that "all authors of revolutions in opinion are...necessarily poets," while those like Shakespeare, Dante, and Milton were considered philosophers of great depth.

Shelley's distinction between narrative and poetry further highlights this understanding. He described a story as a collection of disconnected facts bound only by time and circumstance, whereas a poem embodies universal truths and emotional connections, transcending time. In his view, poetry remains timeless, growing richer with age, while mere stories risk losing their beauty.

The philosophical landscape leading to Romanticism was shaped by figures like David Hume, who critiqued the limits of pure reason and emphasized nature as a resolution to philosophical dilemmas. This philosophical backdrop contributed to Romanticism's inclination to challenge Enlightenment values.

Wordsworth, in The Tables Turned, expresses a preference for nature as a source of knowledge over scientific inquiry, famously stating, "We murder to dissect." This line poignantly critiques the scientific endeavor.

While Blake expressed disdain for the scientific paradigm and its proponents, younger Romantic poets like Shelley, Byron, and Keats exhibited more nuanced views of science, reflecting its evolving nature. Coleridge's engagement with philosophy was deep, though his writings often lacked systematic rigor. His Biographia Literaria is more literary than philosophical, requiring readers to piece together his insights from scattered thoughts.

Romanticism's preoccupation with nature and humanity's relationship to it is evident in the literature of the era, where nature is depicted as a vibrant presence. The connection between humanity and nature is portrayed as intimate and significant.

The Romantics' response to nature was deeply emotional, often likened to the Aeolian harp, which resonates with the wind. This metaphor illustrates the metaphysical link between humanity and the natural world. Shelley explicitly mentions this in A Defence of Poetry, while Wordsworth begins The Prelude with a personification of nature as a gentle, joyful presence.

Poetry was viewed as a natural expression, inherently good, while the scientific pursuit was met with skepticism, perceived as potentially isolating. In Frankenstein, Victor Frankenstein's obsession with his project leads him to withdraw from human connections, illustrating the isolating effects of unchecked scientific ambition.

The late 18th and early 19th centuries were marked by significant social upheaval in Britain, driven by rapid industrialization that led to widespread unemployment and civil unrest. The government's harsh responses to protests aimed to quell dissent, fearing a revolutionary tide akin to that in France. As theorized by Harold Bloom, this societal tension resulted in a spiritual and literary revolution—Romanticism—rather than a physical one.

Romanticism may offer a model of non-violent resistance through poetry, relevant in contemporary contexts. Tara Skurtu's interview with Romanian poet Radu Vancu highlights how protests can be viewed as a form of collective artistry, illustrating the power of creative expression in enacting change.

While Romantic poetry often drew inspiration from current events, it transcends mere reaction, capturing timeless truths. Shelley asserts that "time...forever develops new and wonderful applications of the eternal truth" within poetry. Bloom notes that writers of this era often responded to stagnation through withdrawal, leading to the exquisite beauty of Romantic poetry, which offers a sanctuary from the harsh realities of industrialization, celebrating nature's enduring significance.

Reading Shelley's works reveals a fascination with science rather than an outright opposition to it. He admired scientific exploration and the intellectual pursuits of philosophers. His youthful escapades to Switzerland, a symbol of Enlightenment ideals, demonstrate his engagement with these themes.

Nevertheless, Shelley emphasized poetry's central role in intellectual pursuits, allowing him to critique aspects of science he found questionable. In Alastor, he portrays a protagonist whose obsession with knowledge leads to isolation and ultimately to tragedy, echoing themes present in Frankenstein.

The parallels between the two works underscore a central theme of Romanticism: the dangers of prioritizing scientific inquiry over the emotional and communal aspects represented by poetry. Poetry's role as a unifying force between humanity and nature is highlighted, providing meaning and context in tumultuous times. In contrast, science's cold rationality is perceived as diminishing the sense of wonder and mystery that poetry embodies.

Thus, Romanticism warns against the dangers of neglecting the humanizing power of poetry in favor of a purely rational approach to understanding the world.