Education of the republic of uzbekistan samarkand state institute of foreign languages

The object of the research: Learning Pre-romanticism in English literature.
The subject of the research: working on Pre-romanticism in English literature.
The aim of the research: to review the features Pre-romanticism in English literature,elaborate factors affecting the learning of English vocabulary, and discuss and also is to present an overview of Pre-romanticism in English literature.
The practical value is in using theoretical and practical aspects of the research.
The tasks of the investigation include:
- to review Marshall Brown has attempted to revive Pre-romanticism in a major book boldly entitled Pre-romanticism;
- to review Difference between such "Early Romantics" and "Later Romantics,";
- to review Pre-romanticism is marked by the appearance of the new kind of novel - the Gothic novel;
- to review Romanticism was a complex phenomenon involving a wide range of philosophical, aesthetic, political and moral issues.
The main language material of the work has been gathered from the Internet sources, literary works and the textbooks in English literature of various authors. Thus, writers, their works, the evidence of modernity in words, their definitions and examples in which the words are used, are taken from the authentic English sources, so that the evidence of the research results could be doubtless.
The theoretical and practical value of the paper lies in its applicability to the English literature, General Linguistics and practical English classes.
The structure of the work consists of the Introduction, two chapters,four plans, conclusion and references.

CHAPTER ONE. THE FEATURES OF PRE-ROMANTICISM
1.1.Marshall Brown has attempted to revive Pre-romanticism in a major book boldly entitled Pre-romanticism
As the century progressed, Thomson's Seasons proved to be more and more influential. Thomson's particularized descriptions derive in part from Lockean empiricism and the privileging of the sense of sight. His extraordinary expansiveness depends on his use of the same philosopher's association of ideas, whereby a landscape creates an association with a mood, a mood with a reflection, and so on. (It is an increasingly explored paradox that the philosopher of the eighteenth-century compromise was also the source of so much in Romanticism.) Thomson's whole structure of subjective associations was to become the main principle of poetry by the midcentury (Cohen 1957). It is especially apparent in what are often presented together as a group of poets in the 1740s: Thomas Gray, William Collins, and the Warton brothers, Joseph and Thomas. Collins praises Thomson in an eloquent memorial poem with the plangent line, "In yonder grave a Druid lies," and Mark Akenside would hardly have written The Pleasures of Imagination (1744) without the example of Thomson's Miltonic blank verse.¹
There is the sense of something genuinely new in the work of these poets, and various factors contribute to this, each of which has been presented as a partial or total explanation. The growing cult of nature in the period results from Newtonian science, Shaftesbury's celebration of the neoplatonic divine spirit, the fashion for landscape painting, and the Lockean focus on particulars. As we have seen, nature was increasingly associated with subjective moods and thus blended in with the growing interest in individual psychology and the imagination. The cult of the sublime was also linked with the concern for the expression of the passions, and the latter in turn modulated into sentiment and sensibility in this so-called Age of Reason. Blanford Parker argues for a Protestant revival at about this time, reflected in Young's Night Thoughts (1742—5), although Young's work is also striking in its more subjective emotionalism (Parker 1998: 219—30). But with Christopher Smart a true Christian sublime is attained, and later in the century William Cowper's evangelicalism takes the dual form of sensibility and criticism of his society. The passions and the sublime in Gray and Collins are secularized, however, as we have also seen with their predecessor Thomson.
The cumulative endeavor of these poets also relates to a complex of political thought in the period that stems originally from the values of the tradition of independent and thus virtuous landowners known as "civic humanism." This leads on to the idea that as a society grows more sophisticated so it is in danger of growing more alienated from the true sources of feeling and thus from the true sources of poetry. There is an inevitable reaction here, then, against the values of refinement and politeness, a reaction most famously expressed in Joseph Warton's claim that Pope's is not the greatest form of poetry (An Essay on the Genius and Writings of Pope, 1756). The same complex contributes to the new sense of the past and the quest for new sources. There is a celebration of what is presented as the naturalism of Greece, for example, and the minor poems of Milton become a central influence. The primitive British past is explored, and the romance sources of the Middle Ages. As John Sitter has argued, the fall of Walpole and the death of Pope were also major factors (Sitter 1982). There was a movement away from specific party politics and satire, although, as Christine Gerrard and Dustin Griffin have shown, there are still aspirations in Gray for the poet to fulfill a public role (Gerrard 1994; Griffin 2002). In Cowper politics and social critique return, although, interestingly, he uses the topos of retirement, like Pope, as a rhetorical vantage point.²
The idea, however, that there is a specific literary period bridging the gap between neoclassicism and Romanticism seems to have begun with French critics' perceptions of their own literature. The idea was also applied to Italian literature. The same concept was increasingly implied by late nineteenth-century critics of English literature, as a title such as W. L. Phelps's The Beginnings of the English Romantic Movement (1893) would indicate. The word "Pre-Romanticism" itself was not introduced into English until the translation of Emile Legouis and Louis Cazamian's Histoire de la littérature anglaise (1921). Occasionally used in popular literary textbooks to this day, the term has long been out of fashion among critics, as noted above, for its false teleology. Ultimately, as Robert Griffin makes clear in Wordsworth's Pope (1995), it implies a literary history judged entirely from the perspective of Romantic thought. Marshall Brown has attempted to revive the term in a major book boldly entitled Preromanticism (1991), where he argues that the prefix can be taken to mean not a prelude to something but as indicating a time before something has come into existence, since teleology implies a goal that is not yet realized. Thus these "pre-Romantic" writers, in Brown's view, differ from earlier eighteenth-century poets in that they articulate in tentative fashion a new set of problems to which they can find no answer. The Romantics proper both proposed answers and also articulated new, if analogous, problems. This is a view with much to commend it, but it is surely impossible to change the meaning of an old, misleading term single-handedly.
Marshall Brown's formulation, for all his protestations, also seems to continue the pattern of thinking about these poets mainly in the context of what is to come. Perhaps this remains unavoidable, but, as I have said, it fails to do justice to some very individual poets writing over a period of about fifty years, some of whom, like Smart, are very difficult to fit into such a narrative. John Sitter is among those who have proposed the term "Post-Augustan" instead (Sitter 1982). Logically speaking, that might seem to be open to the opposite danger of seeing these "midcentury" poets as a footnote to the Augustan period, but in practice this is not the effect, and the term has the advantage of not exaggerating discontinuity. Patricia Spacks, for example, has written a cogent essay on the conventional eighteenth-century elements in Collins's work (Spacks 1983). Samuel Johnson was a great opponent of many of the new trends in poetry, but he warmly praised what we might regard as the Augustan centrality of Gray's famous Elegy, and it is surely true that the newer elements in the poem come in more obliquely than we might expect. Smart and Chatterton both write excellently in conventional Augustan modes, the latter returning to satire before his death. Edward Young wrote Popean satires as well as the Night Thoughts, and Cowper's The Task (1785) is both the epitome of new sensibility, even subjectivism, and yet conversational and mock-heroic. But "Post-Augustan" is very limiting as a definition too. It has to lump together poets such as Gray, Collins, the Warton brothers, and Akenside (who each in their own way at least make grand gestures toward something new) with poets such as Johnson,Goldsmith, George Crabbe, and Charles Churchill, who remain more selfconsciously old-fashioned. We come up against the limitations of chronology once more. It is appropriate to call Johnson a "late Augustan," in part because of his deliberate critical attack on the new modes in the Lives of the Poets and his great defense of Pope: "If Pope be not a poet, then where is poetry to be found?" (Johnson 1905: vol. 3, 251). Yet there is also a lesser sense in which he is "Post-Augustan" in his movement toward a high seriousness of tone and in his more strenuous Christianity. Goldsmith and Crabbe have more elements of what is new: the partly subjective nostalgia of the former, the interest in extreme states in the latter. But "Post-Augustan" seems to fit these particular poets better than it does the wider category to which Sitter refers.³
A very exciting recent reassessment of the "Pre-Romantic" poets is signaled in the new label "Early Romantics," as used in Robert Griffin's Wordsworth's Pope. This term really grasps the nettle, emphasizing these writers' radicalism while refusing to patronize them or treat them as subordinate to the canonical Romantics. The argument is also associated with David Fairer's work on the Warton brothers and the claim that their linkage of new poetic impulses to the rediscovery of romance sources is a defining moment (Fairer 2003: 156). A recent collection of essays entitled Early Romantics (Woodman 1998) combines studies of poets once called "Pre-Romantic" with new approaches to women poets such as Ann Yearsley, who displays a remarkable privileging of untutored "genius" and imaginative inspiration — qualities which merit the title "Early Romantic" if any of these writers do.⁴
Doubts about this terminology remain, however. If the Wartons undoubtedly had a coherent strategy, their actual poetic achievement remains small. Thomas Warton remains notoriously ambivalent, as evidenced by his "Verses on Sir Joshua Reynolds's Painted Window at New-College Oxford," which reluctantly rejects gothic (Warton 1782). Even if Gray and Collins (with his dismissal of Waller) can usefully be seen as part of the same broad program, this is hardly the case with (say) Smart. Furthermore, although "romantic" is a perfectly legitimate usage to convey an interest in romance sources, it is not the primary sense of the word as it used for the canonical Romantics, who did not make massive use of medievalism. "Early Romantics," despite all the advantages of the term, thus remain confusingly different from "Later Romantics."