My academic background and professional focus are in the field of psychology. My revolutionary new theory of life in 12 year symbolic cycles, which are more commonly referred to as ‘life cycles,’ is based on the observations I made while conducting client interviews while I was the owner and operator of my own management consulting company in Sydney, Australia, for approximately 20 years. On the other hand, I don’t normally classify my works as belonging to the field of psychology since they focus more on an analysis of the biographical events that take place over a very short period of time. Nevertheless, when it comes down to it, there is a good deal of psychology involved in what it is that I do. I’m going to explain it by analyzing the brief and terrible life of robert seymour, which will serve as an illustration. Robert was an English illustrator who lived in the early 19th century and became famous as one of the most accomplished artists in the nation (hence my article title). When I was researching and writing about Charles Dickens’s ‘life cycles,’ I came across his life and learned about it. However, I’m not going to go into detail about the problems that were brought up in the production of the pickwick documents or Seymour’s suicide since they did not take place during one of Seymour’s “important years” in terms of his “life cycles.” When I say this, what I really mean is that the first year of each 12-year cycle, in particular, heralds in a new age or new direction, and when I read biographies, I look for instances of highlights and breakthroughs occurring in the years 24, 36, 48, and so on. Nevertheless, the first two years of adulthood were, in my words, “years of revolution.” There seems to be a significant shift in one’s work path between the ages of 24 and 36. Was it like this for Seymour as well? What kind of proof might I look for? Remember that Dickens had an amazing public image, but Seymour, despite his national reputation, has very little biographical information, with the exception of the year that The Pickwick Papers was published and the fact that he committed himself during the writing of the book. It has received a lot of press. As a result, we are going to shake the cobwebs off of this obscure nook of historical research to see what we can unearth. In the year 1798, Seymour was born. Although some publications don’t seem to provide much information regarding his birth date or even the year, we can be confident of his age when he passed away on April 29, 1836, which was 38 years, and using this information, we are able to calculate his birth date. He came into the world in the early part of the year 1798. This is not the first time that I have conducted research of this kind. There are also other methods to find out, one of which is by looking at the amount of activity that was recorded in my so-called “important years.” When everything is taken into consideration, it is clear that this was a time span that was jam-packed with exciting events. There is only one significant year in the life of the young Robert Seymour, and that year was 1822. In that year, it was reported that at the age of 24 (my first adult “year of revolution”), he achieved his ambition to be a painter, and he did so by having his work titled “jerusalem delivered with over 100 figures” displayed in the royal academy. This is the only significant year in the life of the young Robert Seymour. It is also characteristic of these years that things do not always move well, but that occasional setbacks or disappointments might arise. This is something that has been usual throughout the last several decades. Let’s look at this more, shall we? After his second submission to the Royal Academy was turned down a short while later, he made the decision to learn the techniques of copper engraving in addition to painting in oils in order to pursue a career as an illustrator of books for a living. He did this after his second submission was rejected. In a sense, it was the beginning of his transition into a new era and a new path. Shakespear, Milton, Cervantes, and Wordsworth were among the authors whose works he was commissioned to portray. It was reported that he developed designs for a broad variety of themes beginning in the year 1822. These subjects included poetry, melodramas, children’s tales, geographical works, and scientific publications. Consider the fact that Charles Dickens was about to get entangled in the terrible death of his friend Seymour when they were precisely the same age. Dickens was accused of taking over the project that they had been working on together. This became well known as the Pickwick Papers, and it contributed to Dickens’s rise to prominence. In the same year, he also launched his profession as a writer, increased his social status, and got married to the daughter of the man who employed him. Consider the odds of all of this occurring just by coincidence and how likely they are to you. So, let’s move ourselves ahead in time a full 12 years, from the year 1822 to the year 1834. This was when Seymour was in his significant, mid-life, age 36 ‘year of revolution,’ which comes to have importance in the lives of so many people. Will we be able to locate anything for Seymour at all? After all, there are a great number of additional years in which to experience things that are referred to as “turning points” and “direction shifts.” In the year 1831, Seymour began working for a new magazine in London called Figaro. He contributed over 300 humorous drawings and political parodies to the publication. The text accompanying these works was written by the magazine’s publisher and owner, Gilbert A. Beckett. Beckett was known for his abusive manner and was a friend of both Charles Dickens and the prominent caricaturist George Cruikshank. In the year 1834, an insult was done to seymour by a beckett by switching him with cruikshank’s brother. Following this, A. Beckett sustained a significant financial loss and refused to pay Seymour. Following this, Beckett initiated a public media campaign, ruthlessly libeling Seymour, and compelling him to quit from his position. He was a pretty nasty piece of work, and he tormented Seymour and traumatized him. In sum, he was an awful person. This clearly constituted the low point of dissatisfaction for Seymour during his key direction-setting “year of revolution,” and it was postulated that it represented a causative component in the coroner’s suicide conclusion some two years later. When a new editor started at Figaro in London, he went back to work there. despite the setback, Seymour was now established as a pre-eminent illustrator on par with George Cruikshank. He was also considered one of the greatest artists since the days of Hogarth, and it was predicted by Sir Richard Phillips that he would have become president of the Royal Academy had he lived. In 1834, when Seymour was at the pinnacle of his success, he produced a new series of lithographs under his own name. These prints were based on drawings that Seymour had done (1834-36). This was then his best year in terms of accomplishments, and once again the “year of revolution” that occurred when he was 36 remains true in his life. The sadness of his unrealized future potential is only highlighted by the horrible treatment he received from A. Beckett and subsequently at the hands of a young and ambitious Charles Dickens. Because he did not live a complete life and contribute his creative talents to the world, the world is a poorer place. On the other hand, there is no denying that the years between the ages of 24 and 36 were the most fruitful in terms of his professional accomplishments. My investigation demonstrates how closely the career of Robert Seymour corresponds to the specific description I provided of all of the components that are to be anticipated in his or anybody else’s “years of revolution.”
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