Main Currents in Nineteenth Century Literature – 3. The Reaction in France. Georg Brandes
they prevent his self-dependence, his independence of all that is outside of himself." This saying is closely allied to Friedrich Schlegel's observation, "that a really philosophic human being should be able to tune himself at will in the philosophical or philological, the critical or poetical, the historical or rhetorical, the ancient or modern key, as one tunes an instrument, and this at any time and to any pitch."
According to the Romantic doctrine, the artistic omnipotence of the Ego and the arbitrariness of the poet can submit to no law. In this idea lies the germ of the notorious Romantic irony in art, the treating of everything as both jest and earnest, the eternal self-parody, the disturbing play with illusions alternately summoned up and banished, which destroys all directness of effect in many of the favourite works of the Romanticists.
The Romanticist's theory of art and life thus owes its existence to a mingling of poetry with philosophy, a coupling of the poet's dreams with the student's theories; it is a production of purely intellectual powers, not of any relation between these powers and real life. Hence the excessively intellectual character of Romanticism. Hence all the selfduplication, all the raising to higher powers, in this poetry about poetry and this philosophising on philosophy. Hence its living and moving in a higher world, a different nature. This too is the explanation of all the symbolism and allegory in these half-poetical, half-philosophical works. A literature came into being which partook of the character of a religion, and ultimately joined issue with religion, and which owed its existence rather to a life of emotion than a life of intellectual productiveness. Hence we understand how, as A. W. Schlegel himself says, "it was often rather the ethereal melody of the feelings that was lightly suggested than the feelings themselves that were expressed in all their strength and fulness." It was not the thing itself that the author wished to communicate to the reader, but a suggestion of the thing. It is not in bright sunlight, but in twilight or mysterious quivering moonlight, on a far horizon or in dreams, that we behold the figures of Romanticism. Hence too the Romantic dilution or diminution of the terms expressing what is perceived by the senses (Blitzeln, Aeugeln, Hinschatten), and also that interchange of the terms for the impressions of the different senses, which makes the imagery confusedly vague. In Zerbino Tieck writes of flowers:
"Die Farbe klingt; die Form ertönt, jedwede
Hat nach der Form und Farbe Zung' und Rede.
Sich Farbe, Duft, Gesang Geschwister nennen."6
The essential element in this literature is no longer the passion of the Sturm und Drang period, but the free play of fancy, an activity of the imagination which is neither restrained by the laws of reason nor by the relation of feeling to reality. The higher, poetic sequences of ideas now introduced declare war against the laws of thought, ridicule them as philistine. Their place is taken by caprices, conceits, and vagaries. Fancy determines to dispense with reality, but despised reality has its revenge in the unsubstantiality or anæmia of fancy; fancy defies reason, but in this defiance there is an awkward contradiction; it is conscious and premeditated – reason is to be expelled by reason. Seldom has any poetic school worked under such a weight of perpetual consciousness of its own character as did this. Conscious intention is the mark of its productions.
The intellectual inheritance to which the Romanticists succeeded was overpoweringly great. The School came into existence when literature stood at its zenith in Germany. This explains the early maturity of its members; their way was made ready for them. They assimilated in their youth an enormous amount of literary knowledge and of artistic technique, and thus started with an intellectual capital such as no other young generation in Germany had ever possessed. They clothed their first thoughts in the language of Goethe, Schiller, and Shakespeare, and, beginning thus, proceeded to create what Goethe called "the period of forced talents." For the study of real human character and the execution of definite artistic ideas they substituted the high-handedness of turbulent fancy. Common to all the very dissimilar endeavours and productions of the Romanticists – to Wackenroder's Klosterbruder, with its spiritual enthusiasm for art and ideal beauty, to Lucinde, with its sensual worship of the flesh, to Tieck's melancholy romances and tales, in which capricious fate makes sport of man, and to Tieck's dramas and Hoffmann's stories, in which all form is lost and its place supplied by the caprices and arabesques of whimsical fancy – common to them all, is that law-defying self-assertion or assertion of the absolutism of the individual, which is a result of war with narrowing prose, of the urgent demand for poetry and freedom.
The absolute independence of the Ego isolates. Nevertheless these men soon founded a school, and after its speedy disintegration several interesting groups were formed. This is to be ascribed to their determination to make common cause in procuring the victory, insuring the universal dominion, of the philosophy of life which had been evolved by the great minds of Germany. They desired to introduce this philosophy of the geniuses into life itself, to give it expression in criticism, in poetry, in art theories, in religious exhortation, in the solution of social, and even of political problems; and their first step towards this was violent literary warfare. They were impelled partly by the necessity felt by great and strong natures to impart one will and one mind to a whole band of fellow-combatants, and partly by the inclination of men of talent, whose talent is attacked and contested, to confront the overwhelming numbers of their opponents with a small but superior force. In the case of the best men, the formation of a school or a party was the result of exactly that lack of state organisation which was the first condition of their isolating independence. The consciousness of belonging to a people without unity as a nation, and without collective strength, begot the endeavour to imbue the leading spirits of the aristocracy of intellect with a new rallying principle.
II
HÖLDERLIN
Outside the group which represents the transition from the Hellenism of Goethe and Schiller to Romanticism stands a solitary figure, that of Hölderlin, one of the noblest and most refined intellects of the day. Although their contemporary, he was a pioneer of the German Romanticists, in much the same way as Andre Chenier, another Hellenist, was a pioneer of French Romanticism. He was educated with the future philosopher of the Romantic School, Schelling, and with Hegel, the great thinker, who came after Romanticism, and he was the friend of both of these, but had made acquaintance with none of the Romanticists proper when insanity put an end to his intellectual activity.
Hölderlin was born in 1770, and became insane in 1802. Hence, although he survived himself forty years, his life as an author is very little longer than Hardenberg's or Wackenroder's.
That enmity to Hellenism, which to posterity appears one of the chief characteristics of the Romantic movement, was not one of its original elements. On the contrary, with the exception of Tieck, who certainly had no appreciation of the Hellenic spirit, all the early Romanticists, but more especially the Schlegel brothers, Schleiermacher, and Schelling, were enthusiastic admirers of ancient Greece. It was their desire to enter into every feeling of humanity, and it was among the Greeks that they at first found humanity in all its fulness. They longed to break down the artificial social barriers of their time and escape to nature, and at first they found nature among the Greeks alone. To them the genuinely human was at the same time the genuinely Greek. Friedrich Schlegel, for example, embarks on his career with the hope of being for literature all that Winckelmann has been for art. In his essays "On Diotima" and "On the Study of Greek Poetry," he proclaims the superiority of Greek culture and Greek poetry to all other. There is an indication of the later Schlegel in the attempt made to combat the false modesty of modern times, and to prove that beauty is independent of moral laws, which in no way concern art. Characteristic also is his demonstration of Aristotle's lack of appreciation of the Greek Naturpoesie.
A similar but more enduring enthusiasm for ancient Greece was the very essence of Hölderlin's being; and this enthusiasm did not find its expression in studies and essays, but took lyric form, in prose as well as verse. Even as dramatist and novelist, Hölderlin was the gifted lyric poet, that and nothing else. Haym has aptly observed of his romances: "Joy in the ideal, the collapse of the ideal, and grief over that collapse, constitute the theme which the Letters of Hyperion develop with a force which never weakens and a fervour which is always alike intense… It is the irretrievable that
"Their colours sing, their forms resound; each, according to its form and colour finds voice and speech… Colour, fragrance, song, proclaim themselves one family."