Main Currents in Nineteenth Century Literature - 2. The Romantic School in Germany — John Shaqi
Main Currents in Nineteenth Century Literature - 2. The Romantic School in GermanyBrandes, Georg
History
Main Currents in Nineteenth Century Literature - 2. The Romantic School in Germany
Brandes, Georg
Literature, Modern -- 19th century -- History and criticism; Naturalism in literature; Romanticism
And Steffens--he who stormed the heaven of German Romanticism, carried
the sacred fire to Denmark, and set men's minds in such violent uproar
that he was compelled to leave his country--what of him? what was
he? An upright, weak character, with a brain charged with confused
enthusiasms; all feeling and imitative fancy; no lucidity of thought
or pregnant concision of style. It is literally impossible to read the
so-called scientific writings of his later period; one runs the risk of
being drowned in watery sentimentality or smothered by ennui. "When,"
says Julian Schmidt, "he expounded the _Naturphilosophie_ in his broken
German from the professorial chair, his mathematical calculations came
out wrong and his experiments failed, but his audience was carried
away by his earnestness, his almost religious solemnity, his naïve,
child-like enthusiasm." Naïveté was a quality that the Northerner of
those days seldom lacked. In his best days, Steffens, captivated by
the theories of the _Naturphilosophie_, took an innocent pleasure in
tracing the attributes of the human mind in minerals, in humanising
geology and botany. But the Revolution of July turned his head.
Inflamed by pietism, that elderly lady who for the last thirteen
years had been the object of his affections, and for whose sake he
had already more than once entered the lists, he closed his literary
career with a series of feeble attacks upon the young writers of
post-revolutionary Germany.
In this he was only following in the footsteps of his master,
Schelling. Schelling, who, in marked contrast to Fichte with his clear
doctrine of the Ego, dwells upon the mysterious nature of the mind,
and bases not only philosophy, but also art and religion, upon the
perception of genius, the so-called "intellectual intuition," displays
both in his doctrine and in his want of method the arbitrariness, the
lawlessness, which is the kernel of Romanticism. As early as 1802, in
his _Bruno_, he used the significant expression and future catchword,
"Christian philosophy," though he still maintained that, in genuine
religious value, the Bible is not to be compared with the sacred books
of India--a theory which even Görres champions in the early stage of
his literary career. Having, like Novalis, at Tieck's instigation,
made a close study of Jakob Böhme and the other mystics, Schelling
began to philosophise mystically on the subject of "Nature in God," an
expression appropriated by Martensen in his _Spekulative Dogmatik_. But
when, shortly afterwards, a patent of nobility was conferred on him
(as professor at the University of Munich), and he was made President
of the Academy of Science in Catholic and clerical Bavaria, the
famous "Philosophy of Revelation" (Offenbarungsphilosophie) commenced
to germinate in his mind. Soon the transformation was complete; the
fiery enthusiast had become a courtier, the prophet a charlatan. With
his mysteries, his announcements of a marvellous science, "which
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