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
We find the same admiration of wish in Kierkegaard's _Enten-Eller_
(Either-Or). "The reason why Aladdin is so refreshing is that we feel
the childlike audacity of genius in its wildly fantastic wishes. How
many are there in our day who dare really wish?" &c. The childlike,
for ever the childlike! But who can wonder that _wish_, the mother of
religions, the outward expression of inaction, became the catchword of
the Romanticists? _Wish_ is poetry; society as it exists, prose. It is
only when we judge them from this standpoint that we rightly understand
even the most serene, most chastened works of Germany's greatest poets.
Goethe's _Tasso_, with its conflict between the statesman and the poet
(i.e. between reality and poetry), its delineation of the contrast
between these two who complete each other, and are only unlike "because
nature did not make one man of them," is, in spite of its crystalline
limpidity of style and its keynote of resignation, a product of the
self-same long fermentation which provides the Romantic School with
all its fermentative matter. The theme of _Wilhelm Meister_ is in
reality the same. It, too, represents the gradual, slow reconciliation
and fusion of the dreamed of ideal and the earthly reality. But only
the greatest minds rose to this height; the main body of writers of
considerable, but less lucid intellect never got beyond the inward
discord. The more poetry became conscious of itself as a power, the
more the poet realised his dignity, and literature became a little
world in itself with its own special technical interests, the more
distinctly did the conflict with reality assume the subordinate form
of a conflict with philistinism (see, for instance, Eichendorff's
_Krieg den Philistern_). Poetry no longer champions the eternal rights
of liberty against the tyranny of outward circumstances; it champions
itself as poetry against the prose of life. This is the Teutonic, the
German-Scandinavian, that is to say, the narrow literary conception of
the service that poetry is capable of rendering to the cause of liberty.
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