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
Görres won the admiration of Count Montalembert, the leader of the
French Catholics, by his polemical feats. In Catholic Germany he was
regarded as a father of the Church, and called "the Catholic Luther."
He succeeded in drawing the Bavarian Government into the movement; the
opponents of the Protestant Prussian Government were allowed to publish
their lucubrations unchecked in the Bavarian press, and it was Görres'
hope that Bavaria, as an important Catholic power, would openly take up
the contest.
No expression of politico-religious fanaticism was too outrageous for
him. He went the length of declaring that the Government, by permitting
mixed marriages, compelled the Catholic parent to bring up "twofold
bastards"--and this in the face of the fact that the King of Bavaria
was the son of a Protestant mother and had married a Protestant wife.
At the time of the violent dispute as to the authenticity of the
coat of the Saviour preserved at Trèves, Görres was highly delighted
with the success of a pilgrimage to Trèves, which was promptly
organised, and in which the Rhinelanders, to the number of a million,
took part, in order to annoy the Protestant Prussians. To him this
pilgrimage was "the triumph of the victorious Church." The argument
that the holy garment could not be genuine, seeing that several other
places possessed similar coats, he dismissed with a reference to the
miraculous multiplication of loaves recorded in the New Testament.[1]
The Romantic literary theory that manner is something absolutely
independent of matter, was a theory put into practice in politics
by Friedrich von Gentz. We called Kleist the German Mérimée; for
several reasons Gentz might be called the German Talleyrand. In his
mature years he might, like Metternich, have written under his own
portrait: "Nur kein Pathos!" ("Anything except pathos!") He is the
very embodiment of Romantic irony, the incarnate spirit of _Lucinde_.
He does not, however, become a typical figure until he is over
forty, at the time when a period of diplomatic activity succeeded to
revolutionary upheavals and the Napoleonic wars, the time when the
watchword was reaction, that is to say, quiet--quiet at any price,
extinction of all the European conflagrations, and rest, profound
rest for the sick, the weary, and the convalescent peoples; when
consequently, as in a sick room, the great aim was to get rid as
quietly as possible of disturbers of the peace and prevent all noise
and uproar. "Gentz," says Gottschall, "understood how to give to
the official publications that indescribable polish, that classic
smoothness, that Olympian dignity which, untouched by the fate of
mortals, allows no drop of nectar and ambrosia to be spilled from
the cup of the gods, though blood may be flowing in torrents in the
regions below. This distinguished manner of passing lightly over the
small shocks by which nations were shattered into fragments, gave a
Public-domain text, read in full here on John Shaqi.
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