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
But both Goethe and Schiller paved the way for Romanticism not only
positively, by their proclamation of the rights of passion, but also
negatively, by the conscious attitude of opposition to their own
age which they assumed in their later years. In another form, the
Romanticist's aversion to reality is already to be found in them.
I adduce two famous instances of the astonishing lack of interest
shown by Goethe, the greatest creative mind of the day, in political
realities; they prove at the same time how keen was his interest in
science. Writing of the campaign against France during the French
Revolution, a campaign in which he took part, he mentions that he spent
most of his time in observing "various phenomena of colour and of
personal courage." And after the battle of Jena Knebel writes: "Goethe
has been busy with optics the whole time. We study osteology under his
guidance, the times being well adapted to such study, as all the fields
are covered with preparations." The bodies of his fallen countrymen did
not inspire the poet with odes; he dissected them and studied their
bones.
Such instances as these give us some impression of the attitude of
aloofness which Goethe as a poet maintained towards the events of his
day. But we must not overlook the fine side of his refusal to write
patriotic war-songs during the struggle with Napoleon. "Would it be
like me to sit in my room and write war-songs? In the night bivouacs,
when we could hear the horses of the enemy's outposts neighing, then
I might possibly have done it. But it was not my life, that, and not
my affair; it was Theodor Körner's. Therefore his war-songs become him
well. I have not a warlike nature nor warlike tastes, and war-songs
would have been a mask very unbecoming to me. I have never been
artificial in my poetry." Goethe, like his disciple Heiberg, was in
this case led to refrain by the strong feeling that he only cared to
write of what he had himself experienced; but he also tells us that he
regarded themes of a historical nature as "the most dangerous and most
thankless."
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account