Main Currents in Nineteenth Century Literature - 4. Naturalism in EnglandBrandes, Georg
History
Main Currents in Nineteenth Century Literature - 4. Naturalism in England
Brandes, Georg
Literature, Modern -- 19th century -- History and criticism; Naturalism in literature; Romanticism
He was firmly persuaded that imagination is the true reformatory
power. The man whom crass ignorance has reviled as a materialist
had, in the school of Hume and Berkeley, saturated himself with the
extremest idealism. To him everything was thought--things were layers
of thoughts; the universe itself was but a gigantic coagulation of old
thoughts, images, ideas. Hence it is that the poet, whose calling it is
to create new imagery of the kind which makes the strongest impression,
is always agitating, disturbing, remodelling the world. "Imagination,"
says Shelley, "is the faculty of human nature on which every gradation
of its progress--nay, every, the minutest, change--depends." Either
by gently inducing the congealed ideas to flow again, or by forcibly
breaking through the crust of outworn opinions, the poet shows himself
to be the true reformer.
In his youth devoted to philosophy, but indifferent to history,
Shelley, during the one completed period of his life--that preceding
the writing of _The Cenci_--sought no foundation in time or space
for his visions of reformation; being merely desires, they had no
historic reality. And this deficiency entails the absence of various
essential qualities in his personages, which only historical and local
relations can confer. The qualities they do possess are mainly the
deepest seated, original qualities of human nature. In constructing
his characters, he goes back to the earliest records of the race.
They are half mystical personages--gigantic, vaguely outlined,
spiritualised figures; no ordinary human sympathies can lay hold of
them, for the reason that "history"--what the ordinary mind regards as
the interesting element in a poem--is despised and ignored by Shelley.
Hence his unsuitability for the multitude. An author like Sir Walter
Scott will never cease to find a public among all who can read; Shelley
will always be the author only of the few elect.
When, however, Shelley chooses a theme suited to his peculiar turn of
mind he produces poetry of the very highest rank. His productive gift,
from the point of view from which we are now considering it, was of the
Greek type; and the same may be said of his religious feeling and of
the whole development of his imaginative and reasoning powers. "We are
all Greeks," he says somewhere. It was true of himself.
Public-domain text, read in full here on John Shaqi.
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