Main Currents in Nineteenth Century Literature - 6. Young GermanyBrandes, Georg
History
Main Currents in Nineteenth Century Literature - 6. Young Germany
Brandes, Georg
Literature, Modern -- 19th century -- History and criticism; Naturalism in literature; Romanticism
Heine is an epoch-maker, not only in German lyric poetry, but in poetry
in general. He introduced a new style, the combination of sentiment
and humour in lyric poetry, and a new idea, the introduction of prose
into poetry, either by way of foil or by way of parody. His position
as epoch-maker is due to his historic position, to his having lived
at the period when Romantic perversion of reality was giving way to
pessimistic realism; this explains the fusion of the two elements which
we find in his writings.
Hence, too, it comes that the most characteristic domain in the
province of his art is the domain of chiaroscuro, a chiaroscuro akin to
Rembrandt's.
To make the central objects stand out from the shadow or half-darkness
in which they are concealed; to make light, natural light, produce a
ghostly, supernatural effect by conjuring it forth from a sea of dark
shadow-waves, bringing it flickering or flaring out of half-darkness;
to make darkness penetrable, half-darkness transparent--this is
Rembrandt's art.
Heine's, which is closely related, consists in gradually,
imperceptibly, conjuring forth out of the world of reality, and back
into it again, a perfectly modern, fantastic dreamworld.
At times the vision is in a full blaze of light, and the reality hidden
in black darkness; but presently the vision fades, and the reality
gradually emerges into the light.
XV
HEINE AND GOETHE
It has already been mentioned that Heine, when a student in Bonn,
conceived an enthusiastic admiration for the founder of the Romantic
school. A. W. Schlegel's personality was as attractive to him as his
teaching. In Schlegel, Heine admired the man who had guided German
poetry from artificiality to truth. He was dazzled, too, by the
fashionable professor's aristocratic bearing, his knowledge of the
world, his acquaintance with the good society and famous people of the
day.
He was also touched by the kindly interest which Schlegel showed in
himself and his first literary efforts. It was to Schlegel that he was
indebted for his early initiation into the secrets of metrical art, and
for something more valuable still, confidence in his own powers and his
future.
Public-domain text, read in full here on John Shaqi.
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