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
On the literature of the following decade, and in especial on the
so-called Young Germany, Hegelianism acted as an emancipating spiritual
power, a power that destroyed faith in religious dogma and freed the
individual from the burden of the Christianity of the State church.
We have already observed that even such an essentially lyric nature
as Heinrich Heine's took on the tinge of Hegelianism in this respect,
quite independently of the fact that his keen understanding was trained
in the school of Hegel; in the peculiar turn of his wit we trace the
influence of the Hegelian dialectic, which makes every idea pass over
into its opposite (unity of opposites).
But it was as a sort of modern Hellenism that the Hegelian philosophy
exercised the most powerful influence upon young minds. What may be
called Hegel's Hellenic influence was even stronger than Goethe's.
The reader doubtless remembers the passage in Heine's book on Börne in
which he writes on Börne's Nazarenic narrowness. He tells us that he
calls it "Nazarenic" to avoid employing the words Jewish or Christian,
words which to him convey the same meaning, because he does not use
them to designate a faith but a disposition, a nature; and he places
the word Nazarenic in opposition to the word Hellenic, which also to
him signifies an innate or acquired disposition and view of things
generally. In other words, all humanity is divided for him into
Nazarenes and Hellenes, men with ascetic, image-hating dispositions,
inclined to morbid spiritualisation, and men of cheerfully realistic
temperament, inclined to genial self-development. And he designates
himself a Hellene--a name which no Romanticist would ever have bestowed
on himself.
Hellenism in this sense emanated abundantly from Hegel. His whole
intellectual bent is in the direction of that tendency of the time to
present modern matter in antique manner, which we observe in Goethe
when he writes his _Iphigenia_, and in Thorvaldsen when he represents
the Princess Barjátinska in Greek dress. It was not by mere chance that
Hegel and Thorvaldsen were born within a few months of each other in
the year 1770. Nor was it a mere accident that Hegel best understood
that side of Goethe's nature which turned towards Greece.
Public-domain text, read in full here on John Shaqi.
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