The Development of the Feeling for Nature in the Middle Ages and Modern TimesBiese, Alfred
History
The Development of the Feeling for Nature in the Middle Ages and Modern Times
Biese, Alfred
Nature; Nature in literature
The eighteenth century, so proudly distinguished as the century of
Frederic the Great and Maria Theresa, Kant and Lessing, Rousseau and
Voltaire, the age of enlightenment, and, above all, of the
Revolution, was the most sentimental period in history. Its feeling
for Nature bore the same stamp. Many of the Anacreontists and
Göttingen poets, as well as Klopstock, shewed genuine enthusiasm; but
their horizon was narrow, and though F. Stolberg sang of the sea and
his native mountains, most of them only rang the changes on moonlight
and starlight, pastoral idylls, the joys of spring, and winter
excursions on the ice. Even Rousseau, the prophet of high mountains,
was the child of the same sentimental, self-adoring time; a morbid
strain, call it misanthropy, melancholy, what you will, underlay all
his passion for Nature. It was Goethe who dissolved the spell which
lay over the world, and, although born into the days of beautiful
souls, moonshine poets, seraphic heaven stormers, pastoral poems, and
_La Nouvelle Héloise_, ennobled and purified the tone of the day and
freed it from convention!
It was by dint of his genius for expression, the gift of finding the
one right word, that he became the world's greatest lyrist: what he
felt became a poem, what he saw a picture.
To see and to fashion into poetry were one with him, whereas his
predecessors had called out the whole artillery of Olympus--nymphs,
Oreads, Chloe, Phyllis, Damon, Aurora, Echo, and Zephyr--even the
still heavier ordnance of the old Teutonic gods and half-gods, only
to repeat stereotyped ideas, and produce descriptions of scenery,
without lyric thought and feeling.
But Goethe's genius passed through very evident stages of
development, and found forerunners in Lessing and Herder.
Lessing's mind was didactic and critical, not lyric, so that his
importance here is a negative one. In laying down the limits of
poetry and painting in _Laocoon_, he attacked the error of his day
which used poetry for pictures, debasing it to mere descriptions of
seasons, places, plants, etc.
He was dealing with fundamental principles when he said:
Public-domain text, read in full here on John Shaqi.
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