The German Classics of the Nineteenth and Twentieth Centuries, Volume 07: Masterpieces of German Literature Translated into English. in Twenty Volumes
Philosophy
The German Classics of the Nineteenth and Twentieth Centuries, Volume 07: Masterpieces of German Literature Translated into English. in Twenty Volumes
German literature -- 19th century -- Translations into English; German literature -- 20th century -- Translations into English
No wonder, then, that thinking men, like Heine and Gutzkow, were fairly
forced by circumstances into playing the game. No wonder that their
tales, novels, and dramas became in many cases editorials to stimulate
and guide public thought and feeling in one direction or another. This
swirl of agitation put a premium upon a sort of rapid-fire work and
journalistic tone, quite incompatible with the highest type of artistic
performance. While the Young Germans were all politically liberal and
opposed to the Confederate Council and to the Metternich program, they
were in many ways more cosmopolitan than national in temper.
The foregoing may serve to show the only substantial ground for the
charge of didacticism, frequently lodged by their critics against the
writers of the school. For it is beside the mark to speak of their
opposition to romanticism as a ground for the charge in question. They
were all, to be sure, anti-Romanticists. They declined to view life
through roseate-hued spectacles or to escape the world of everyday
reality by fairy-tale flights into the world of the imagination. They
called upon men to discover by clear-eyed vision not only the beauties
but also the defects of contemporary social existence. They would employ
literature, not as an opiate to make us forget such defects, but as a
stimulant to make us remedy them. Hence their repeated exhortations to
use the senses and to trust them as furnishing the best kind of raw
material for legitimate art. Hence also their protests against the
bloodless abstractions of the Nazarene school of painting and to
transcendental idealism in art and literature. They cultivated art, not
for its own sake, but for the sake of a fuller, saner, and freer human
life. In this sense they were didactic; but they were no more didactic
than the Romanticists and the Pseudo-Classicists who had preceded them.
In their earnest contention for an organic connection between German
life and German art and literature they were hewing more closely to the
line of nature and truth than any other Germans since the time of
Herder.
Public-domain text, read in full here on John Shaqi.
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