Main Currents in Nineteenth Century Literature – 3. The Reaction in France

Georg Brandes

Georg Brandes

Main Currents in Nineteenth Century Literature – 2. The Romantic School in Germany

"Allen Gewalten

Zum Trutz sich erhalten,

Nimmer sich beugen …"

    – GOETHE.

"Philosophiren ist dephlegmatisiren, ist vivissciren."

    – NOVALIS.

INTRODUCTION

The task of giving a connected account of the German Romantic School is, for a Dane, an arduous and disheartening one. In the first place, the subject is overwhelmingly vast; in the second, it has been treated again and again by German writers; and, lastly, these writers, in their division of labour, have entered so learnedly into every detail, that it is impossible for a foreigner, one, moreover, to whom the sources are not always accessible, to compete with them in exhaustive knowledge. From their childhood they have been familiar with a literature with which he first makes acquaintance at an age when assimilation, in any quantity, has become a much more difficult process. What the foreigner must rely on is, partly the decision with which he takes up and maintains his personal standpoint, partly the possibility that he may display qualities which are not characteristic of the native author. Such a quality in the case in point is the artistic faculty, the faculty, I mean, of representation, of externalisation. The German nature is so intense and profound that this faculty is comparatively rare. The foreigner has, moreover, this advantage over the native, that it is easier for him to detect the mark of race – that in the German author which stamps him as a German. The German critic is too apt to consider "German" synonymous with "human being," for the reason that the human beings he deals with are almost always Germans. The foreigner is struck by characteristics which are overlooked by the native, sometimes because he is so accustomed to them, more frequently because he himself possesses them.

There are many works to be criticised and classified, many personalities to describe. My aim will be to present these personalities and works in as firm and sharp outline as possible, and, without giving undue attention to detail, to throw light upon the whole in such a manner that its principal features will stand out and arrest the eye. I shall endeavour, on the one hand, to treat the history of literature as humanly as possible, to go as deep down as I can, to seize upon the remotest, innermost psychological movements which prepared for and produced the various literary phenomena; and on the other hand, I shall try to present the result in as plastic and tangible a form as possible. If I can succeed in giving shape, clear and accurate, to the hidden feeling, the idea, which everywhere underlies the literary phenomenon, my task will be accomplished. By preference, I shall always, when possible, embody the abstract in the personal.

First and foremost, therefore, I everywhere trace the connection between literature and life. This is at once proved by the fact that, whereas earlier Danish literary controversies (that between Heiberg and Hauch, for example, or even the famous one between Baggesen and Oehlenschläger) were kept entirely within the domain of literature and dealt exclusively with literary principles, the controversy aroused by the first volume of this work has entailed, quite as much from the nature of the work as from the irrationality of its opponents, the discussion of a multitude of moral, social, and religious questions. The Danish reaction, feeling itself to be akin to the one I am about to depict and unmask, has attempted to suppress the movement which it recognised to be antagonistic to itself – but so far with little prospect of success. A French proverb says: Nul prince n'a tué son successeur.

When, however, the connection between literature and life is thus emphasised, the delineations and interpretations of men and their books by no means produce what we may call drawing-room history of literature. I go down to the foundations