German Romanticism  

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:"What is [[Classical]] is [[healthy]]; what is [[Romantic]] is [[sick]]." --[[Goethe]] :"What is [[Classical]] is [[healthy]]; what is [[Romantic]] is [[sick]]." --[[Goethe]]
-In the [[philosophy]], [[art]], and [[culture]] of [[German language|German]]-speaking countries, '''German Romanticism''' was the dominant movement of the late 18th and early 19th centuries. German Romanticism developed relatively late compared to its [[English language|English]] counterpart, coinciding in its early years with the movement known as [[German Classicism]] or [[Weimar Classicism]], which it opposed. In contrast to the seriousness of English Romanticism, the German variety is notable for valuing humor and wit as well as beauty, although there is also a [[Dark Romanticism|dark strain of romanticism]], called [[Schwarze Romantik]].+In the [[philosophy]], [[art]], and [[culture]] of [[German language|German]]-speaking countries, '''German Romanticism''' was the dominant movement of the late 18th and early 19th centuries. German Romanticism developed relatively late compared to its [[English language|English]] counterpart, coinciding in its early years with the movement known as [[German Classicism]] or [[Weimar Classicism]], which it opposed. In contrast to the seriousness of English Romanticism, the German variety is notable for valuing humor and wit as well as beauty, although there is also a [[Dark romanticism|dark strain of romanticism]], called [[Schwarze Romantik]].
The early German romantics tried to create a new synthesis of art, philosophy, and science, looking to the [[Middle Ages]] as a simpler, more integrated period. As time went on, however, they became increasingly aware of the tenuousness of the unity they were seeking. Later German Romanticism emphasized the tension between the everyday world and the seemingly irrational and supernatural projections of creative genius. [[Heinrich Heine]] in particular criticized the tendency of the early romantics to look to the medieval past for a model of unity in art and society. The early German romantics tried to create a new synthesis of art, philosophy, and science, looking to the [[Middle Ages]] as a simpler, more integrated period. As time went on, however, they became increasingly aware of the tenuousness of the unity they were seeking. Later German Romanticism emphasized the tension between the everyday world and the seemingly irrational and supernatural projections of creative genius. [[Heinrich Heine]] in particular criticized the tendency of the early romantics to look to the medieval past for a model of unity in art and society.
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Key works include ''[[The Sorrows of Young Werther]]'' ([[1774]]) by Goethe, ''[[Lucinde]]'' and ''[[Nightwatches]]'' (1804) by [[Bonaventura]] Key works include ''[[The Sorrows of Young Werther]]'' ([[1774]]) by Goethe, ''[[Lucinde]]'' and ''[[Nightwatches]]'' (1804) by [[Bonaventura]]
-[[Schwarze Romantik]] 
-Die Schwarze Romantik war eine literarische Strömung innerhalb der Romantik, die deren irrationale, melancholische Züge betonte und sich auch von der Gestaltung menschlichen Wahnsinns fasziniert zeigte. Bekannte Vertreter waren E. T. A. Hoffmann, Edgar Allan Poe, Charles Baudelaire, H.P. Lovecraft und Lord Byron. 
- 
-Ende des 18. Jahrhunderts bildete sich in England eine eigene Stilrichtung aus, die Gothic-Novel, die sich mit Schauerromanen beschäftigte. Ein besonderes Werk dieser Strömung stellt der stark von der englischen Dichtung beeinflusste romantische Roman Nachtwachen dar, den Ernst August Friedrich Klingemann unter dem Pseudonym „Bonaventura“ veröffentlichte. --http://de.wikipedia.org/wiki/Schwarze_Romantik [Dec 2006] 
- 
-I found the article above on Schwarze Romantik (Eng: black or dark romanticism, see also here) at Wikipedia. I was working on my giallo fiction page and thinking about the roots of European exploitation culture. In English, these can easily be traced to the gothic novel (although it is still unclear to me when the term gothic novel was first coined). My thesis is that the gothic sensibility can be traced in most European literatures. Every European country also had its own terminology to denote the sensibility of the gothic novel. In France it was called the roman noir ("black novel", now primarily used to denote the hardboiled detective genre) and in Germany it was called the Schauerroman ("shudder novel"). Italy and Spain must have had their own, but I am unaware of their names as of yet. In nineteenth century France there also flourished a literature of horror on a par with the English Gothic novel or the German Schauerroman. It was christened 'le roman frénétique'. 
- 
-Back to Schwarze Romantik. The term can probably be traced to the 1963 German translation of Mario Praz's La carne, la morte, e il diavolo nella letteratura romantica. The German title of this translation is Liebe, Tod und Teufel. Die schwarze Romantik. 
- 
-While I would like to believe that the roots of the gothic novel are rooted in the darker strains of German Romanticism, this cannot be substatiated as of yet. Granted, the term gothic in the 17th and 18th centuries refers to Germany, and writers such as Schiller, Hoffmann and Klingemann seem to predate much of the gothic fiction of the UK, but there is of course a whole range of gothic novels that predate these three German authors, most notably: The Castle of Otranto: A Gothic Story (1764) - Horace Walpole, Vathek, an Arabian Tale (1786) by William Beckford, The Mysteries of Udolpho (1794) - Ann Radcliffe and The Monk (1796) - Matthew Lewis. Most probably there was a substantial cross-fertilization between German, French, English and other continental strains of dark romanticism that is dealt with at Jahsonic as fantastic literature. 
- 
-P. S. In France, the Romantic Agony was published in 1966 as La Chair, la mort et le diable, le Romantisme noir. 
Die Räuber (1781) - Friedrich Schiller Die Räuber (1781) - Friedrich Schiller

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"What is Classical is healthy; what is Romantic is sick." --Goethe

In the philosophy, art, and culture of German-speaking countries, German Romanticism was the dominant movement of the late 18th and early 19th centuries. German Romanticism developed relatively late compared to its English counterpart, coinciding in its early years with the movement known as German Classicism or Weimar Classicism, which it opposed. In contrast to the seriousness of English Romanticism, the German variety is notable for valuing humor and wit as well as beauty, although there is also a dark strain of romanticism, called Schwarze Romantik.

The early German romantics tried to create a new synthesis of art, philosophy, and science, looking to the Middle Ages as a simpler, more integrated period. As time went on, however, they became increasingly aware of the tenuousness of the unity they were seeking. Later German Romanticism emphasized the tension between the everyday world and the seemingly irrational and supernatural projections of creative genius. Heinrich Heine in particular criticized the tendency of the early romantics to look to the medieval past for a model of unity in art and society.


Key people of German Romanticism include Goethe, Novalis, and E. T. A. Hoffmann

Key works include The Sorrows of Young Werther (1774) by Goethe, Lucinde and Nightwatches (1804) by Bonaventura

Die Räuber (1781) - Friedrich Schiller

In search of Romanticism

The German poet, Schiller, was enchanted by the thick walls of the Landštejn castle and laid the scene of his play "The Robbers" in the surrounding forests.

Die Räuber (The Robbers) is playwright Friedrich Schiller's (1759 – 1805) first drama.

Colin Wilson in the chapter "The Romantic Outsider" in his extended essay on existentialism The Outsider says that "Nietzsche quotes somewhere a German military as saying "If God had foreseen the Robbers he would not have created the world."" It should come as no surprise than that in 1781, Friedrich Schiller is arrested after the first performance of his play, The Robbers. This illustrates the subversive nature of the Romantic movement.

Wikipedia says: 

   The Robbers is considered by critics like Peter Brooks to be the first European melodrama. The play pits two brothers against each other in alternating scenes as one quests for money and power, while the other attempts to create a revolutionary anarchy in the Bohemian Forest. The play strongly critiques the hypocrisy of class and religion, the economic inequities of German society, and conducts a complicated inquiry into the nature of evil. The language of The Robbers is highly emotional and the depiction of physical violence in the play marks it as a quintessential work of Germany's Storm and Stress movement (Sturm und Drang).

Colin Wilson seems to imply that romanticism was born in Germany rather than England as is sometimes believed. From The Outsider:

"In England, German romanticism was introduced when Coleridge translated Schiller and Byron published Childe Harold (1812 - 1818)."

Contents

Key works

Lucinde (1799) is an unfinished romance by Karl Wilhelm Friedrich von Schlegel. For details on its publishing history and obscenity trial, see Ludwig Marcuse's Obscene (1962).


Hoffmann and German Romanticism

German romanticism seems to have interacted with the Gothic craze in England by fairly direct translation. Hoffmann's first literary work, and only completed novel Die Elixiere des Teufels (The Devil's Elixir) was written in 1816, and translated into English in 1824, thence to a stage production (by Fitzball) with the alactricity characterising the period (as far as decadent young monks were concerned, anyhow). Hoffmann can, even in his short stories, be described as gothic; but if you take the term 'gothic' in its literal sense this is hardly surprising. --http://www.tabula-rasa.info/DarkAges/Hoffmann.html [Apr 2006]

Literary and philosophical figures

Composers

  • Carl Maria von Weber. Perhaps the very first of Romantic musicians, if we exclude Beethoven, in the sense that Weber was the first major composer to emerge as a wholesome product of the Romantic school, as contrasted with Beethoven, who had started off as a Classicist (see below). The emotional intensity and supernatural, folklore-based themes in his operas presented a radical break from the Neoclassical traditions of that time.
  • Franz Schubert. Universally acknowledged as the greatest composer of German Lieder; called 'the most poetic musician ever' by Franz Liszt.
  • Robert Schumann. Primarily a miniaturist of piano music, his works recall the nostalgia of lost childhood innocence, first love, and the magnificence of the German countryside. As an influential critic, he played a major role in discovering new talents, among them Chopin and Brahms. He stands at the forefront of German Romantics.
  • Felix Mendelssohn Bartholdy. A composer of the Early Romantic period, together with such figures as Schumann, Chopin and Liszt. One of the persons responsible for reviving interest in the almost-forgotten music of Johann Sebastian Bach.
  • Franz Liszt. Liszt was by nationality a Hungarian, but nevertheless he spent much of his most fruitful years in Germany, and his first language was German. His flamboyant style, seen in such pieces as his 'Hungarian Rhapsodies', the first piano concerto, the 'la Campanella' Etude, and the 'Fantasia on Hungarian Themes', makes him the 'Byron' of Romantic music. Credited as the inventor of the tone poem. In his old age, Liszt adopted a more dissonant, ominous flavour, characteristic works being 'la Lugubre Gondola' and 'Die Zelle in Nonnenwerth'--predating Impressionism and 20th century atonalism.
  • Johannes Brahms. His works are cast in the formal moulds of Classicism; he had a profound reverence for Beethoven. Brahms was also attracted to the exoticism of Hungarian folk music, and used it to good effect in such pieces as his famous 'Hungarian Dances', the final movement of his violin concerto, and the 'Rondo alla zingarese' from the piano quartet.
  • Richard Wagner. The greatest composer of German opera; was an exponent of Leitmotif. One of the main figures in the so-called War of the Romantics.
  • Ludwig van Beethoven. Considered by many to be the greatest composer who ever lived. In his earlier works, Beethoven was a Classicist in the traditions of Mozart and Haydn (his tutor), but his Middle Period, beginning with his third symphony (the 'Eroica'), bridges the worlds of Classical and Romantic music. Because Beethoven wrote his greatest music after he became totally deaf, he embodies the Romantic ideal of the tragic artist who defies all odds to conquer his own fate. His later works portray the triumph of the human spirit, most notably his 'Choral' Symphony No. 9; the stirring 'Ode to Joy' from this symphony has been adopted as the anthem of the European Union.

Visual Artists

See also


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