
 
 <V\F-l!WIVFPV/>.
 
 ? ^ 
 iaiB^ 
 
 <5ttEUNIVER% 
 g\ a'& 
 
 ^^^^K 5 
 
 g^^TK>^ 
 
 ARYOf 
 
 VERS//, 
 
 rc n I irnr
 
 MORITZ VON SCHWIND S DES KNABEN WUNDERHORN
 
 AN OUTLINE OF 
 GERMAN ROMANTICISM 
 
 17661866 
 
 BY 
 
 ALLEN WILSON PORTERFIELD 
 
 INSTRUCTOR IN GERMAN, BARNARD COLLEGE 
 COLUMBIA UNIVERSITY 
 
 GINN AND COMPANY 
 
 BOSTON NEW YORK CHICAGO LONDON
 
 COPYRIGHT, 1914, BY ALLEN WILSON PORTERFIELD 
 ALL RIGHTS RESERVED 
 
 gfte fltbtnaum 
 
 GINN AND COMPANY- PRO- 
 PRIETORS BOSTON U.S.A.
 
 "PT 
 
 
 
 TO 
 
 TEACHERS WHO TEACH 
 
 AND STUDENTS WHO STUDY 
 
 GERMAN ROMANTICISM
 
 PREFACE 
 
 This outline was prepared for the benefit of advanced 
 students and those who teach advanced students. Suggested 
 by unforgetable experience, it is the outgrowth of an im- 
 pelling desire to enrich the efforts of those who give and 
 ^to clarify the labors of those who receive. An attempt 
 ft has been made to compile a textbook, a sort of literary 
 * almanac, that, would cost but little in money and would 
 save much time. 
 
 Neither history nor prophecy can point to a century so 
 Q abounding in spiritual phenomena as the one between 1 766 
 *" and 1 866, and the middle half of it is the richest. And the 
 period from 1790 to 1815, the age of systematic Roman- 
 Jticism, admits 'of so many different methods of approach, 
 j that unless the master is able to eliminate the conventional, 
 (1- the scattered facts about which there is no dispute, the dis- 
 \ ciple will not be able to assimilate the essential, the mean- 
 ing of the literature itself, about which there is so much 
 discussion and on which, incidentally, the course is really 
 supposed to be given. Data are as important in literature 
 as in science ; fancy always starts from facts. But when a 
 teacher of literature is giving facts, he is giving what can 
 be derived from many other sources, he is being unoriginal. 
 When he is giving his own interpretation of the literature, 
 he is giving, even though he may have written a book on the 
 same subject, otherwise inaccessible material, he is being 
 
 [v]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 original. Originality is as indispensable in the teaching 
 of literature as in the writing of it. This outline contains 
 the facts ; the interpretation of the literature that grew out 
 of these must come from him who uses the outline. There 
 is every reason to believe that such interpretation will 
 come more easily and abundantly by using it. There is 
 even reason to believe that with the help of this outline 
 the course on German Romanticism can be begun where 
 it would otherwise almost stop. 
 
 Though the first of its kind, this outline is not in- 
 tended as a contribution to literature, but to the teaching 
 of literature. It is original only in conception and selection 
 and arrangement. The greater part of the information 
 it contains can be found in the " Allgemeine deutsche 
 Biographic," biefem grofeen $rtebrjof betttfrfjcn eifte3lcben3, 
 in Goedeke's " Grundriss," in various manuals Meyer, 
 Nollen, Battels and in some histories of German litera- 
 ture Meyer, Riemann, Koch, Kluge, Konig, Kummer, 
 and especially Kummer. But for the student, and even 
 the teacher, of the Romantic period, there is always some- 
 thing wrong with these works. They are sold at a prohib- 
 itive price, or they are, for this and that reason, not at hand, 
 or they contain a good deal of ungermane, unavailable 
 and ungrouped material. The matter must be systematized, 
 the writers must be coordinated, if the student is to get a 
 clear conception of the parts to the whole and of the whole 
 as a movement. It disconcerts the beginner, and a depress- 
 ing majority of " advanced " students in America are be- 
 ginners, to find Brentano treated on the same page with 
 Novalis, Arndt discussed before Kleist, Lenau lifted out 
 of the movement and placed in a chapter on pessimism, 
 
 [vi]
 
 PREFACE 
 
 Grillparzer made a Romanticist, and so on. And as to 
 inaccessible books, Goedeke is replete with references to 
 works unattainable in this country and difficult of access 
 in Germany. Any general history of German literature of 
 about five hundred pages discusses about eight hundred 
 different writers. Manifestly in such a work facts and 
 interpretation must walk lock-step, so that it is impossible 
 to make the one complete by condensation or the other 
 definitive by elaboration. But by giving undisturbed atten- 
 tion to a single phase of a single period, it is possible to 
 settle one thing : it is possible to reduce the Philistinism 
 of the course to a minimum and thereby enable the students 
 to spend their limited time on that which is eternally worth 
 while, on the literature pure and simple. 
 
 This outline aims always at general thoroughness, never 
 at specific completeness. The works listed fall into two 
 classes : Literature and treatises on Literature. Of the 
 latter, no one has ever read them all ; it would be a loss of 
 time to do so since they repeat more or less. But some are 
 in one library, some are in another. The striking features 
 of the writer have, in each case, been kept rigidly in mind 
 in making the selection ; each work is listed but once, where 
 it most logically belongs ; and the number of pages is always 
 given. Haym's classic treatise consists of 951 pages, while 
 Bern's excellent monograph on the Romantic School in 
 Germany and France has only 23. Jean Paul's " Titan " 
 is a novel with a short title and consists of 1287 pages, 
 while Kleist's " Das Bettelweib von Locarno " is a sort of 
 novel with a longer title and consists of 3 pages. The 
 student should be warned as to the size of his impending 
 task. The biographical resumes are omitted when not 
 
 [vii]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 relevant ; they are short when the author bears a somewhat 
 indirect relation to the movement, otherwise they are fuller 
 but, for good and sufficient reasons, in synoptic form ; while 
 they are written out in the case of Tieck and Novalis, 
 Arnim and Brentano, Kleist and Heine. Abbreviations are 
 not used. There is no cToubt but that @rdgl($ can stand 
 for (Stubten gur bergtetdjcnben itcraturgefd)id)te, but, to the 
 American student at least, seven such consonants look 
 cryptic and repel. German orthography has not been 
 modernized (the Romanticists delighted in archaic forms) 
 unless the old form was unpleasantly conspicuous. The 
 theologians and scientists and philosophers are given but 
 little space ; they did not write literature, nor did they write 
 directly about it. They are, however, important " facts," 
 to which attention should be called. The musicians and 
 painters are given a little more space, for they were 
 artists expressing their ideas in sounds and colors rather 
 than in vocables. A course is attached for the benefit of 
 the college student as over against the university student. 
 It contains those works with which the graduate student 
 should be familar at the beginning of his course. 
 
 All references to " Warner's Library," to the " Biblio- 
 thek der deutschen Klassiker," to Kurschner unless there 
 is no other reference, to the " Allgemeine deutsche Bio- 
 graphic," to texts in German and English, valuable as these 
 sometimes are, to (Srtauteritngen and their like, and to 
 Klopstock and the ottinger Qam at the beginning and 
 to Grillparzer at the end have been omitted ; so has all 
 reference to Richard Wagner, born two years before 
 Robert Franz. Popularly speaking, these things and these 
 men belong here ; accurately speaking, they do not.
 
 PREFACE 
 
 Despite these omissions and the unbroken silence as to 
 Romanticism in England and France, this outline contains 
 those basic facts the existence of which is indisputable and 
 the importance of which is undeniable. But they are only 
 collected and prefaced. To go one step further would be 
 to encroach upon the independence of the instructor, to 
 enter into the interesting but infinite realm of interpreta- 
 tion, about which there will always be differences of opinion 
 and for which time and space and an audience are indis- 
 pensable. It is therefore plain that, though some of this 
 outline has been composed, more of it has been compiled. 
 To compile accurately is difficult, especially when the 
 sources differ, and there may be some errors in this com- 
 pilation. Notices of such (with the proofs), from mis- 
 spelling to bad judgment, will be gratefully received and 
 promptly utilized. It is at present my happy privilege to 
 acknowledge my sincere indebtedness to the proofreaders 
 of the Athenaeum Press, and to Mr. Giinther Keil, A.B., 
 who read the manuscript with extreme care and made a 
 number of helpful suggestions pertaining both to form 
 
 and to content. 
 
 A. W. P. 
 
 NEW YORK 
 
 [ix]
 
 CONTENTS 
 
 PART ONE 
 
 PAGE 
 
 INTRODUCTION xv 
 
 SECTION 
 
 I. THE WRITERS OF BEST SELLERS 3 
 
 C. F. Nicolai, J. J. Engel, J. H. Voss, A. H. J. Lafontaine, 
 Iffland, Kotzebue, K. Pichler, J. F. Rochlitz, Clauren, 
 Tromlitz, Raupach 
 
 II. STORM AND STRESS 8 
 
 Herder, Goethe, Schiller, J. G. Hamann, J. K. Lavater, 
 F. H. Jacobi, H. W. von Gerstenberg, J. M. R. Lenz, 
 F. M. von Klinger, Leisewitz, H. L. Wagner, Fr. Miiller, 
 J. J. W. Heinse, C. Stolberg, F. L. Stolberg, C. F. D. 
 Schubart 
 
 III. THE CLASSICISTS OF WEIMAR 15 
 
 Goethe, Schiller 
 
 IV. THE TRANSITIONALS 22 
 
 Richter, Holderlin 
 
 V. THE WRITERS OF THE BERLIN-JENA GROUP 30 
 
 JTifick, Wackenroder, Npyajis^A. W. Schlegel, Fr. 
 Schlegel 
 
 VI. THE FATE DRAMATISTS 47 
 
 Houwald, Miillner, Werner 
 
 VII. THE WRITERS OF THE HEIDELBERG GROUP 54 
 Arnim, Brentano, Chamisso, Eichendorff, Uhland
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 SECTION PAGE 
 
 VIII. THE SIDE LIGHTS 72 
 
 Alexis, Arndt, Droste-Hiilshoff, Fallersleben, Fouque, 
 Freiligrath, Geibel, Grabbe, Grim, Halm, Hauff, Heine, 
 Herwegh, Hoffmann. Immermann, Kerner, KJeist, Kb'r- 
 ner, Lenau, Mnpke, w. Miiller, Nestroy, Platen, Raimund, 
 Riickert, Schenkendorf, E. Schulze, Schwab, Stifter, 
 Waiblinger 
 
 IX. THE WRITERS OF YOUNG GERMANY 139 
 
 Varnhagen, Borne, Menzel, Wienbarg, Laube, Mundt, 
 Gutzkow, BUchner 
 
 PART TWO 
 
 I. THE BACKGROUND 149 
 
 \JlI. SOME DEFINITIONS 172 
 
 III. GENERAL TREATISES 188 
 
 IV. GENERAL TREATISES ON SPECIAL PHASES . 193 
 
 V. SECTIONAL TREATISES IN GENERAL HISTO- 
 RIES 201 
 
 VI. LETTERS OF THE MAIN ROMANTICISTS ... 207 
 
 VII. THE ROMANTIC MAGAZINES 211 
 
 VIII. FOLLOWERS OF THE BERLIN-JENA GROUP . . 217 
 
 IX. FOLLOWERS OF THE HEIDELBERG GROUP . . 220 
 
 X. THE PHILOSOPHERS . . 224 
 
 Kant, Fichte, Schleiermacher, Hegel, Schelling, Fries, 
 Herbart, Schopenhauer, F. E. Beneke, Feuerbach, D. F. 
 Strauss 
 
 XI. THE MUSICIANS 233 
 
 Kreutzer, Spohr, Weber, Silcher, Marschner, Lowe, 
 Schubert, Nicolai, Schumann, Lortzing, Mendelssohn, 
 Franz 
 
 [Xii]
 
 CONTENTS 
 
 SECTION PAGE 
 
 XII. THE ROMANTIC PAINTERS 244 
 
 K. D. Friedrich, P. O. Runge, Peter Cornelius, Franz Pforr, 
 Fr. Overbeck, F. W. Schadow, Ph. Veit, J. Schnorr von 
 Carolsfeld, K. Rottmann, Joseph von Fiihrich, A. L. 
 Richter, M. v. Schwind, Fr. Preller, W. v. Kaulbach, J. W. 
 Schirmer, K. F. Lessing, K. Spitzweg, Eduard Steinle, 
 K. W. Hiibner, Andreas Achenbach, Alfred Rethel 
 
 XIII. AN INTRODUCTORY COURSE 255 
 
 INDEX . . 261
 
 INTRODUCTION 
 
 The equitable and unbiased study of a comprehensive 
 literary movement necessitates calm, disinterested objec- 
 tivity, which, in turn, is a matter of perspective, of what 
 Nietzsche may have meant by $|8atf)o ber S)tftan. We 
 must see the movement afar off ; it must all be over. And 
 we must study not only the movement itself but also the 
 phenomena that provoked it as well as those that it pro- 
 voked. Systematic German Romanticism is over. As a 
 movement it was of far-reaching consequence, beginning 
 and ending gradually. It requires, therefore, something 
 resembling audacity to set up a certain year and say, with 
 this it began, and then to set up another and say, with 
 this it closed. Safety, from the standpoint of ultimate 
 thoroughness, however, prompts the inclusion of an entire 
 century, while a number of things suggest 1 766 and 1 866 
 as the beginning and the end of the movement. In actu- 
 ality, 1767 would be a trifle better than 1766, but then 
 1867 would not do, hence a little juggling with dates. 
 
 In 1 767 A. W. Schlegel, the oldest of the old Roman- 
 ticists, and W. v. Humboldt, one of the greatest scientists 
 of the movement, were born. We do not, however, date 
 spiritual movements from the birth of the children of * 
 men, but from the birth of the children of the minds of 
 men. It was in this same year that Lessing started his 
 " Dramaturgic," anticipating Schlegel in his admiration of 
 
 [xv]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Shakespeare. And more important than this, for Roman- 
 ticism, was Herder's " Fragmente," strongly influenced by 
 Lessing's " Literaturbriefe," and suggesting, sometimes 
 in a naive way, literally a host of ideas later to be devel- 
 oped, in a scientific way, by the members of the Romantic 
 fraternity. These works were conceived in 1 766, the year, 
 incidentally, of Wieland's "Agathon," really the first of 
 that long series of Romantic SBtlbuncjSromane that termi- 
 nated with Immermann's " Epigonen " in 1835. German 
 Romanticism started in 1766. 
 
 In 1866 the war between Prussia and Austria was 
 closed by the Peace of Prague. Riickert, who did more 
 than anyone else to introduce exotic verse and strophe 
 forms Romantic forms into German literature, died, 
 leaving only Morike and Geibel, and Herwegh and Fallers- 
 leben, to perpetuate the tradition. Reuter, Lingg and 
 Heyse were looming up, and Spielhagen finished " In Reih 
 und Glied." But one of the most significant happen- 
 ings of this year was the appearance of Ibsen's " Brand." 
 Though the letter of " Brand " was not translated into 
 x/ German until 1872, its spirit was transferred to Germany 
 immediately. Then, Ibsen is German anyhow to a large 
 degree. And if one wishes to get a clear idea of the differ- 
 ence between Romanticism alive and dead, let him read, 
 say, Novalis' " Die Christenheit oder Europa," and Ibsen's 
 " Brand " with its powerful though blatant defamation of 
 the Church and its reference to the ecclesiastical Trinity 
 of Setdjtftnn, SSafynjtnn and tumpfftnn at the end of the 
 first act. For such works to become predominant, Ro- 
 manticism must be dead. And concerning Ibsen, Paul 
 Schlenther wrote : Gj tear etne Suft 511 leben, fotange oetfje 
 
 [xvi]
 
 INTRODUCTION 
 
 unb emitter fd)iifen ; e ttmr etne Siift gu leben, folange bie 
 Stomantif blufjte nun ttmr e3 ttneber etne Suft 511 leben, 
 bcnn mit un lebte ein 2)irf)ter, ber ben Snfyalt unferer 3ett in 
 etgene ^)dnbe nafym. German Romanticism closed in 1866. 
 
 And between these two dates we have the Romantic 
 movement, passing, like a great book-drama, through seven 
 rather sharply defined stages as follows : Prelude, 1 740- 
 1766; Genesis, 1766-1790; Rise, 1790-1798; Pros- 
 perity, 1798-1815; Decline, 1815-1848 ; Attenuation, 
 1848-1866; Postlude, 1866-1890. 
 
 The two conflicting parties in this drama were the head 
 and the heart, reason and fancy, skepticism and mys- 
 ticism, the objective and the subjective, the natural and 
 the strange, the plastic and the picturesque, the prescribed 
 and the elective, the Stoic and the Epicurean, the French 
 garden and the English garden, the paved road and the 
 pathless woods, the pond and the race, day and night, the 
 sun and the stars, and so on and on, for it just happens 
 that this world is built on a dual plan. It is the existence 
 of day, for example, that makes night possible. The sig- 
 nificant events in the five acts of this drama are out- 
 lined in the body of this book. It remains but to give the 
 plot of the drama as such and to say a few words about the 
 phenomena that preceded Romanticism and those that 
 followed about the prelude and postlude. 
 
 A great stage drama, even one that develops a " Eurip- 
 idean situation," and the action of which covers but a 
 single day, is always preceded by a long, entangling series 
 of anticipatory events. Romanticism also had its pre- 
 cursory symptoms, a very few of which were the following : 
 In 1740 Bodmer published his "Abhandlung von dem 
 
 [ xvii ]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Wunderbaren in der Poesie und dessen Verbindung mit 
 dem Wahrscheinlichen." Among other things, Bodmer 
 said : $5er ^oet beliimmert fid) ntdjt urn bag SSafjre beg $er- 
 ftanbeg; er tjat genug an bem 9Saf)tfd)etnttd)en ; biefeg i[t 
 SSafyrfjeit unter fcorauggefetjten 23ebingungen ; eg ift SSatjreg, 
 fofern atg bte Singe iinb bte ^fyantafie toahrljaft finb ; eg ift 
 auf bag 3eugntg bcrfetben gebauet. In 1741 Count von 
 Borgk translated Shakespeare's " Julius Caesar " into Ger- 
 man, and followed it up a few years later with " Romeo und 
 Julia," thus anticipating Graf Wolf Baudissin (1789 
 1878), Herwegh, A. W. Schlegel, Simrock, Tieck and 
 Wieland in the study of Shakespeare. In 1743 Bodmer 
 published his " Abhandlung von den vortrefflichen Um- 
 standen fur die Poesie unter den Kaisern aus dem schwabi- 
 schen Hause," and in 1748 and 1758 and 1759 he and 
 Breitinger published selections from the " Nibelungenlied " 
 and the Minnesingers. In 1748 Klopstock brought out 
 the first three cantos of his " Messias," giving thereby new 
 life, new possibilities to the German language and creating 
 interest, in an indirect way, in the great epics of the Middle 
 Ages. In 1758 Lessing, whose interest in the first Classical 
 period was now awakened, said of the Old German songs 
 that Charlemagne had collected : O ( toenn fie nod) t)or= 
 fyonben nwen ! In 1749 Ewald von Kleist published " Der 
 Friihling," endowing nature with a meaning undreamed of 
 by Lessing. When Kleist greets the unmade pathways of 
 the forest with ^tjr biinflen etnfamen tinge, bte tfyr ba3)en!en 
 ertjcttt, he is anticipating Tieck with a vengeance. Then 
 came 1762, with Rousseau's " Contrat " and " Emile," and 
 the beginning of Wieland's translation of Shakespeare. In 
 1763 the Seven Years' War was closed and real German 
 
 [ xviii ]
 
 INTRODUCTION 
 
 patriotism began. And from then on, men like Bodmer, 
 Breitinger, Burger, Gleim, Holtz, C. H. Myller and Voss 
 were at work in the Mediaeval field, either as scholars or 
 as poets. 
 
 In short, in the science of literary history,, nationalism, 
 Mediaeval Germany, nature, mythology, the literatures of 
 other lands, aesthetics, in all of these interest was being N 
 awakened during the twenty-five years preceding the Storm 
 and Stress period, an interest so reasonable that one should 
 neither wonder overmuch at the ultimate elaborateness of 
 the Romantic programme, nor admire unreservedly and 
 without retrospection the excellence and apparent origi- 
 nality of its chief landmarks. " Des Knaben Wunder- 
 horn " was a real accomplishment ; but the first collector 
 of Old German songs was C. F. Nicolai, who published in 
 1777 his " Feyner, Kleyner Almanach." Nothing seems 
 new except the oldest. The Romanticists did some lasting 
 work along the line of aesthetics, Ibut as early as 1750 
 A. G. Baumgarten, professor at Frankfurt on the Oder, 
 began to publish his " Aesthetica," appealing with all his 
 power, based on long and deep study, for (Stnbttbungsfraft, 
 Smpfinbiing, ef iifyl, $rtjrf)e, eftaltenfiiffe, and not simply for 
 SSerftanb and SSernunft. And then at the end of it all came 
 Herder, whom Biese compares with Lessing as follows : 
 93et Sefftng toanbeln fair aiif ftdjerem runbe, auf ber @rbe, 
 unb erft nod) unb nadj offnen fid) bie SBeiten be |)immel3 ; 
 bet Berber toerben lutr frei(td) bon $tiigeln in ben ^ttnmel 
 getragen. ... Seffing fjatte uber bie unft unb ifjre efee ge= 
 badjt, Berber taudjt bag fd)arf ebacf)te in fd)ttmrmertftf)e 
 (Smpftnbung. Lessing died in 1781, Herder twenty-two 
 years later. The one was the finest type of Rationalist that 
 
 [xix]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Germany ever produced ; the other had an equally superb 
 /type of Romantic mind. When Herder began to publish 
 his " Fragmente," German Romanticism began to be. 
 
 The first act of the Romantic movement lasted from 
 ' 1766 to 1790 and may be termed the time of (Sntftefjen. 
 During this period about thirteen young writers, Lenz, 
 Leisewitz and others like them, starting from Rousseau 
 and encouraged by Herder, Goethe and Schiller, set out to 
 revolutionize German literature from the twofold point of 
 'x view of form and content. Following the lead of Kling- 
 er's notorious drama based on the American Revolution, 
 Tieck first called them the writers of Storm and Stress, 
 an3~ the name has adhered" to them ever since ; there is 
 no reason why it should not, for its appropriateness defies 
 refutation. Tired of the gentleness and regularity of the 
 literaturejof their native land, they determined to put vim 
 and vigor into its content, and variety and daring into its 
 form. They succeeded ; indeed they did a deal of good de- 
 spite the fact that Karl Moor and Gotz von Berlichingen 
 begot by imitation a numerous and unworthy posterity. 
 But it should have been clear to each of them from the 
 beginning they were all young that such radical en- 
 deavor could not long survive its initial enthusiasm. And 
 when "Don Carlos" appeared in 1787, and "Faust, ein 
 Fragment" in 1790, a work begun much earlier and still 
 containing elements of juvenile fervor, it was evident that 
 the curtain was soon to be rung down on a series of scenes 
 of which the spectators had now grown tired. Not one 
 single storm-and-throng writer remained loyal to the ebul- 
 lient cause throughout a long and ripe old age ; the affair 
 was history after 1790.
 
 INTRODUCTION 
 
 The second act lasted from 1790 to 1798 and may be 
 called the period of 3?cifcn. This act was more complicated, 
 more heated than the first. The Philistines felt that they 
 had won a signal victory by the retirement of their fiery 
 opponents, and became more perniciously active. Herder 
 became more of a problem. What Romanticism would 
 have been without him is a question ; and yet, possibly 
 owing to the fact that his ideas were now self-evident, the 
 physicist J. W. Ritter alone stood in sympathetic proximity 
 to him. And Kant became a problem. Though Romanti- 
 cism is hardly thinkable without him, it was a question 
 from the beginning'of overthrowing him. It was a question, 
 throughout the period, of the relation of reason to intuition, 
 of might to metaphysics, of force to feeling ; and the latter 
 won. So far as created works are concerned, the key to the 
 act lies in Goethe's " Wilhelm Meister," Fichte's " Wissen- 
 schaftslehre," Schelling's " Philosophie der Natur," and 
 the works of Wackenroder. So far as the ultimate outcome 
 of the period is concerned, one must study the friendships 
 made and broken during this time. Goethe and Schiller 
 struck up a bond that was to last until the latter 's death. 
 The Schlegels, on the contrary, broke with Schiller for 
 good and all. Out of this reseating of the guests at the 
 poetic round table grew the necessity of establishing a new 
 journal, the Atkenaunt. With its founding the curtain was 
 again to be rung down, this time not on an audience that 
 was wearied by what it had just seen, rather on one that 
 had become much interested, one that anxiously awaited 
 the new scenes that were to follow. After 1 798 Rationalism 
 became history and Romanticism an established reality for 
 the present. 
 
 [xxi]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 (The third act lasted from 1798 to 1815 and may be 
 designated the age of 93(ut)en. Romanticism was at its 
 height. The Germany of the Germans never witnessed a 
 more intense spiritual era); Wackenroder, Novalis, Herder, 
 Kant, Schiller, Nicolai, Kleist, Wieland, Theodor Korner, 
 Iffland and Fichte, after having produced some works of 
 marvelous individuality, died. Such a mortuary record will 
 change completely the literary programme of any country. 
 Ten Romanticists were born, Morike, Freiligrath and Geibel 
 being the most important. Schleiermacher continued to 
 preach the God within us, Fichte the omnipotence of the 
 ego, Schelling the spirit of nature. Dramatically it was the 
 age of Kleist and Zacharias Werner, philologically that of 
 the " Kinder- und Hausmarchen " and " Des Knaben Wun- 
 derhorn," of the translations of Shakespeare, the lectures by 
 Wilhelm Schlegel on comparative literature and those of 
 Friedrich on characteristics. A number of other Romanti- 
 cists wrote minor creative works, poems and novelettes 
 that are almost as much alive to-day as they were one 
 hundred years ago. Politically the Germans were, like 
 Goethe's Clarchen, now gum Xobe betrii&t, now tjimmek 
 fjod) jaud^enb over the battles of Jena and Leipzig. If the 
 Romanticists ever came near realizing their much longed 
 for Golden Age, this was the time. But the pace was too 
 rapid. Spirituality in artistic form is good ; political and 
 social realities are necessary. And, though it sounds like 
 the irony that superciliously smiles at the laboriously but 
 effectively accomplished, when Napoleon was banished, the 
 happiest days of German Romanticism were gone and 
 gone beyond recall. With the battle of Belle Alliance 
 (Bismarck was born in the same year) the curtain was to 
 
 [ xxii ]
 
 INTRODUCTION 
 
 be rung down for a third time and a new era was to begin. 
 The defeat of Napoleon placed tremendous responsibilities 
 on the shoulders of his Germanic foes ; but responsibilities V 
 and Romanticism do not harmonize. After June 18, 1815, 
 the SBtutejett of German Romanticism became history. 
 
 The fourth act lasted from 1815 to 1848 and must 
 be classed as the generation of Hbneljmen. Romanticism 
 slowly lost weight. It was the age of Young Germany, 
 that did journalistically about what Storm and Stress did 
 dramatically. And it was the age of Heine. About twenty 
 Romanticists died and only one, Herwegh, was born. The 
 period was not nearly so bright as the preceding one ; it is 
 always difficult for the dramatist to sustain interest after the 
 climax has been reached. It was the day of \hefeuilleton 
 and of political poetry. Had not the third act been so illus- 
 trious, this one would have seen the end of Romanticism. 
 But there is a marked tenacity about things spiritual ; it 
 takes time to change from an Ofterdingen to a Tartuffe, 
 just as it takes time to remould a Romanticist Tieck and 
 make him the Realist he became after about 1821. Roman- 
 ticism was indicted as early as 1 8^30 ; the charges were 
 investigated and the indictment was sustained at the 
 Berlin revolution of 1848, when Frederick William IV 
 was obliged to relinquish his Mediaeval ideas of statehood 
 and grant an unromantic constitution to a realistically in- 
 clined people. After March, 1848, systematic German 
 Romanticism became history. 
 
 The fifth act lasted from 1848 to 1866 and should be 
 remembered as the epoch of SSergefjen. Romanticism had 
 not made good ; it had produced some literature of great 
 poetic beauty, but it lay far removed from the realities of 
 
 [ xxiii ]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 life. It was now only a matter of time until the Romanti- 
 cists retired and the Realists took their place and their 
 supremacy was recognized. During these last eighteen 
 years some lyrics were written that betray their Romantic 
 ancestry, but the whole period was one of ever vanish- 
 ing Romanticism. And when the ancient and honorable 
 House of Hapsburg was eliminated from German leader- 
 ship and the scattered surviving erstwhile Romanticists 
 became Realists, Romanticism of any sort became history. 
 And now a significant question arises : What has been 
 the aftermath of German Romanticism ? From the point 
 of view of literature, pure and simple and durable, the 
 harvest has not been great in proportion to the labor ex- 
 pended. Literature has to do with life, and life has 
 changed. Precious little Romantic literature has been 
 written since 1 866 ; between 1 866 and 1 890 there was 
 indeed next to none. It might be said that the most sig- 
 nificant event during this period was the appearance in 
 1870 of Rudolf Haym's " Romantische Schule." Since 
 iScjQjno other movement in German literature has been 
 studied more than Romanticism, and very many of the 
 monographs on the movement give evidence of ances- 
 tral gratitude to Haym's monumental book. Since 1890 
 there have been sporadic evidences of a Romantic re- 
 nascence also along literary lines ; it has been a realistic 
 age, and one tendency invariably calls forth the oppo- 
 site. Hauptmann has, on occasion, become symbolic ; so 
 have Sudermann and Heyse and Spitteler. Others have 
 become Romantic in other ways, but it has always been a 
 matter of fleeting mood rather than fixed disposition. We, 
 and the Germans, live in a totally different world. The 
 
 [ xxiv ]
 
 INTRODUCTION 
 
 age that produced a Novalis or a Kerner cannot < be dupli- 
 cated, the children of such an age no longer live among the 
 sons of men. The establishment of the German Empire, a 
 generation of armed peace, unexpected progress in science, 
 gratifying commercial prosperity dependent upon at least 
 apparent amicability with other nations, hitherto undreamed 
 of methods of travel between nations making the old sort 
 of cosmopolitanism a dream and the new sort a reality, 
 labor and labor laws and labor unions, the emancipation 
 and equalization of woman, the significant strides of 
 democracy accompanied by the inroads of socialism, even 
 the spread of sports so different from the days of Father 
 Jahn, all of these things, and all of those other things that 
 branch off from them, make the glorification of the Hohen- 
 staufens (1137-1254) an impossible anachronism and the 
 search for a blue flower an inconceivability. Germany 
 may, some day, witness another Romantic movement ; but 
 if so, it will be very different from the one of 1766-1866, 
 which looked backward. The new one, if it ever comes, 
 will have been provoked largely by the apparently fantastic 
 strides of reliable science, that bears so slight a resem- 
 blance to the nightsideisms of 1800, and it will seek its 
 Golden Age in the future. Speculation as to the role of 
 Romanticism in the literature of the future, however, is 
 and remains only speculation. 
 
 But Romanticism was much more than a literary move- 
 ment. The universities of Berlin (1809) and Bonn (1818), 
 the science of philology, artistic verse and strophe forms, 
 the study of nature, the appropriation of foreign literatures 
 by translations, the music of Wagner and Liszt and Brahms, 
 the science of history and some of the things above noted 
 
 [ xxv ]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 as making modern Romanticism impossible, the establish- 
 ment of the German Empire, for example, if all of these 
 things and their subdivisions cannot be traced directly to 
 the efforts of those men who lived and worked and wrote 
 and thought during the age that we call Romantic, then 
 there is no such thing as the sequence of events and 
 consequential reasoning is a delusion. Men are no longer 
 writing Romanticism, they have what the Romanticists 
 sought. The records of Romanticism are to be found not 
 
 - only in the libraries but also out of them. 
 
 But it is only fair to say that the shield also has its 
 reverse side ; the aftermath has also been harmful. Fried- 
 rich Schlegel's " Lucinde " appeared in 1/99. It preached 
 moral shamelessness, and Schleiermacher, the preacher of 
 the School, approved of its ethics. /These men overthrew 
 the old canons of morality without having sufficient strength 
 to set up new ones. Unconventional living and thinking 
 was one of the evils of German Romanticism. And another 
 was the exaggerated glorification of the Middle Ages, 
 superinduced by such works as Novalis' " Die Christen- 
 heitoderEuropa," Wackenroder's "Herzensergiessungen" 
 and Tieck's " Sternbald," andjegding to an unhealthy re- 
 
 __action in Church ancLState, In his " Geistige und soziale 
 Stromungen im XIX. Jahrhundert " Theobald Ziegler 
 briefly defines this tendency as em berfyangmguoEec^ug 
 nadj riicfiuartsl, which it unquestionably was. And the third 
 weak spot in German Romanticism was, in jMain language, 
 its whimsical and arbitrary fancifulness ; it was not true. 
 Following the lead of the first three fourths of " Wilhelm 
 Meister," the Romanticists tried to introduce poetry into 
 life on all occasions and under all conditions, and in so 
 
 [ xxvi ]
 
 INTRODUCTION 
 
 doing they forgot and neglected those eternal verities and 
 realities that really make life worth poetization. Irregularity 
 in life, Mediaevalism in history, fantasticalness in literature 
 these are the three charges that any serious student can 
 prefer against German Romanticism. As to the extent to 
 which these charges still hold, each student must decide 
 for himself. 
 
 And so this great drama is over ; it is played out. It was 
 a wonderful production, however, in its day. Like "Gotz 
 von Berlichingen," it included every class and condition 
 of mankind and was made up of many scenes. It had its 
 fools and its philosophers, its priests and its worldlings, 
 its scientists and its poets, its historians and its prophets, 
 its idealists and its realists, its men and its women. At 
 times the action moved rapidly (1798-1815), at times 
 slowly (1815-1848). Songs were interspersed ; there was 
 incidental music ; the scenery was painted by the members 
 of the company. There were cheap spots in the drama 
 made to catch the eye and the ear of the public ; and they 
 succeeded, though they would not succeed now. And there 
 were purple patches that have since faded ; all things tem- 
 poral change, hence the mutability of literature. But there 
 are at the same time scenes in verse and prose, in sound 
 and color, that have survived and will survive because of 
 the immutability of the mind and heart of man. 
 
 Of the company that produced this drama, two, the 
 Dioscuri of Weimar, stand out. Goethe, like Graf von 
 Shrewsbury in " Maria Stuart," preserved his calm, became 
 fanatic and factious never, and tried honestly to reconcile 
 the two camps. To a certain extent he succeeded. But 
 when he saw that the younger party wished to usurp 
 
 [ xxvii ]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 certain powers, which usurpation his Olympian judgment 
 could view only with disfavor, he bade them a gracious 
 farewell and went his way. But he remembered them and 
 their ideals considerately in some of his epics and in more 
 of his lyrics, while he employed them fully and effectively 
 in the second part of Germany's greatest dramatic poem, in 
 the second part of his own life work. Schiller, Goethe's 
 friend from the beginning of systematic Romanticism on, 
 moved among them the great idealist, believing in God, in 
 Faith, in Virtue, in the dignity of Woman and the freedom 
 of Man. Be it said to their everlasting honor and his, he 
 too tried to become their friend and adherent. But like 
 his own Max, he could not and be true to himself, so he 
 bade them farewell definitely, on one certain day. But he 
 anticipated their ideals significantly in his Italian ghost-seer, 
 while he remembered them kindly in his Scottish lover, 
 his Gallic maid and his Grecian mother. The connection 
 of Goethe and Schiller with the Romantic movement is an 
 uncommonly instructive theme ; their defection from it was 
 a mutually unfortunate incident. 
 
 To revive and reproduce this old drama in its entirety 
 is impossible ; its fable is out of date. To read it as a 
 book drama is instructive ; its fable once had its appeal. 
 To study its best scenes is inspiring. Just as certain old 
 operas, cantatas and masses contain tuneful arias buried 
 amid a heap of unmelodious song, so is the fable of this old 
 drama replete with isolated scenes that thrill, with stories 
 that charm, with thoughts that inspire, with canvases that 
 delight, with songs that exalt. 
 
 Systematic Romanticism has fallen. It fell, however, 
 as did Poland. Poland fell, but the Poles still survive. 
 
 [ xxviii ]
 
 INTRODUCTION 
 
 Romanticism as a movement fell, but Romanticism still 
 survives. It survives, for there is something in the poetic 
 mind which refuses to be satisfied with the mere logic and 
 economics of life ; something which impels the poet to 
 go beyond accurate reason and photographic description ; 
 something that enables him to derive enduring pleasure 
 from the happy use of symbolism. And when the poetic" 
 becomes symbolic, as he frequently does, he becomes 
 Romantic. The fall of systematic Romanticism calls to 
 mind, therefore, part of a poem by Karl Forster (1784- 
 1841), which runs as follows : 
 
 bergangen, fef)rt ntcfyt toieber; 
 2lber ging e teudjtenb nteber, 
 Seiid)tet'3 tange nod) juriicf ! 
 
 [ xxix ]
 
 Meanwhile, those books that were advocates for the Moderns, 
 chose out one from among them to make a progress through the 
 whole Library, examine the number and strength of their party, 
 and concert their affairs. This messenger performed all things very 
 industriously, and brought back with him a list of their forces. 
 
 Jonathan Swift, " The Battle of the Books" 
 
 3)er Stiver finb ju triel, um nodj fo m'el ju gelten ; 
 
 35enn roofylfeil ift bie SReng', unb teuer nur roa3 felten. 
 SOW itynen ift'S, rote mit ben 2JJenjd^en felbft getfjan ; 
 
 3)en, ber mit trielen lebt, ge^n roenig na^er an. 
 3Jian fte^t fie an, allein, roer fann fie alle nennen, 
 
 rlennen i^ren SOBert, rote fie coriiber rennen ? 
 3c^ leb' in tleiner tabt, fie ift mtr faft ju gro ; 
 
 21U feine 3larf)6arn Itebt man auf bem 2)orfe blo. 
 Sort f)at man feine 3Ba^l, man braudjt bie ganje Qafyl ; 
 
 ter ftellt jumal bie Dual ficb, ein mit 3^ unb SBafjl. 
 3d^ aber ungequalt fyab' etnen j^reunb gerodf)It, 
 
 2)er mtr bie SBiidjer roaf)lt, ba^ tntcb, bie Qafyl nid^t qualt. 
 
 Friedrich Riickert, "Die Weisheit des Brahmanen" 
 
 [ XXX ]
 
 PART ONE
 
 SECTION I 
 THE WRITERS OF BEST SELLERS 
 
 There are 1345 pages in the fourth and fifth volumes 
 of Goedeke's " Grundriss." Of these, 251 pages are 
 devoted to Goethe, 223 to Schiller, 46 to the otttngcr 
 tdjterbunb, 25 to Herder, 22 to Wieland, 18 to Klop- 
 stock, 5 to Jean Paul, and 3 to Holderlin. The remaining 
 752 pages are devoted to the writers of "best sellers," to 
 men and women who wrote popular works that were read 
 by many people. In view of these figures, it would be a 
 grave misapprehension to believe that German Roman- 
 ticism, even from 1 790 to 1815, stood alone, or was with- 
 out competition, or was decidedly predominant. Indeed, 
 had there been no Romanticism whatsoever, there woulc 
 be a weak link but no open break in the chain of German 
 literature. 
 
 The century from 1766 to 1866 was an intensely 
 "literary" one. And in any such age there are always 
 three classes of writers : the evanescent who write for the 
 masses, the idealists who write for idealists, and the immor- 
 tals who write for all time. As is the case with other trini- 
 ties, the three sides of the literary trinity gradually merge 
 one into the other, so that a knowledge of any one side is 
 indispensable in the study of the other two. To study 
 Romanticism without paying any attention to the two con- 
 temporaneous undercurrents rationalistic sentimentalism 
 
 [3]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 and Classicism would be like studying the Thirty Years' 
 War and leaving Catholicism and Skepticism out of 
 consideration. 
 
 The maturescent Classicists soon grew up and wrote 
 some things for all time. But they did not have a clear 
 and undisputed field. Even Goethe came unto his own 
 slowly. In his " Romantische Schule" Heine says, for 
 example, of Lafontaine : 3)er ,,@i)" toar ein bramattfterter 
 9titterroman, imb biefe @attung liebte man bamalS. . . . 
 $)te Montane bon Sluguft Safontatne ttwrben jebotf) ebenjo 
 gern gclcjen, unb ba biefer unauff)orltc) fcljrteb, fo ttmr er 
 beriihmter aU SSotfgang oetfte. When the Empress Cath- 
 erine, the illustrious patroness of the French Rationalists, 
 received a copy of Nicolai's " Nothanker," she at once 
 sent the author a gold medal in recognition of his merit 
 and accompanied it with a fervent petition to send her any- 
 thing and everything he might from then on write. Hettner 
 speaks of Nicolai's " Bibliotheken " as mc)t 6ebeiitcnb, % aber 
 toett fcerbreitet. 
 
 Romanticism had to make its way therefore against 
 Classicism and what might be called Philistinism. Against 
 the former, the more level-headed of the Romanticists 
 cherished no great grudge. Indeed, when we consider 
 the works of Goethe and Schiller, and even of Lessing, 
 that contain Romantic devices, and when we consider the 
 works of the Romanticists which, according to the suffrage 
 of time, have become "classics," it seems that there was 
 something resembling a compromise. But Romanticism 
 never compromised with Philistinism, of which there were, 
 many producers and very many consumers. Of the former, 
 eleven of the most important out of the almost interminable 
 
 [4]
 
 THE WRITERS OF BEST SELLERS 
 
 list follow, in chronological order. Christian August Vul- 
 pius's (1762-1827) " Rinaldo Rinaldini, der Rauberhaupt- 
 mann, eine romantische Geschichte unseres Jahrhunderts " 
 (1798) might also be included. 
 
 The plot of just one of these works, Friedrich Rochlitz's 
 " Die Landmadchen, " gives a fair idea of the sort of literature 
 people really read in the palmy days of Jena Romanticism 
 and Weimar Classicism : 
 
 The Reverend Lehnhold is dead and his estimable widow 
 conducts a charitable, cultural boarding house at her country 
 place in Grunfeld. There are, however, only two patrons 
 in residence, Jettchen, aged fourteen, the daughter of the 
 deceased tenant of the place, and Hanchen, aged thirteen, 
 the daughter of a deceased shopkeeper of a neighboring 
 village. Better girls never lived. They loved each other, 
 their adopted mother, and all that is good. Jettchen was 
 supported by Felix, court chamberlain, aged fifty, a bach- 
 elor, out of gratitude for services rendered by her faithful 
 father ; Hanchen, by the income from her small inheritance. 
 Felix takes a liking to his adopted child, writes to her, 
 sends her books, which are given to her after her adopted 
 mother has inspected them, and finally even sends her 
 material for a new dress that will make up prettily. 
 
 Then Madame Pfeil, a widow, aged forty, appears on 
 the scene. She takes Jettchen in charge, it is needless 
 to say that she is the friend of Felix, teaches her the 
 difference between dressing and dressing up and a number 
 of other useful things. Then Jettchen is taken to Schloss 
 Grunfeld ; but she does not forget those at the boarding 
 house for cultural purposes. Time goes and Jettchen grows 
 and a wedding is inevitable. People laugh a little at the 
 
 [5]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 discrepancy in ages between Jettchen and Felix, but that 
 is a small matter. That Felix dropped dead one day just 
 before the wedding was, however, a large matter ! There 
 was some little gossip that came close to scandal ; but there 
 was no ground for it and it died of its own accord. Jettchen 
 is alone, though she now has other chances, having become 
 popular through the attentions of Felix, court chamberlain, 
 aged fifty. But Jettchen follows her better impulses, goes 
 back to the boarding house, only to be received with much 
 welcoming by the villagers and especially by Hanchen, now 
 married to August, who fills the double post of village 
 teacher and village preacher, and only to get married her- 
 self to another preacher. And they lived together as hap- 
 pily as two people can when they are bound by the ties of 
 love, honor and fidelity. 
 
 This work appeared in 1 799, the year of the appearance 
 of " Lucinde," " Wallenstein " and " Reden iiber die Re- 
 ligion." There was this fundamental difference between 
 that work and these : it was read by more people. Rochlitz 
 wrote much of this kind. Lafontaine filled one hundred 
 v^ and fifty volumes of the same sort. Romanticism had to 
 \ make its way against Philistinism and Classicism. 
 
 BIBLIOGRAPHY 
 
 C. F. Nicolai (1733-1811) 
 
 ^reuben imb Seiben beg jungen 28ertf)crg, prose parody, 68 pp. 
 Sag Se&en unb bie 3Mnungen beg emt 3JZagifter Befcalbug Wotf)* 
 anfer, satirical novel, 778 pp. 
 
 J.J.Engel (1741-1802) 
 
 Jperr Sorenj tarl, novel, 399 (small) pp. Appeared first serially in 
 Schiller's " Die Horen." (JDer le^te grofje rfolg ber alten 
 runggliteratur.) 
 
 [6]
 
 THE WRITERS OF BEST SELLERS 
 
 J. H. Voss (1751-1826) 
 
 Suije, idyl in verse, 217 (small) pp. 
 
 ebidjte, 362 pp. 
 A. H. J. Lafontaine (1758-1831) 
 
 2)ie SBerirrungen beg menjdjlidjen >erjen3, novel, 391 pp. 
 
 9totur unb Siebe, novel, 304 pp. 
 A. W. Iffland (1759-1814) 
 
 SDie 3>agrc> drama, 186 (small) pp. 
 
 2>er pieler, drama, 160 (small) pp. 
 A. F. F. von Kotzebue (1761-1819) 
 
 2)ie beutfdjen 5Uetnftabter, comedy, 95 pp. 
 
 9Jfenfcf)enf)af} unb 3feue, drama, 105 pp. 
 
 2>ie 2>nbianer in nglanb, comedy, 75 pp. 
 
 2)er Sieljborf, comedy, 88 pp. 
 
 Ser l)9perboraifd)e @fel, 35 pp. (A clever attack on Romanticism) 
 K. Pichler (1769-1843) 
 
 tille SieBe, short story, 35 pp. 
 
 35er ^roatje ^nty, short story, 56 pp. 
 
 Ser Sabeaufent^alt, short story, 58 pp. 
 J. F. Rochlitz (1769-1842) 
 
 ie Sanbmabd^en, short story, 38 pp. 
 K. G. S. Heun (H. Clauren) (1771-1854) 
 
 @rfte unb le^te Siebe, short story, 35 pp. 
 
 3Jhtnter ift bie i^cwptjadje, short story, 44 pp. 
 
 llnterirbtfdje Siebe, short story, 86 pp. 
 
 35er SBurftbatt, short story, 10 pp. 
 
 aJHmili, short story, 90 pp. (S)er c^Iager beg Sa^eS 1816) 
 K. A. F. von Witzleben (A. von Tromlitz) (1773-1839) 
 
 3fiomantiyd)e emalbe au^ bem Seben 2Ubrecf)t beg 5lriegerg, Wlav^ 
 grafen oon 93ranbenburg, novel, 322 pp. 
 
 ^ranj con idingen unb jeine 3eitgenofien, novel, 366 pp. 
 E. B. S. Raupach (1784-1852) 
 
 S)er 9JibeIungen=$ort, drama, 184 pp. 
 
 2)ie ^OC^tet bet 8uft, mythical tragedy, 176 pp. (After Calderon) 
 
 ^riebrid) II., historical drama in 4 parts, part one, 176 pp. 
 (From the Hohenstaufen-Cycle) 
 
 [7]
 
 SECTION II 
 
 STORM AND STRESS 
 
 So eminent an authority as Wilhelm Scherer once re- 
 ferred to the entire period in German literature from 1770 
 to 1815 as an unbroken, unified whole ; and other literary 
 historians of smaller calibre were formerly accustomed to 
 look upon Romanticism as nothing more or less than a 
 reenforced echo of Storm and Stress. These historians 
 discussed the literary revolution, folk-songs and chap-books, 
 old German art, fantastic gruesomeness, pantheism, aes- 
 thetics without rules, individuality, personality, geniality, 
 politics and civics based on self-preservation, as parts of 
 the scheme of the writers of Storm and Stress, and then 
 fitted these same rubrics to the Romanticists. They dis- 
 cussed Herder and found it impossible to locate him in 
 any one camp ; he seemed a combination of psychology, 
 philology, philosophy, theology, anthropology. They ana- 
 lyzed the Storm and Stress elements in the writings of 
 Fr. H. Jacobi and concluded by saying that the man is a 
 Romanticist. They found Romanticism in Justus Moser 
 and Storm and Stress in Schleiermacher. They detected 
 Storm and Stress in Brentano and Romanticism in the 
 Stolbergs. The study of literary distinctions had not yet 
 been sufficiently developed. 
 
 But all this has changed. Whether we like literary labels 
 or not, they are here to stay, for they are convenient. 
 
 "[8]
 
 STORM AND STRESS 
 
 / 
 
 As new light "is thrown on German literature, the lines of 
 demarcation are being more tensely drawn. Various dates 
 are being set up as marking the close of one tendency and 
 the beginning of another. Various dates have been sug- 
 gested as most appropriately marking off the beginning 
 and close of this particular movement. Some historians 
 like even numbers and set up 1770 and 1785 ; but these 
 dates have very little to commend them. Eduard Engel 
 rather happily marks off 1 77 1 (" Gotz ") and 1 783 (" Kabale 
 und Liebe"). For the purpose of this outline, i^7> the 
 year of Herder's " Fragmente," and 1787, the year of 
 Schiller's " Don Carlos," most accurately demarcate the 
 beginning and end of the movement. 
 
 That Storm and Stress gradually merged into Romanti- / 
 cism is obvious. And O. F. Walzel in his " Deutsche ' 
 Romantik " (pages 3-10) most concisely points out that 
 which differences the one movement from the other. The 
 writers of both were enthusiastic, impetuous, ingenious and 
 so on, but the Storm and Stress writer went just so far in 
 the analysis of his feelings, and then stopped stock-still, 
 afraid to go any farther, weak metaphysician that he was. 
 He was a man of reason after all. The Romanticist ana- 
 lyzed his feelings down to the minutest detail and still had 
 something more to say, something more to reveal, some 
 mystery to clear up, good metaphysician that he was. He 
 was a man of intuition all in all. 
 
 The movement was a dramatic one almost entirely ; 
 dramas were written in abundance, lyrics and epics almost 
 wholly neglected. The writers were young, some of them 
 under twenty, others but little over twenty, and Herder, 
 the oldest, was under thirty when the movement had well 
 
 [9]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 started. The influence of Rousseau's "Emile" and "He- 
 /lo'fse" can hardly be overestimated, from the standpoint of 
 content, while the conception of Drigtnalgeme is to be traced 
 to Edward Young's (1683-1765) works, "Original Com- 
 position/' and so on, and Shakespeare was set up as the 
 f model for many scenes and changes of scenes. Regicide, 
 \ fratricide, infanticide, insanity, opposition to pedantic learn- 
 Ving and training these are a few of the favorite themes. 
 The language became contracted, the hero had time to say 
 only S8'in'$ for jd) &tn e3 ; strong figures were used, Gotz 
 says he feels as though he had the sun in his hand and 
 could play ball with it ; certain words are emphasized by rep- 
 etition : @emc, $cr(, toft, 9ftarf, fdjmeifscn, freffen, ftiirjen, 
 and so on. It was a youthful movement that could not last 
 long ; Goethe and Klinger were the first to outgrow it. 
 Aside from the men that follow, there were also such little 
 people as L. P. Hahn, Sprickmann, Babo, and Gemmingen ; 
 and there were some women, such as Charlotte von Kalb 
 and Karoline von Lengefeld-Beulwitz-Wolzogen. The 
 movement took its name fromrKrVdmma]of like 
 
 name (1776), though this drama was first, and more hap- 
 pily, called " Der Wirrwarr," Klinger changing it to 
 " Sturm und Drang, "~at the suggestion of Christoph 
 Kaufmann, who took the idea from Lavater. The ex- 
 pression Sturm itnb 2)rang did not, however, become cur- 
 rent until 1828, when Tieckjnajde it so by discussion 
 connected witR his edition of Lenz's work^.^ 
 
 The plot of Klinger's "Sturm und Drang" gives a fair 
 idea of trie sort of literature that was being written at that 
 time. The scene is laid in America, 1 776, the year of our 
 immortal Fourth of July. There are twelve characters, three 
 
 [10]
 
 STORM AND STRESS 
 
 of whom are significantly named Wild, La Feu and Bushy. 
 The latter name and Berkley are taken from Shakespeare's 
 " Richard II." There are five acts and thirty-seven scenes. 
 There is only the slightest thread of coherency in the story, 
 which tells of the sapid events in the lives of two young 
 men on a rampage in this country. The language is bom- 
 bastic beyond description. Wild says, for example, that he 
 would like to stretch himself across a kettle-drum in order 
 to become expanded, or he would like to live in the barrel 
 of a shot-gun until some one fired him off in the air ! 
 Lessing said that it was impossible for him to read the 
 piece through, a task that has been performed by very 
 few people. 
 
 The Bushys and the Berkleys hate each other immensely. 
 Wild, really the hero, turns out to be Lord Bushy's son 
 and falls in love, of course, with Karoline Berkley. Cap- 
 tain Boyer turns out to be the son of Lord Berkley. Wild 
 was making considerable headway with the Berkleys until 
 Boyer shows up, having in the meantime landed the other 
 Bushys on a desert island in the wildest part of the Father 
 of Waters. Wild and Boyer will fight a deadly duel, but 
 war breaks out, family dissensions are forgotten and all 
 fight for the common cause. After the war the intended 
 duel between Wild and Boyer is not necessary, for had 
 not Mohr, Boyer's boy, rescued the Bushys and hidden 
 them in the hold of the ship ? There follow a family recon- 
 ciliation, a double wedding and fireworks, all of which is 
 tame in comparison with the individual episodes. 
 
 This is the sort of works that were being written in 
 Germany in 1776. In the same year Lenz's" Die Soldaten," 
 Klinger's" Die Zwillinge," Leisewitz's" Julius von Tarent,"
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Wagner's "Die Kindermorderin," and Maler M tiller's 
 " Fausts Leben " appeared. It seems like an omen that 
 E. T. A. Hoffmann was born and that Adam Smith 
 finished his " Wealth of Nations " in the same year. 
 
 BIBLIOGRAPHY 
 
 tiirmer unb Granger. Edited by A. Sauer (Deutsche National- 
 Litteratur, Volumes 79,80,81), Stuttgart, no year. Contains works by 
 Klinger, Leisewitz, Maler Miiller, Schubart, Wagner and Lenz. 
 
 (Sturm unb 3)rang. 2)idE)tungen au3 ber eniejeit. Edited by Karl 
 Freye, Berlin (Bong), no year. There are two volumes, containing works 
 by Gerstenberg, Leisewitz, Lenz, Klinger, Wagner and Maler Mtiller. 
 There is a general introduction in Volume i, pages i to xc, and sep- 
 arate introductions to the different writers. Freye's edition is to be 
 preferred. 
 
 READING LIST 
 
 J. G. Herder (1744-1803) 
 
 1767. $ragmente u & er ^ie neuere beutfcfje ^iteratur, 98 pp. (I) 
 
 1769. $ritifd)e SBalber ober Setracfytungen, bie SBiffenfctyaft unb 
 
 $unft be3 @a)onen fcetreffenb, 171 pp. (I) 
 
 1770. Slbljanblung iiber ben Urfprung ber pracfje, 222 (small) pp. 
 1774. 3lud) eine ^fjUofopfyie ber efo)ic^te, 155 (small) pp. 
 
 1778. SSolMieber, 506 pp. 
 J. W. von Goethe (1749-1832) 
 
 1773. b von Serlic^ingen, tragedy in 5 acts, 132 pp. 
 
 1774. Sie Setben beg jungen SCert^er^, novel, 108 pp. 
 1790. $auft: in fragment, tragedy, 60 pp. 
 
 Poems: JBtllfommen unb 2lbfrf)ieb; ^kometljeuS ; 3Wa[)ometg 
 efang ; SBanbrerg 3?acf)tlteb. 
 
 J. C. F. von Schiller (1759-1805) 
 
 1781. SDie StduBer, tragedy in 5 acts, 120 pp. 
 
 1783. S)ie SSerfcfjraorung beg ^tegfo ju enua, tragedy in 5 acts, 
 
 108 pp. 
 
 1784. $abale unb Siebe, tragedy in 5 acts, 96 pp. 
 Poems: ^ouffeau ; 2)er roberer. 
 
 [12]
 
 STORM AND STRESS 
 
 J. G. Hamann (1730-1788) 
 
 1759. <Sofrattfrf)e Senfroiirbigfetten, pseudophilosophic discussions, 
 
 348 pp. 
 
 1788. ibnUinifcfje flatter, a collection of 454 sententious para- 
 graphs published under this title by Friedrich Cramer in 
 1819. The same volume contains a life of Hamann and his 
 relations to Herder and Goethe. 
 J. K. Lavater (1741-1801) 
 
 1778. pOgfiognonufd)e ^ragmente, 696 pp. 
 1787. Aphorisms on Man, 112 pp. 
 F. H. Jacobi (1743-1819) 
 
 1 77 5. buarb 3(lfnrill3 33rief jatnmlung, epistolary, philosophic novel, 
 
 404 pp. 
 
 1777. 3Bolbemar, novel, 482 pp. 
 H. W. von Gerstenberg (1737-1823) 
 
 1768. Ugoltno, tragedy in 5 acts, 63 pp. 
 
 er forperlidje cbmerj ift unftreitig unter alien Seiben= 
 fcfjaften am fdjroerften 511 befjanbeln, unb @ie Ijaben bie 
 fdjrerflidje 2lrt be3feI6en mit fo grower 2Bal)rf)eit unb mtt fo 
 mannigfalttger SOBafirheit befianbelt, bafj meine Stiifirung 
 me^r al3 etnmal burd^ ba^ rftaunen iiber bie 5^unft unter= 
 Broken roorben. Lessing. 
 - J. M. R. Lenz (1751-1792) 
 
 1774. 3)er ioofmeifter, comedy (Lenz had original ideas as to the 
 
 difference between comedy and tragedy) in 5 acts, 81 pp. 
 
 1775. ^5anbdmonium ermanifum, satirical sketch in 2 acts, 20 pp. 
 
 (Among the "characters" of this play are Lenz, Goethe, 
 Hagedorn, Lafontaine, Moliere, Rabener, Klotz, Rabelais, 
 Weisse, Wieland, Klopstock, Herder, Lessing and Shake- 
 speare.) 
 
 1776. 35ie olbaten, comedy in 5 acts, 48 pp. 
 F. M. von Klinger (1752-1831) 
 
 1776. (Sturm unb Srang, drama in 5 acts, 59 pp. (The play which, 
 
 at the suggestion of Tieck, gave the name to the movement. 
 
 . It was originally called " Der Wirrwarr." Lessing said he 
 
 could not read it through.) 
 1776. 2)ie SroiUinge, tragedy in 5 acts, 50 pp. 
 J. A. Leisewitz (1752-1806) 
 
 1776. 3uKu3 oon Xarent, tragedy in 5 acts, 55 pp. 
 
 [13]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 H. L. Wagner (i747~i779) 
 
 1776. 2)te $inbermbrberin, tragedy in 6 acts, 72 pp. 
 F. Miiller (Maler Muller) (1749-1825) 
 
 1778. ^auftg Se&en bramatifiert, 74 pp. (Includes an introductory 
 
 dedication to Otto von Gemmingen.) 
 1781. olo unb enocefa, drama in 5 acts, 159 pp. 
 
 J. J. W. Heinse (1746-1803) 
 
 1787. 2lrbtngf)eUo, novel, 500 pp. 
 
 C. Stolberg (1748-1821) 
 
 1779. ebicfyte ber 33riiber, 318 pp. 
 F. L. Stolberg (1750-1819) 
 
 1779. ebicfjte ber 23ritber, 318 pp. (Same as above.) 
 C. F. D. Schubart (1739-1791) 
 
 1785. ebtcfjte. A good selection is found in Kurschner's D. N. L., 
 
 Volume 81, pages 310 to 434. One of his best known poems 
 
 is " Die Fiirstengruft." 
 1787-1791. aiu^iige unb tellen cw ber vSaterlanbgsS^ronil'', 
 
 352 pp. (Articles on a great variety of topics; short, 
 
 interesting, valuable.)
 
 SECTION III 
 THE CLASSICISTS OF WEIMAR 
 
 Jena and Weimar lie very close together. Romanticism 
 reached its zenith in the former, Classicism in the latter. 
 If literature is an artistic visualization and faithful reflection 
 of life, how could there be any marked difference between 
 the visualizations and reflections of contemporaneous poets 
 in two towns only fifteen miles apart ? And yet there Was. 
 It is the old question of taste, about which there is no dis- 
 puting. And regional proximity seems to have but little 
 bearing on similarity of spiritual predilection : two brothers 
 grow up on the same homestead and in the same family, 
 the one becomes a broker, the other a bishop. Try as we 
 may, it is difficult to find many points in common between 
 the creations of Fichte, the Schlegels, Tieck and Novalis 
 of Jena, and those of Herder, Wieland, Goethe and Schiller 
 of Weimar. These immortals knew each other, wrote to 
 each other, and in some instances admired each other; 
 but rare are the cases where the two camps exchanged 
 tactics. 
 
 Wieland and Herder were, to ? ^^jp degree, th fore 
 runners~~of Romanticism! Wieland took the content of 
 " OHeron," in part, from an Old French novel, " Huon 
 de Bordeaux," the verse form, ottava rima, from Ariosto, 
 the general character of the work from Shakespeare's 
 " Midsummer Night's Dream," all of which sounds 
 
 [15]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 romantic. Yet the work is Wieland's very own ; a discussion 
 of it belongs only to a genetic treatment of Romanticism. 
 The relation of Herder to Romanticism is a long story, 
 the narration of which is interesting and the conclusion 
 of which is instructive on general principles. The only 
 trouble is, Herder's story throws only a sort of head-light 
 on the Romantic promontory in the distance ; Romanticism 
 proper must be studied at closer range. Schiller, after he 
 grew up, became the Classic opponent of the movement. 
 We know how, on May 31, 1797, he "discharged" 
 Friedrich Schlegel for good and all, and Friedrich was 
 Wilhelm's only brother. And how could we expect Fried- 
 rich Schlegel and Friedrich Schiller to become and remain 
 loyal comrades in letters when Schlegel was preaching 
 arbitrariness and Schiller law. And then there is Goethe. 
 A broader-minded man never lived in Germany. He,stood, 
 not by choice but by reason of his unapproachable genius, 
 on lofty and yet secure heights and looked down with 
 Olympian calm and classical serenity upon the battles 
 being waged below. The sight inspired him, now one 
 way, now another ; but it never blinded him. 
 
 Goethe's attitude toward Romanticism was different at 
 different times. He began as its cautious and tentative 
 friend ; he closed as its impatient and skeptical opponent. 
 About the time he began his friendship with Schiller, 
 1794-1795, he and the Schlegels agreed on the superi- 
 ority of all things Grecian, while they developed the 
 Romantic theory from his " Wilhelm Meister." Novalis 
 looked upon him as the vicegerent of the poetic spirit 
 on earth, and Caroline, the intellectual Egeria of the Jena 
 circle, proclaimed his inestimable services to an eager 
 
 [16]
 
 THE CLASSICISTS OF WEIMAR 
 
 public. He had Friedrich Schlegel's "Alarcos" and 
 Wilhelm's " Ion " performed at Weimar, partly because 
 they attacked Kotzebue and the other Philistines on whom 
 his pen, too, dripped vitriol. He admired Tieck's " Geno- 
 veva" and saw the reasonableness of Schilling's panthe- 
 istic conception of nature. He praised " Des Knaben 
 Wunderhorn" and had two of Werner's dramas Werner 
 in turn familiarized him with the sonnet performed at 
 Weimar, while his relation to Bettina was, so far as she 
 was concerned, intimate indeed. 
 
 But Goethe's passing relations to the individual mem- 
 bers of the movement is one thing ; his adoption of their 
 beliefs and practices is quite another. Their jrnpassiqned_ 
 _sub4Ctivity_, their wjiimsical formlessness, their advocacy 
 ^>f marriage agiiatre, and their pathologicaLefiusions^. on 
 these things Goethe could only turn a deaf, if not defiant, 
 ear. Nor could he accept their theory of Old German^rt, 
 their jieo-Catholic sentimentality, the later .mysticism of 
 his former friend Schelling to say nothing of that of 
 Gorres, their jdolization o jazingss, and thejueactionary 
 Jendencies along political lines as they had become em- 
 bodied in the works of Novalis and Gentz. In short, 
 Goethe could not side with the Romanticists, young or 
 old, in matters of basic importance. Visionaries that they 
 predominantly were, they looked backward ; realist that he 
 preeminently was, he looked forward. x*" 
 
 Those of his works that show most clearly that he lived 
 in an age of Romanticism are listed. If we speak of the 
 " Romantic School " and this only, the list is too long ; 
 if we speak of the Romantic movement, and this outline 
 concerns the movement, the list cannot be made shorter. 
 
 [17]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Schiller's connection with the Romanticists is a long, 
 negative story ; they disliked him personally and profes- 
 sionally. There were, to be sure, at first, about 1795, some 
 signs of friendship based on common agreement ; but they 
 soon disappeared and did not reappear until about a gen- 
 eration later. He and they could not agree on any subject. 
 Wilhelm Schlegel wrote an excellent parody on his " Wiirde 
 der Frauen " and Novalis looked upon the illogical, fan- 
 tastic fairy tale as the only true poetry, according to which 
 Schiller would be no poet at all. Schleiermacher, who 
 certainly could have cherished no personal enmity against 
 Schiller, praised Friedrich Schlegel' s "Alarcos" and con- 
 demned Schiller's " Braut von Messina" in the same breath. 
 In' the famous i^6th_fragment, Friedrich Schlegel gave 
 his famous definition of Romantic poetry, a definition to 
 which Schiller could not in any way subscribe. Wilhelm 
 Schlegel delivered (1808) his suggestive lectures on dra- 
 matic literature and did not draw on Schiller for illustra- 
 tions. Solger formulated the Romantic doctrine of aesthetics 
 and deviated as far as possible from Schiller's treatises on 
 the same subject. Jean Paul did not mention Schiller in 
 his " Vorschule der Aesthetik," Schelling meandered 
 through the whole realm of the tragedy and remained 
 poles removed from Schiller, and lesser lights, brought 
 up to admire Schiller's early plays, turned away from him 
 and to his opponents. From the standpoint of theory, 
 Schiller came off ill with the Berlin-Jena group of Roman- 
 ticists. And after the War of Liberation, the Heidelberg 
 group and its numerous clientele did some creative work 
 that tended to draw attention still more away from the 
 author of "Tell" and to those that were producing dramas 
 
 [18]
 
 THE CLASSICISTS OF WEIMAR 
 
 and epics that were not quite so patriarchal. The roman- 
 tically inclined read " Das Lied von der Glocke " and 
 laughed at its Philistinism while the Philistines read 
 .-Clauren's " Mimili," the great hit of the year 1816, and 
 were pleased. 
 
 Nor did Schiller's works sell well ; nor were they 
 played frequently. Cotta brought out the first complete 
 edition in 1812-1815 m twelve volumes. It was five 
 years before a second edition was necessary. The only 
 way in which this can be viewed as a reasonable demand 
 for the works of Germany's greatest dramatist is to re- 
 member that Germany was then the land of many writers 
 and many books. And on the stage Schiller came unto 
 his own slowly. From 1834 to 1837, Immermann gave 
 him a fair hearing at Dusseldorf ; elsewhere he was 
 neglected. And he had been neglected, strange to say, 
 partly because of the popularity of dramas that were so 
 cheap as to be beneath his consideration and yet so flat 
 as to make no appeal to an orthodox Romanticist. " Der 
 Hund des Aubry " received a hearing ; " Die Braut von 
 Messina " was unwelcomed. Taste, like genius, remains 
 unexplained. 
 
 In short, it is impossible to find conspicuous similarity 
 of purpose or harmony of ideals between Schiller and the 
 Romanticists. Franz Schubert may have set forty-six of 
 his poems to music, according to Brandstaeter, and Hegel 
 may have agreed, in the main, with his philosophy, ac-| 
 cording to Albert Ludwig. But on the whole there was a 
 regularity and reality about Schiller's theory and practice 
 that could not attract those otherwise constituted. There 
 are scattered touches of Romanticism all through his works,
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 just as there are in the works of any great poet ; but only 
 a few of his creations are consistently Romantic, and these 
 are here listed. 
 
 BIBLIOGRAPHY 
 
 ie romantifcfye djxtle in ifyrem inneren gufammenfyange m n (SJoetfye 
 unb Chiller. By Hermann Hettner, Braunschweig, 1850. 207 pp. 
 
 oetfjeg SBilfjelm 3tteifter unb bie aeftf)etifd)e Soctrin ber alteren "3io- 
 manti!. By Heinrich Prodnigg, no year, no place. 31 pp. 
 
 oetfye unb bie Stomantif. By Stephan Waetzoldt, Berlin, 1888. 56 
 pages, including the lecture on " Die Jugendsprache Goethes." 
 I 35er influfc SBUfyelm SJteifterg auf ben Stoman ber SHomantifer. By 
 J. O. E. Donner, Berlin, 1893. 2I1 PP- 
 
 3)ie ciltere Stomantif unb bie $unft beg jungen oetfje. By Hans Rb'hl, 
 Berlin, 1909. 164 pp. 
 
 2)d3 romantifcfje 2>rama. By Karl Georg Wendriner, Berlin, 1909, 
 1 68 pp. (A study of the influence of " Wilhelm Meister " on the drama 
 of the Romanticists.) 
 
 oetfye. @ein eben unb feine SBerfe. By Albert Bielschowsky, Miin- 
 chen, 1904. Volume 2, pages 469 to 475, and chapter 4, pages 77 to 101. 
 Bielschowsky died before the work was finished. Theobald Ziegler 
 helped to finish it. He interpolated the section on " Goethes Verhalt- 
 nis zur Romantik," the first reference, and the fourth chapter, dealing 
 with Goethe's relation to Fichte, Schelling and Hegel. 
 
 oet&e unb bie 3tomantif. By Carl Schiiddekopf and Oskar Walzel, 
 Weimar, 1898. Volumes 13 and 14 of the publications of the " Goethe- 
 Gesellschaft." Each volume contains an elaborate introduction (to the 
 letters that follow) on the works of Goethe that show influence of, or 
 relation to, Romanticism. 
 
 Sliitejeit ber Stomanti!. By Ricarda Huch. Pages 198 to 219 on 
 " Goethe und Schiller." 
 
 @cf)Uler unb bie Stomantif. By Oskar Franz Walzel, Berlin, 1893. 
 In the " Sonntagsbeilage der Vossischen Zeitung," numbers 41 and 42. 
 
 djiller unb bie Sriiber <Scf)legel. By Carl Alt, Weimar, 1904. 130 pp. 
 
 $laffi3i3mu unb 3Jomantif in cfyroa&en ju Slnfang unfereg ^af)r= 
 hunbertg. By Hermann Fischer, Tiibingen, 1889. 22 (quarto) pp. 
 
 @d)UIer unb bie beutfdje 3iacf)n)elt. By Albert Ludwig, Berlin, 1909. 
 679 pp. Read pages 52 to 202. This is the best work on the subject ; so 
 far as Schiller's relations to Romanticism are concerned, it is definitive. 
 
 [20]
 
 THE CLASSICISTS OF WEIMAR 
 
 READING LIST 
 Goethe : 
 
 S 1794. 2)a3 9H(ird)en, 39 pp. 
 
 v 1796. SBHfjelm 2JJetfters i?ehrjaf)re, novel, 726 pp. 
 
 1799. 2ld)U(ei<3, epic poem, 20 pp. 
 
 1800. ?|5altiopf)ron unb 9?eoterpe, dramatic dialogue, 10 pp. 
 - 1802. 3)te natiirlidje Xodjter, tragedy in 5 acts, 128 pp. 
 
 1807. )ie neue ajJeluftne, fairy tale, 28 pp. Conceived much earlier, 
 
 committed to paper in 1807, published in Cotta's " Taschen- 
 buch fiir Damen" in 1817 and 1819, later incorporated in 
 " Wilhelm Meisters Wanderjahre." 
 
 1808. ^Jonbora, festival play, fragment, 37 pp. 
 V/ISCKJ. SBaljloerroanbtfdjaften, novel, 302 pp. 
 
 1811. 35er neue ^Sari^, ein $nabenmd'rd)en, 15 pp. 
 1814. 2Ba<3 roir bringen, festival play, 62 pp. 
 ^ 1815. 35e pimembeS rroacfjen, festival play, in 2 acts, 38 pp. 
 - 1819. 3Beft=Defttirf)er 25itwn, poems, 144 pp. 
 1827. 9iot)elle, 27 pp. 
 
 1818. aJZa^fenjiige, dramatic allegories, 70 pp. (Begun in 1781.) 
 V Poems: S)er ott unb bie 23ajabere ; 2)ie 33raut on 5lorint^ ; 
 djaferS Jllagelieb ; rof; ift bie Siana ber prefer ; 2BeIt= 
 jeele ; SUufen unb rajien in ber DJarf ; 3 a fy me Xenien (67 
 pp.) ; ^noeltben (20 pp.) ; afontala; {pans adjfenS poeti= 
 fdje enbung ; 3Zad)tgebanfen ; Sag onett. 
 \S 1832. ^auft, second part, tragedy in 5 acts, 286 pp. 
 
 Schiller: 
 
 (. 1800. 2J?aria tuart, tragedy in 5 acts, 195 pp. Especially the char- 
 acter of Mortimer, lines 409 to 450. 
 v 1801. 2)ie ^"ttSf^ 11 Don Orleans, tragedy in 5 acts and prologue, 
 
 130 pp. 
 
 -^1803. 2)ie 33raut con 5D?effina, tragedy in 4 acts with chorus, 100 pp. 
 1804. Sie Sulbigung ber ftiinfte, festival play, 10 pp. 
 
 [21]
 
 SECTION IV 
 
 THE TRANSITIONALS 
 
 Detailed study has corroborated tradition in referring 
 to Friedrich Richter and Friedrich Holderlin as the 
 transitional poets between Classicism and Romanticism. 
 They were neither wholly classic nor wholly romantic. 
 Indeed no historian of German literature has yet had 
 sufficient originality to align them with any one move- 
 ment. And they themselves were almost totally dissimilar. 
 Richter, prolific and versatile and popular, described in 
 
 ; queer prose the small but interesting incidents in the 
 lives of the doctors and farmers and teachers and 
 preachers of his own time and country ; he was plebeian. 
 
 / Holderlin, a man without a mind at thirty-six, a devotee 
 of Schiller's idealism, with a limited but weighty message, 
 portrayed in classic verse and romantic prose the lofty 
 deeds of great Greek heroes of long ago. A forerunner 
 of Nietzsche in his despair over the Germany that pro- 
 duced him, he sang of Hyperion and Empedocles and 
 the ether-dwelling gods ; he was patrician. It would 
 seem indeed that the one was the antipodal shadow of 
 the other. And yet each resembled in an anticipatory 
 way the" Romanticism that was to come, in that both 
 longed for an unattainable ideal, both projected their own 
 personalities on the pages before them, both were form- 
 less and diffuse. 
 
 [22]
 
 THE TRANSITIONALS 
 
 It was from Jean Paul's novels that Friedrich Schlegel, 
 in his "Gesprach iiber die Poesie," developed his definition 
 of the novel as a work of sentimental content in fantastic 
 form. On the other hand, Tieck's " Loyell " and Jacobi's 
 ' ' All will ' ' indubitably stood sponsor for ' ' Titan . " I n the dis- 
 cussion of Romanticism in his "Vorschule der Aesthetik " 
 Jean Paul eloquently betrays his interest in and sympathy 
 with Romanticism, while in " Levana" there are numerous 
 instances of parallelism with the works of Fichte and Schleier- 
 macher. From the standpoint of religion, pedagogy, individ- 
 ualism, and the nature of the poet, Jean Paul was not only 
 at one with Romanticism, he was, in a sense, its lawgiver. 
 
 Holderlin's theoretical, professional relation to Roman- 
 ticism was not so integral. Though he died at the age of 
 seventy-three, he enjoyed but fifteen years of interrupted 
 poetic productivity. Totally devoid of humor, unable to 
 understand the words of men while thoroughly appreciative 
 of the stillness of the ether, unable, and unwilling had he 
 been able, to follow the suggestion of Goethe," who advised 
 him to write short poems based on subjects of tangible 
 human interest, Holderlin wrote, however, such works, 
 and lived such a life, as the layman believes is the case 
 with all romanticists. His translation of Sophocles was 
 begun when the clouds were already gathering before his 
 mind ; his one novel, " Hyperion," consists of a series of 
 melodious dirges of two idealistic friends on the degenera- j 
 tion of modern Greece ; his one drama, " Empedokles," is 
 a haloed apotheosis of nature ; his lyrics, among the best in 
 German literature, are ultra-romantic. In so far as Ger- 
 man Romanticism was retrogressive longing, Friedrich 
 Holderlin was one of its first and staunchest advocates. 
 
 [23]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 JOHANN PAUL FRIEDRICH RICHTER (JEAN PAUL) 
 
 Born March 21, 1763, at Wunsiedel, between Bayreuth and 
 Hof. Father a teacher and preacher. Grew up in extremely 
 narrow and uninstructive surroundings. Attended the public 
 schools at Joditz and Schwarzenbach, the gymnasium at Hof 
 (1779-81), the University of Leipzig (May i78i-Nov. 1784). 
 Tutor at Hof and Schwarzenbach (1784-96). Visited Weimar 
 (1796), lived there from 1798 to 1800, then at Meiningen and 
 Coburg. Settled at Bayreuth in 1804, where he lived the rest 
 of his days. After having been worshipped by many women, he 
 married (May 27, 1801) a plain girl, Caroline Maier. Prince 
 Primas Karl von Dalberg gave him (1808) an annual pension 
 of 1000 guldens ; this was withdrawn in 1813 and then paid by 
 the king of Bavaria. Heidelberg conferred on him the honor- 
 ary doctor's degree in 1817. He travelled extensively from 181 1 
 to 1821 and was everywhere highly honored. His son died, 
 September 25, 1821, at Heidelberg, a blow from which he 
 never entirely recovered. From 1821 on he suffered from 
 dropsy and almost total blindness. Jean Paul he possibly 
 fashioned his name after Jean Jacques Rousseau is the unique 
 ^figure in German literature. A German at heart, he imitated 
 \ the French and English writers of the i8th century; he wrote 
 \ books from books, having kept a series of 3cttctfaften in which 
 ~ he compiled excerpts from which to draw later. A Romanticist 
 \ I in that the formless, picturesque, diffusive, personal, subjectivistic, 
 appealed to him. While Holderlin poetized the great, he poetized 
 the small. Great difference of contemporary opinion as to his 
 merits ; Herder praised him, E. M. Arndt excoriated him. More 
 read in his day than Goethe, he is now almost totally neglected. 
 Wrote almost no lyrics, though there is a lyric strain in his novels, 
 and no dramas. The master of the odd, his books have queer 
 titles that have little connection with the contents, and his char- 
 acters have bizarre names. Looked upon the Romanticists as 
 false prophets of a true doctrine. (r ift fnft gleic^eittg mit ber 
 
 * [24] 
 

 
 THE TRANSITIONALS 
 
 romantifdjcn Sdjutc auftjctrctcn, o'fjne im minbeften baran teit= 
 juncfjmcn, unb eOcnfotucnig Ijcgte cr jpcitcr bte mmbefte e= 
 meinfdjaft nut ber oetljejd)cn Stimfifdjulc. Of him Maeterlinck 
 says : " Jean Paul, the romantic and mystic Rabelais of the 
 Germans, the most powerful, the most slovenly, the most inex- 
 haustible, the most chaotic and the most gentle of literary mas- 
 ters." And Lowell said : " Jean Paul, the greatest of German 
 humorous authors, and never surpassed in comic conception or 
 in the pathetic quality of humor, is not to be named with his 
 master, Sterne, as a creative humorist." He died at Bayreuth, 
 November 14, 1825. 
 
 BIBLIOGRAPHY 
 
 Sean ^paul fa'mmtlidje SBerfe. Sixty volumes in 22, Berlin, 1826-28. 
 Sean ^taltl3 fammtlidje 2Cet!e. Thirty-four volumes in 17, Berlin, 
 
 1860-62. 
 
 ^ean $aul3 auSgenuifjlte 3Berfe. With an introduction by Rudolf 
 Steiner, Stuttgart (Cotta), 8 volumes, no year. 
 
 Sean ^aul ^-riebricf) 9M)ter3 Se&en nefcft (^aractcriftif jeiner SBerfe. 
 By Heinrich Doring, Gotha, 1826. 208 pp. 
 
 * Sean ^Saul. ein Seben unb feine SBerfe. By Paul Nerrlich, Berlin, 
 1889. 655 pp. The standard source of information on Jean Paul. 
 
 Sean $aul ^rtebrtcf) 9lirf)ter in feinen le^ten Xagcn unb im Xobe. 
 By R. O. Spazier, Breslau, 1826. 172 pp. 
 
 Sean ^8aul3 ^8erfonlid)Ieit. ^c^S 6 "^^^^ 6 Seriate. Collected and 
 edited by Eduard Berend, Miinchen and Leipzig, 1913. 33erenb fyat&afj 
 unb Siebe ohne infprucf) unb Stetufcfjterung ju SBorte fommen laffen, 
 nur in ben 2lnmerfuna,en gclegentlicf) SBinfe fi'tr bte 33eurteilung bes 33e= 
 rirf)terftatter^ gegeben. 
 
 Sean ^anl unb jeine 3citgenoffen. By Paul Nerrlich, Berlin, 1876. 
 
 374 PP- 
 
 Sean $aut unb feine SBebeutung fitr bie egenroart. By Josef MUller, 
 Miinchen, 1894. 436 pp. 
 
 Sean $aul3 Sidjtung im Si(f)te unferer nationalen nhoirfeumg. By 
 K. C. Planck, Berlin, 1867. 185 pp. 
 
 Sean ^Saut=<Stubten. By Josef MUller, Miinchen, 1900. 176 pp. 
 
 Sa aSerlja'ltniS Sean ^aul3 jut ^hilofop^ie jeiner eit. By Walther 
 Hoppe, Leipzig, 1901. 83 pp. 
 
 [25]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 problem ber $erfonlicf)feit bei Sean $aul. By Walter Weng- 
 hofer, Jena, 1907. 51 pp. 
 
 Sean ^Saul aI3 rofjmeifter beutfdjen umor3. By Eduard Kauffer, 
 Reudnitz, 1869. 238 pp. 
 
 Sean ^aulsi ^legeljahre: 2Jfaterialien unb Unterfudjungen. By Karl 
 Freye, Berlin, 1907. 305 pp. 
 
 Sean ^SattB 35erE)altni3 511 ben Itterarifcfyen ^Jarteien feiner 3eit. By 
 Eduard Berend, Berlin, 1908. 67 pp. 
 
 Sean ^BatU3 fyofye SJJenjdjen. By Johannes Volkelt, Munchen, 1908. 
 (In " Zwischen Dichtung und Philosophic," pp. 106-161.) 
 
 terne, tppel unb Sean $aul : @in Seitrag jur ejd^icl)te be^ ^umo= 
 rifttfd^en 3ioman3 in Seutfd^Ianb. By Johann Czerny, Berlin, 1904. 86 pp. 
 
 READING LIST 
 
 1783. ronlctnbtfrfje $ro3effe, satirical narrative, 230 pp. 
 
 1792. S)te unjicfytbare Soge, prose narrative, 502 pp. 
 
 1795. ^e^peru^, prose narrative, 793 pp. 
 
 1796. Sefcen be^ Uttntu3 ^i^Ietn, prose narrative, 265 pp. 
 
 1796. <Sie6enf(i< (Flower, Fruit and Thorn Pieces), prose narrative, 
 
 577 PP- 
 
 1803. ittttt (his chief work), prose narrative, 1287 pp. 
 
 1804. ^tegeljafyre (partly biographical), prose, 518 pp. 
 1804. 35ie SBorfcfyule ber 3leftf)eti! (critical), 359 pp. 
 1809. 2)r. ^a^cnbergcrS 33abercije, prose, 293 pp. 
 
 JOHANN CHRISTIAN FRIEDRICH HOLDERLIN 
 
 Born March 20, 1770, at Lauffen on the Neckar, in Wiirttem- 
 berg. His father, a convent tutor, died in 1773. His mother 
 married again (1774) a friend of her former husband, Councilor 
 Gock, mayor of Niirtingen, who died in 1779. Reared under 
 direct guidance of mother, grandmother and their women friends. 
 Attended the Latin School at Niirtingen, the Parish Schools at 
 Denkendorf and Maulbronn (i 784-88), the Protestant Seminary 
 at Tubingen (1788-93), where he became intimately acquainted 
 with Neuffer, Magenau, Hegel and Schelling. Schiller secured 
 for him (Sept. 20, 1 793) position as tutor to the son of Charlotte 
 
 [26]
 
 THE TRANSITIONALS 
 
 / von Kalb, one of the two important women in the Storm and 
 Stress" movement. Held the position until 1796. Became then 
 tutor in the family of J. Gontard in Frankfurt am Main (1796- 
 98). His fatal love affair with Gontard's wife, Susette, whom 
 he poetized as " Diotima," a name taken from Plato's " Sym- 
 posium," obliged him to leave Gontard's house forever. The 
 whole affair is enshrouded in mystery. He then thought of be- 
 coming a preacher, or of editing a magazine, Iduna, or of 
 applying for a position as dozent at Jena. Secured instead a 
 position as tutor at Hauptwil (1800), then at Bordeaux in Jan- 
 uary, 1802. Left Bordeaux (May 10, 1802), possibly because 
 he was called on to preach, walked across France, was robbed 
 on the way, entered the room of Matthisson in Stuttgart (July, 
 1802) a man without a mind. Susette Gontard died May 22, 
 1802. Holderlin partially recovered, studied Pindar and trans- 
 lated Sophocles' "Antigone" and " CEdipus." Suffered relapse 
 in 1807, and never recovered. Handsome in appearance, of 
 gentle, artistic temperament. Influenced in his youth by Klop- 
 stock's Teutonism, by Macpherson's " Ossian," Schiller's " Phi- 
 losophische Briefe " and " Don Carlos," Rousseau's " Contrat 
 social," C. F. D. Schubart's hatred of tyranny. An overweening 
 idealist, fond of music with some musical ability, classic in form, 
 romantic in content, given to abstractions, elegiacally inclined, 
 resembling Keats, one of the transitional poets, he wrote some of 
 the most wonderful lyrics of German literature. Has never been, 
 and can never become, one of Germany 's popular writers. o 1 b e r = 
 lin'3 cbirfite ftnb fctn Scbcit. (Sr Icbte, urn 511 btdjtcn, itnb erft 
 im cbirfjt Umrbc fcin Scbcn Ujm Icbcnbig. Died at Tubingen, 
 June 7, 1843. 
 
 BIBLIOGRAPHY 
 
 riebridj >6IberUn3 fcimmtlidje SBcrlc. By Christoph Theodor 
 Schwab, 2 volumes, Stuttgart, 1846. Volume 2 contains (pp. 263-333) 
 igolberlinS eben. 
 
 SjbolberlinS gefammelte 3)tdE)tungen. With a biographical introduction 
 by Berthold Litzmann, 2 volumes, Stuttgart (Cotta), no year. 
 
 [27]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 gefummelte 3Berfe. By Wilhelm Bohm, Jena, 
 3 volumes, 1911. Contains introduction, Volume i, pages i to cxix. 
 
 }Q6lberlin3 SBerfe. One volume in 4 parts, edited with biographical 
 introduction and separate introductions to the different works by Marie 
 Joachimi-Dege, Berlin (Deutsches Verlagshaus Bong & Co.), 1913. Pos- 
 sibly the best place to read Holderlin. A splendid bit of printing. 
 
 >td)tungen t>on ^riebrtcf) Jgolberlin, mit biographifdjer inlettung. 
 By K. Kostlin, Tubingen, 1884. 187 pp. 
 
 SSorarbeiten unb Seitriige 311 einer fritifcfjen 2lu3gabe Spolberlinio. By 
 Robert Wirth, Plauen, 1885. 30 (quarto) pp. 
 
 >ie 3ugenbbtd)tungen griebrid) 6lberIinS. By Rudolf Grosch, 
 Berlin, 1899. 46 pp. 
 
 gtiebrid) foolberlin unb feme SBerfe. By Alexander Jung, Stuttgart, 
 1848. 279 pp. 
 
 Sag (Srle6ni3 unb bie )id)tung. By Wilhelm Dilthey, Leipzig, 1907. 
 455 PP- 'Preats Lessing, Goethe, Novalis, Holderlin (pages 330455). 
 Of very great value. 
 
 SSerfdjroarmte 35eutfd^e. By Moeller van den Brack, Minden i. W., 
 no year. Holderlin (pages 126-163). 
 
 Seutfcfje .(Sharaftere. By Gustav Kiihne, Leipzig, 1886. Holderlin 
 (pages 235-258). 
 
 efammelte 3leben unb 2luffa^e. By August Sauer, Wien, 1903. 
 400 pp. Holderlin (pages 1-25). 
 
 S5ie ntroic!elungggefcf)icf)te oon 6lberlin^ nperion. By Franz Zin- 
 kernagel, Strassburg, 1907. 242 pp. 
 
 $nebrid) olbcrlin: @ein Seben unb jeine Sid^tungen. By Carl 
 Miiller-Rastatt, Bremen, 1894. 183 pp. 
 
 3in bte 9la<fyt. @in 2)id)terle6en. By Carl Muller-Rastatt, Florenz and 
 Leipzig, 1898. 204 pp. (A story with Holderlin and his friends as char- 
 acters.) 
 
 griebridE) ^olberlin unb Sofin $eot3 al^ getfteSDerroanbte Stater. By 
 Guido Wenzel, Magdeburg, 1896. 28 (quarto) pp. An interesting 
 study. 
 
 tubien ju olberltn @mpebol(e. By Wilhelm Bohm, Weimar, 
 1902. 45 pp. 
 
 2)ie Sanbfdjaften in ben 3Ber!en olberlin unb Sean $aul3. By 
 Lothar Bbhme, Naumburg, 1908. 116 pp. 
 
 <plberlin unb o^ilkr. By Ernst Bauer, Leipzig, 1908. 75 pp. 
 
 (Stubien juolberlin3 Dbenbid^tung. By Leo Francke, Breslau, 1910. 
 44 pp. 
 
 [28]
 
 THE TRANSITIONALS 
 
 
 
 READING LIST 
 
 1799. <0nperion, a novel in letter form. Five different versions are 
 
 extant; best are those of 1794 and the final one of 1797- 
 
 1799. 148 pp. 
 
 1799. @tnpebofle3, dramatic fragment, 90 pp. 
 1826. Snrtfdje ebicfjte, begun in Holderlin's youth, nothing written 
 
 after 1807. Best poems: a3 2lhnenbUb ; 35er fclinbe anger ; 
 
 25icf)termutfj ; 2)er gefeffelte trom; 35em onnengott; SWein 
 
 igenthum ; 3)er Xob fiir^ SBaterlanb ; efang be Seutfc^en ; 
 
 2tn bie Seutfdjen; fonperion^ c^ictjalslieb ; Slbenbp&antafie ; 
 
 9tiidEie&r in bie 
 
 [29]
 
 SECTION V 
 
 THE WRITERS OF THE BERLIN-JENA GROUP 
 
 To believe that German Romanticism sprang into exist- 
 ence, like Pallas Athene from the head of Zeus, full-grown 
 and with a clearly defined and feasible programme on a 
 certain day in 1798, would be like believing that new polit- 
 ical parties are the result of a moment. Neither political 
 nor literary phenomena happen this way. They may, to be 
 xsure, come to a head overnight, but if they are really 
 r momentous they have been a very long time in the making. 
 There has always been a romantic strain in German litera- 
 ture, more so, possibly, than in the other great literatures, 
 since that of Germany has so doggedly concerned itself 
 first and foremost with the individual heart, with the per- 
 sonal affairs of the writer, with things German rather than 
 I foreign. All good literature must contain some romanti- 
 / cism. Goethe's " Iphigenie," though in no way a romantic 
 drama, contains one verse that is ultra-romantic, namely,- 
 2)a Sanb ber riecfjen mit ber eele fitdjenb. This verse 
 might almost be set up as the guiding star of the efforts of 
 Holderlin, the Schlegels at first, Goethe as a Romanticist, 
 Wilhelm Miiller and others. And if we substitute some- 
 thing else for ber riedjen, if we substitute, say, bes> 
 28itnberfcf)iJnen, the verse might be set up as the motto 
 of Romanticism in general. But between the years 1 748, 
 the year of the appearance of the first three cantos of 
 
 [30]
 
 THE WRITERS OF THE BERLIN-JENA GROUP 
 
 Klopstock's " Messias," and i2.?i tne vear f the estab- 
 lishment of Das At/ienaum, there appeared a long series 
 of spiritual phenomena in literary form the ultimate ] 
 result of which was systematic Romanticism. The move- \ 
 ment started in Berlin, then shifted to Jena, and then y 
 oscillated between these two towns. Its shibboleth was 
 " War against Enlightenment, War for Fancy." Its liter- 
 ary leaders were the Schlegels, Tieck, Wackenroder and 
 Novalis. 
 
 Brrort-lived indeed was this Romantic School. Its mem- 
 bers had too many irons in the fire ; they reacted against 
 too many things. To take a figure from pedagogy, they 
 were too appreciative of the principle of " situation and 
 response," so that they suggested much more than they 
 accomplished. Some of their ideas, those pertaining to 
 the Church and the State^ were snap judgments impossible 
 of realization. Others, the appropriation of foreign litera- 
 tures through translations, the introduction of Christian as 
 opposed to Classic art, were well meant, but the carrying 
 out of even these, especially the latter, led to a disconcert- 
 ing vagueness. The death of Novalis and Wackenroder 
 and the paucity of works that the general public would and 
 could read, made the idea of dismemberment seem ex- 
 tremely plausible. They separated and each went his own 
 way, but they had started a school, which, in default of a 
 more telling name, tradition has called the Berlin-Jena 
 School. 
 
 And it would be very erroneous to believe that we have 
 to do here with a well-organized and lasting school. The 
 leaders did not know exactly what they wanted, and they 
 hung together, at most, only from 1798 to 1804. And
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 when, in 1804, A. W. Schlegel started on his travels with 
 Madame de Stael, and Tieck went to Italy/ there was no 
 longer any such thing as a Jena School. Indeed, it is only 
 for the sake of convenience that Romanticism is ever 
 spoken of in connection with a town. And from this 
 standpoint, there were the following schools (the facts are , 
 found in Kummer, page 52) : JENA: the literary leaders 
 and Karoline, Schleiermacher and Schelling. BERLIN : 
 Rahel Lewin, Bettina von Arnim, Hoffmann, Hitzig, 
 Contessa. DRESDEN : Adam M tiller, Tieck, Kind, Hell, 
 Graf Loeben, P. O. Runge, K. D. Friedrich, Kleist. KOLN : 
 the Boisserees. HEIDELBERG : Arnim, Brentano, Gorres, 
 Eichendorff. MUNCHEN: Baader, Schelling, Oken. WIEN: 
 Friedrich Schlegel, Z. Werner. TUBINGEN : Uhland, Ker- 
 ner. The essential differences between the two main 
 schools are pointed out in the preface to the Heidelberg 
 group. 
 
 JOHANN LUDWIG TIECK 
 
 Tieck was born at Berlin, May 31, 1773, the year in which 
 Goethe's " Gotz von Berlichingen " appeared, one of the books 
 from which the young poet- to-be learned to read. Berlin was 
 then the citadel of Rationalism. His father, a rope-maker by 
 trade, a man of considerable experience and some travel, orderly, 
 systematic, practical and industrious in his work, opposed his 
 imaginative son in any and all schemes that seemed to him 
 fantastic, including the boy's wish to become an actor. As to 
 religion, the father was skeptical. On reading one day in Paul 
 Gerhard's hymn, 9?un rufjcn aEe SSalber, the verse, ( fd)Iaft 
 bie gcm^e 98elt, he said, " How can any one believe such stuff ? . 
 The whole world does not sleep ; in America the sun is now shin- 
 ing and the people are awake." His mother, on the contrary, 
 
 [32]
 
 THE WRITERS OF THE BERLIN-JENA GROUP 
 
 was pious, believing, gentle and imaginative. It was by her 
 that Tieck's fancy was first aroused. He attended (1782-92) 
 the Friedrich Werdersches gymnasium in Berlin, a thoroughly 
 rationalistic institution then under the leadership of Friedrich 
 Gejdicke. It was here that he formed his friendship with Wack- 
 enroder. He entered the University of Halle in 1792 to study 
 theology, but devoted the major part of his time to letters. 
 He then entered Gottingen, where he concerned himself pri- 
 marily with English literature. He studied for a short while in 
 1794 at Erlangen with Wackenroder, returned, however, to 
 Gottingen in the same year and finished, after a fashion, his 
 studies. He then spent three years in Berlin writing " Strauss- 
 federn " for Nicolai, the most extreme of the Rationalists. He 
 married Amalie Alberti, the daughter of a preacher, in 1798 
 and moved to Jena in the fall of 1799, where he associated for 
 
 _ten months with the other Romanticists and Goethe. From 
 1801 to 1802 he lived in Dresden and became acquainted with 
 Henrik Stejjeris in Tharandt. From 1804 to 1819 his head- 
 quarters were Ziebingen, near Frankfurt an der Oder, from- 
 which point he made journeys to Italy (1804), Baden-Baden 
 (1810), Prag (1813), England (1817). From 1819 to 1841 his 
 headquarters were Dresden, where he became court councilor 
 
 "and dramaturge of the Royal Theatre. In 1840 he received a 
 call from Frederick William IV to come to Berlin on a pension. 
 He accepted and lived at Berlin, or in Potsdam, the rest of his 
 days. His wife died in 1837, ms famous daughter, Dorothea, in 
 1841 ; he himself died at Berlin, April 28, 1853. 
 
 The life of Ludwig Tieck, the leader of the Berlin-Jena School 
 and its chief poet, falls into three rather distinct periods. From 
 1789 to 1797 he was, by vocation at least, a Rationalist. From 
 1797 to 1821 he was a Romanticist of the most genuine sort. 
 From 1821 to 1853 he was a Realist, not of the extreme 
 modern type, rather a tamed Realist, one who had passed 
 through one literary apprenticeship that was never wholly con- 
 genial to him, and another of which he had now had .enough. 
 
 [33]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 - Aside from his activities <L asjdireclQr of. the theatre at Dresden 
 he was only a poet, devoting his entire life to letters and pro- 
 ducing with uncommon rapidity. He had a great talent for 
 making friends, a mania for collecting books, and an insatiable 
 
 . desire to read them. He was, literally speaking, a man of 
 dreams and visions. It is said of him that he could not appreci- 
 ate Correggio until he had seen in a dream the beauty of his 
 works, and then it was all clear. He suffered for fifty years 
 from gout and rheumatism and always from moods artd melan- 
 choly. He restored to the Germans their old chap-books, made 
 intelligent and pioneer propaganda for Shakespeare in Germany 
 gave a model translation of Cervantes, helped to purify the 
 >} German language and uplift the German stage, and established 
 
 ^"(1821), in so far as one man could establish, the modern 
 German 9hH)dlc. He wrote in all 23 dramas, 75 narrative 
 pieces, 10 sketches on art, 45 literary treatises, 107 dramatic 
 criticisms and numerous poems aside from his translations. He 
 was famous in his day as a public reader, editor, translator, 
 critic, dramaturge, adapter and mimicker. His works lack life, 
 since he wrote mostly for aesthetic reasons rather than from 
 real inspiration. Of great service to other poets, Lenz, 
 Novalis and Kleist, and especially Kleist, he received in turn 
 decisive influence from his friend Wackenroder. Idolized by his 
 contemporaries, he has been neglected, until recently, by poster- 
 ity. Goethe said (1824) of him : ted ift etn talent toon fjofyer 
 SBebeutung, unb e fann feme aufserorbenttidje SSerbtenfte 
 niemnnb beffer erfennen at id) felber ; attetn roenn man ifm 
 iiber if;n felbft unb mir gteid)fteKen mitt, fo ift man im Srrtiim. 
 $d) fann btefe gerabe f)eraufagen, benn tt>a3 gcfjt e mid) an, 
 id) fyabe mid) nid)t gcmad)t. Schiller said (1799) of him: <3dn 
 ^uSbrud", ob er gteid) leine grofce raft j^eigt, ift fein, Uer= 
 ftanbig unb bebeutenb, and) f)at er nidjt ofette3 nod) llnbe= 
 fd)etbene. 
 
 [34]
 
 THE WRITERS OF THE BERLIN-JENA GROUP 
 
 f 
 
 BIBLIOGRAPHY 
 
 @d)riften. Twenty-eight volumes, Berlin, 1828-1854. 
 au3gerocif)lte SBerfe. Edited by Heinrich Weld, Stuttgart 
 (Cotta), 8 volumes, 1888. 
 
 ebicfyte oon Subroig 2iecf. Berlin, 1841. 598 pp. 
 
 Subroig Xiecf. By Rudolf Kopke, Leipzig, 1855. 698 pp. 
 
 Subroig XiedE. By Hermann Freiherr von Friesen, 2 volumes, Wien, 
 1871. 
 
 German Romance. By Thomas Carlyle, Boston, 1841. Biographical 
 note and translation of " Eckbert," " Eckart," " Runenberg," " Elfen," 
 Pokal." 
 
 iecf al 9iODelIenbid)ter. By J. Minor, in " Akademische Blatter," 
 edited by Otto Sievers, Braunschweig, 1884. Pages 129-161 and 193-220. 
 
 2>rei Sapitel com romantifdjen til. By Hermann Petrich, Leipzig, 
 1878. 152 pp. 
 
 Subroig Xierf unb bie 33oIfS&itrf)er. By Bernhard Steiner, Berlin, 
 1893. 88pp. 
 
 Subroig Siecf al3 -Dramaturg. By Heinrich Bischoff, Bruxelles, 1897. 
 124 pp. 
 
 $ur @ntroicfelung3gefdjirf)te ber 9?oueUenbidE)tung Subroig XiedE^. By 
 T. D. Gamier, Giessen, 1899. 54 pp. 
 
 Subroig terf3 enooeua alS romantijd;e Sidjtung 6etrad)tet. By 
 Johann Ranftl, Graz, 1899. 258 pp. 
 
 Subroig Xierf Snrif. By Wilhelm Miessner, Berlin, 1902. 64 pp. 
 
 Subroig ierf3 ^ugenbroman SKiUiam Sooell unb ber Paysan perverti. 
 By Karl Hassler, Greifswald, 1902. 167 pp. 
 
 Siomantifdje Mritif unb Satire Dei Subroig Xiecf. By Hans Giinther, 
 Leipzig, 1907. 213 pp. 
 
 The Nature Sense in the Writings of Ludwig Tieck. By George 
 Henry Danton, New York, 1907. 98 pp. 
 
 2)ie Bronte in iecf3 3BilIiam SooeU unb feinen SSorldufern. By Fritz 
 Briiggemann, Leipzig, 1909. 479 pp. 
 
 ^>f)ilipp Dtto SRunge unb Subroig ierf. By Siegfried Krebs, Frei- 
 burg i. B., 1909. 53 pp. 
 
 Subroig iecf unb ba^ eyarbenempfinben ber romantijd)en 2)id)tung. 
 By Walther Steinert, Dortmund, 1910. 241 pp. 
 
 iecf unb olger. By Erich Schonebeck, Berlin, 1910. 87 pp. 
 
 iecfS influfi auf ^mmermann, befonberS auf feineepifc^e^Srobuftion. 
 By Oskar Wohnlich, Tubingen, 1913. 72 pp. 
 
 [35]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 READING LIST 
 
 1792. Ser 2(&fdjteb, tragedy, 54 pp. 
 1795. Sag djirffal, tale (Straufsfebern), 52 pp. 
 1795. $arl oon Sernetf, tragedy, 144 pp. 
 1^*796. 3BilIiam itooeE, novel, 692 pp. 
 Y 1796. S)er blonbe rfbert, fairy tale, 28 pp. 
 * 1797. 2)er geftiefelte $ater, fairy comedy, 122 pp. 
 
 1798. ^rittj 3er6ino, play, 381 pp. 
 U798. ^franj @ternbalb3 2Banberungen, Old German tale, 416 pp. 
 
 Seben unb Xob ber tyeiligen enooeoa, romantic tragedy, 272 pp. 
 2)er Slunenberg, tale, 35 pp. 
 $<rifer DctODianil^, romantic comedy, 421 pp. 
 I, 1811. ^antafu^, collection of tales and plays. 
 1816. ^ortunat, fairy-tale play, 497 pp. 
 1821. S5ie emalbe, (first) novelette, 96 pp. 
 
 1826. S)er 3lufrufr in ben Seoennen, novelette, 278 pp. 
 
 1827. Ser ele^rte, novelette, 50 pp. 
 
 1829. Sidjterleben, (Shakespeare) novelette, 165 pp. 
 
 1833. Sob beg 3)td)ter (Camoens), novelette, 256 pp. 
 
 1836. Set junge Xifc^lermeifter, novelette, 466 pp. 
 
 1837. 2)e3 Seben^ Ufierfluf;, novelette, 68 pp. 
 1840. SBalbeinfatnfeit, novelette, 95 pp. 
 1840. 3Sittoria Slccorombona, novel, 288 pp. 
 
 1853. ebid^te, dating back to youth. A very good collection of Tieck's 
 poems is found in the Cotta edition, Volume 8, pages 225-272. 
 His poems are, as is the case generally with the Romanticists, 
 scattered throughout his prose works. Some of his best known 
 ; djlaflteb; 25ie3Kuftf; loffe; >ie 3etdE)en im JBalbe. 
 
 WILHELM HEINRICH WACKENRODER 
 
 Born 1773 (day not known) at Berlin. Nothing significant 
 known of his mother. Father was a Privy Councilor of War, 
 full of integrity, a lover of order, acquainted with literature, 
 pedantic. Studied with Tieck at the Friedrich Werdersches 
 gymnasium in Berlin, then studied law at Erlangen (1793) and 
 Gottingen (i 793). Finished his course in law (1794) and became 
 referendary at the Chamber Court in Berlin. Duties unspeakably 
 
 [36]
 
 THE WRITERS OF THE BERLIN-JENA GROUP 
 
 distasteful. The altera pars of Tieck, with whom he discovered " 
 the artistic beauties of Niirnberg and whom he loved in nearly 
 unhealthy fashion. Emphasized the national and- ecclesiastical^ 
 jnjDainting_at the same time that Goethe was emphasizing the 
 classic and symbolic. Did much_to revivejjld German-art. The 
 representative impressionist of the old school. Fine, sensitive, \, 
 nervous, emotional, fantastic, dreamy temperament. Died at 
 Berlin, February 13, 1798. 
 
 BIBLIOGRAPHY 
 
 Xied unb SBacfenrober. Edited by Jakob Minor, D. N. L., Volume 145, 
 Berlin and Stuttgart, no year. Introduction, pages i to viii. 
 
 35ie liperjengergiefeungen eineg funftlie&enben $Iofter&riiber3. By 
 Heinrich Wolfflin, Hamburg and Leipzig, 1893. *3 PP- 
 
 SDBacfenrober unb jein influfj auf iecf. By Paul Koldewey, Gottin- 
 gen, 1903. 212 pp. 
 
 erjenergiefiungen etnes hmftlie&enben $lofter5ruber3. Edited by 
 Karl Detlev Jessen, Leipzig, 1904. Introduction, pages i to xxxvi. 
 
 READING LIST 
 
 1797. erjensergief!ungen einej funftliebenben $Iofter5ruber3, impres- 
 sionistic essays on art, 174 pp. (Tieck^ wrote, 3Sorrebe; @e^n= 
 juc^t nao^ 2>taKen ; Sricf beg 2J?aler^ Slntonio ; Srief eineg bent' 
 jdien 2alerg in 3tom; Silbniffe ber 2JJaler.) 
 
 1799. ^p^antaften iiber bie $unft fiir ^reunbe ber 5?un[t, impressionistic 
 essays on art, 104 pp. (According to Minor, Tieck wrote I. 
 i, 2, 3, 4, 6, 7, 8, 9, 10 ; II. 7, 8, 9, 10.) 
 
 FRIEDRICH LEOPOLD, FREIHERR VON HARDENBERG 
 
 (NOVAUS) 
 
 Novalis was born at Oberwiederstedt in the county of Mans- 
 feld on May 2, 1772. There were eleven children in the family, 
 the parents were Moravians and intensely religious. His father, 
 a man of excellent business ability, unsympathetic with his-' 
 son's poetic inclinations, became (1787) director of the Saxon- 
 Electorate salt works. Weak and dreamy as a child, Novalis l 
 
 [37]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 1 woke up at the age of nine, as the result of a severe illness, 
 and from then on was of a wonderfully receptive and assimilative ^ 
 mind. After having received careful training from his pious 
 mother and his conscientious tutor, he studied at Lucklum, near 
 Brunswick, at the gymnasium of Eisleben, and from 1790 to 
 1792 at the University of Jena, where he became interested in 
 law and philosophy and was greatly influenced by Fichte and 
 Reinhold, and especially by Schiller. In 1792 he entered Leipzig 
 and began his association with Fr. Schlegel. He finished his 
 studies in law, mathematics and chemistry at Wittenberg. On 
 November 17, 1794, he entered the employ of the salt company 
 at Tennstadt, near Griiningen, where he met (1795) Sophie von 
 Kiihn, then thirteen years old, who changed his present and 
 determined his future. According to some she was the epitome 
 of grace and charm; according to others, of ordinary looks and 
 low mentality. Their engagement followed ; she became ill in 
 1796 and died March 19, 1797. He now reckoned time from }/" 
 this date and " arranged " to die on the anniversary of her death. 
 In December, 1797, however, he_w_ent to Freiberg Jn Saxony_o_ 
 study^fnining under A. G. Werner, the geologist of Romanticism, 
 met Julie von Charpentier (1798), became engaged to her, re- 
 turned to Weissenfels and became a director of the salt works 
 \i and a government official. He died of tuberculosis, in the arms 
 
 * of Fr. Schlegel, on March 25, 1801. 
 
 Novalis is the most " remarkable " figure in German Roman- i/ 
 ticism. Contrary to the current opinion, he had good business 
 sense and ability and was, at the same time, a seraphic poet 
 and an idealistic philosopher, the Prophet of the Berlin-Jena V^ 
 School. Except a few poems, he left all of his works unfinished. 
 He was utterly unknown in his day his father sang his hymns 
 not knowing who had written them. And when Romanticism 
 began to be seriously studied by scholars and frequently imitated' 
 by poets in 1890, it was Novalis who was first revived. Maeter- 
 linck has translated his "Fragmente" and "Lehrlinge zu Sais" 
 
 ' into French., As originator and systematizer of the blue-flower 
 
 [38] 

 
 THE WRITERS OF THE BERLIN-JENA GROUP 
 
 motif, he has found many disciples. Pure in character, he yet 
 influenced Heine. The gentle phase of later Romanticism, as 
 typified in Schulze's " Bezauberte Rose," came in part from him. 
 His pseudonym is from a branch of the family (De Novali) that 
 lived in the thirteenth century. His prototypes were Klopstock. L, 
 / the ottinger ain, Burger, Fichte, Schiller, and Goethe as 
 *X seen in the first three fourths of " Wilhelm Meisters Lehrjahre." 
 Goethe said of him, ( lacj in ifjm ba 3 eil 9 5 11 etncm 3mpcrator. 
 HHe was the type par excellence of a Romanticist who lived with i 
 himself, not with the world. Of him Maeterlinck says : " He 
 has caught a glimpse of a certain number of things one would 
 never have suspected, had he not gone so far. He is the clock 
 that has marked some of the most subtle hours of the human 
 soul. It is evident that he has more than once been mistaken ; 
 but despite the winds of folly and of error whirling around him, 
 he has been able to maintain himself a longer time than any > 
 other on the dangerous peaks wherer^l is at the point of being 
 lost. He seems to be the hesitant consciousness of unity, but 
 the most vaguely complete that we have thus far had. And 
 there are few human beings in whom our universe was more 
 spiritualized and more divinely human." 
 
 BIBLIOGRAPHY 
 
 9Zot)alt3 @cf)riften. Edited by Ludwig Tieck and Friedrich Schlegel, 
 2 volumes in i, Berlin, 1837. This is the fifth edition; the first ap- 
 peared at Berlin in 1802. The fragment " Die Christenheit oder 
 Europa" was first published in the fourth edition, Berlin, 1826. Tieck 
 and Eduard von Billow published a more complete edition in 1846. 
 
 9tot>ali3 djrtften. Edited by Ernst Heilborn, 3 volumes, Berlin, 1901 . 
 
 9foO(lH3 <Sd)riften. Edited by Jakob Minor, 4 volumes, Leipzig, 1907. 
 The most complete edition. Contains prefaces to various other edi- 
 tions, diary, variants and a biographical sketch by Kreisamtmann Just 
 (Volume i., pages xlix to Ixxxiii). 
 
 9JoDati3' SBerfe. One volume in 4 parts. Edited with biographical 
 introduction and special introductions to the different works by Her- 
 mann Friedemann, Berlin, no year (1913). The-most convenient place 
 to read Novalis. 
 
 [39]
 
 K 
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 igeinrid) Don Dfterbingen. Edited by Julian Schmidt, Leipzig, 1876. 
 144 pp. Contains introduction, pages i to xxiii, and brief notes. 
 
 igetnrirf) f on Dfterbingen. Edited by Wilhelm Bb'lsche, Leipzig, no 
 year (1903). 159 pp. Contains introduction, pages i to 9. 
 
 @ed()<) pfyilofopfjifdje SBortrage. By C. Fortlage, Jena, 1872. 238 pp. 
 Novalis (pages 73-115). 
 
 riebricf) con arben6erg. A collection of valuable documents from 
 the family archives by a member of the family. Gotha, 1873. 2 5 I PP- 
 
 Sorrow and Song. By Henry Curwen, London, 1875. Treats of 
 "broken lives," Chenier, Chatterton, Poe, Novalis (pages 101-197), 
 Petofi, Murger. 
 
 9Zooali3 als> religiofer 25irf)ter. By G. A. L. Bauer, Leipzig, 1877. 
 46pp. 
 
 2)er influfj SBUFjelm 3Keifter3 auf ben Sioman ber Siomantifer. 
 By J. O. E. Donner, Helsingfors, 1893. 211 pp. Novalis (pages 125- 
 
 147)- 
 
 iJlooali^. By Just Bing, Hamburg and Leipzig, 1893. 176 pp. Bio- 
 graphical sketch. 
 
 ' Snrif. By Carl Busse, Oppeln, 1898. 160 pp. 
 
 ber Komantiler. By Ernst Heilborn, Berlin, 1901. 228 pp. 
 Contains a valuable catalogue of Novalis's library. 
 
 9toalis> al3 ^SfyUofopf). By Egon Fridell, Munchen, 1904. in pp. 
 
 JJooaliio. By E. Spenle, Paris, 1904. 473 pp. In French, an excel- 
 lent treatise. 
 
 3aro6 33ocl)me unb bie SJomantiffit. By Edgar Ederheimer, Heidel- 
 berg, 1904. 128 pp. 
 
 ^riebridE) won arbenberg3 Sejie^ungen jur JJaturrotffenfcfjaft feiner 
 3eit. By W. Olshausen, Leipzig, 1905. 76 pp. 
 
 $ur Xejtgefc^icfjte con 9Jot)ali3' ^ragmenten. By Antonie Hug von 
 Hugenstein, Wien, 1906. Pages 79 to 93 and 515 to 531. 
 
 2)a3 @rle&ni3 unb bie Sicfytung. By Wilhelm Dilthey, Leipzig, 1906. 
 405 pp. Lessing, Goethe, Novalis (pages 201 to 282), Holderlin. 
 
 JZoDdlig unb opljie non ^ii^n. Sine pfno)op^nftologi|d)e tubie. 
 By Johannes Schlaf, Munchen, 1906. 70 pp. 
 
 JZoDaliS' einricf) con Dfterbingen al3 3dibrud feiner ^5erf6nlic^fett. 
 By Georg Gloege, Leipzig, 1911. 188 pp. 
 
 3Serfc^n)armte ^eutfd^e. By Moeller van den Bruck, Minden i. W., 
 no year. Novalis, pages 164 to 194. It will be noted that of the 
 twenty references here listed, only five, and these not important, pre- 
 date 1890. 
 
 [40]
 
 THE WRITERS OF THE BERLIN-JENA GROUP 
 
 READING LIST 
 
 1798. 25te 2ef)rlinge 311 <2ais>, geological fairy-tale, 38 pp. 
 
 1799. 2)ie~G[jriftcnf)ctt ober (Suropa, poetic essay, 20 pp. At the sug- 
 
 gestion of Goethe, the Schlegels declined to publish it in the 
 Athenaum. 
 
 V 1800. Jpeinrid) uon Dfterbingen, novel in two parts, first part complete, 
 194 pp. 
 ro&If seiftlidje i?ieber, 18 pp. 
 
 1800. @ed)3 >nmnen an bte 9?ad)t, prose and verse, 21 pp. 
 
 1 80 1. @ebicf)te, $ragmente, age6urf)er, dating back to youth. His most 
 
 popular poems are 3luf griinen 33ergen rotrb geboren; 35er ift 
 ber err ber @rbe; 2>er anger gefjt aiif raufyen ^faben ; 2Benn 
 tc^ i^n mtr ^abe. These have been published separately. His 
 fragments are so unfinished and incomplete that to say what 
 they mean is to speculate and nothing more. 
 
 AUGUST WILHELM VON SQHLEGEL 
 
 Born September 8, 1767, at Hannover. Father, Johann 
 Adolf Schlegel, preacher, contributor to the Bremer Beitrdge, 
 poet, translated (1751) Batteux's " Einschrankung der schonen 
 Kiinste auf einen einzigen Grundsatz." Uncle, Johann Elias 
 Schlegel, one of the most talented critics before Lessing, a 
 staunch opponent of Gottsched, a serious student of Shake- 
 speare. Attended the lyceum of Hannover, entered Gottingen 
 (1786), studied theology and philology, influenced by C. G. 
 Heyne, G. A. Burger and Friedrich Bouterwek, finished his 
 studies in 1791. Became a tutor at Amsterdam in 1792, held 
 the position until 1794, returned to Germany, worked with 
 Schiller until 1797, taught at Jena from 1796 to 1800. Married 
 Caroline Michaelis, widow of Boehmer, a physician ; they were 
 divorced in 1801, and she married Schelling. Helped in the 
 translation of sixteen of Shakespeare's plays (1797-1801), 
 "Richard III" in 1810. Lectured on art and literature in 
 ^Berlin from 1801 to 1804. Companion of Madame de Stae'l 
 \and tutor to her sons from 1804 to 1813. Visited with her 
 
 [41]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Sweden, Denmark, Switzerland, Italy; never left her until her 
 death in 1817. It is surmised that he helped her write " De 
 I'Allemagne." Studied Sanscrit at Paris (1816-1817), then was 
 appointed professor at Bonn, where he remained till his death. 
 Easy, elegant, correct, chivalric, vain, generous in disposition. 
 Extremely weak as a poet, extremely well-read, the foremost 
 critic of the Berlin-Jena school and one of the world's greatest 
 translators. Made the literatures of India, Italy, Greece, Spain, 
 Portugal, accessible to the Germans. Protestant in religion, a 
 follower of the Classicists of Weimar in poetry ; resembled Herder 
 somewhat in criticism and Wieland in literary grace; a master 
 of prosody, a man who could make effective the ideas of others ; 
 /the systematizer and herald of the Romantic doctrines of art, 
 he carried out the ideas of Lessing in his attack on the classical 
 French drama, so that French Romanticism owed him much. 
 Goethe said of him : (r tocift uncnblicrj bid, unb man crfdjrtcft 
 faft liber feine aufcerorbcntlic&cn ftcnntntfjc unb fcinc grofje 
 SBelefenfjeit. Stttein bamtt ift c nictyt getl)an. 5ttte dd)rfam= 
 fcit ift nod) fcin llrtfydt. cine Stritif ift burdjauS dnfdtig. 
 Died at Bonn, May 12, 1845. 
 
 BIBLIOGRAPHY 
 
 2luguft SBUfjelm djlegclS fammtlidje SBerfe. Edited by Eduard 
 Booking, 12 volumes in 6, Leipzig, 1847. 
 
 2)eutfd)e 5RationaI=^itteratlir. Biographical sketch of the Schlegels, 
 pages i to Ixxv, by Oskar F. Walzel, Volume 143, Stuttgart, no year. 
 
 $Ieine @d)riften. By David Friedrich Strauss, pages 122 to 184, 
 Leipzig, 1862. 
 
 $ur (5ntftcf)ung3gefdE)iu)te beg <3cf)legclfcf)en @^a!efpcare. By Michael 
 Bernays, Leipzig, 1872. 260 pp. 
 
 >ie SBriiber 2luguft 2Bill)elm unb ^nebrid^ djlegel in tfjrem SBerpIts 
 mffe JUt btlbenben ^unft. By Emil Sulger-Gebing, Miinchen, 1897. 
 199 pp. " 
 
 The Indebtedness of Samuel Taylor Coleridge to August Wilhelm 
 Schlegel. By Anna Augusta Helmholtz, Madison, Wisconsin, 1907. 
 97 PP- 
 
 [42]
 
 THE WRITERS OF THE BERLIN-JENA GROUP 
 
 READING LIST 
 
 1791. 2lu bent 2>taltenifd)en. 25ante. liber bie gottlid)e $omobie. Vol- 
 ume 3 (" Schriften "), pp. 199-388. Appeared in Burger's 
 Akademie der schone n A'iinste, Volume i, Part 3, pp. 239-310. 
 Discusses the political conditions of Dante's time. 
 
 1795. Sriefe liber ^Soefte, tlbenmafc unb <3prad)e. Volume 7, pp. 
 
 98-154. Appeared in Schiller's Horen and was influenced by 
 Schiller's " Uber naive und sentimentalische Dichtung." 
 
 1796. @troa3 iiber SBiUiam O^afefpeare bei elegenb/eit 20ilf)elm 
 
 9Jieifter3. Volume 7, pp. 24-64. Appeared in Schiller's 
 Horen. 
 
 1797. Uber Ijafefpeareg Borneo unb 3>ulia. Volume 7, pp. 71-97. 
 
 Appeared in Schiller's Horen. 
 1801. @b,renpforte itnb Xriumpfybogen fur ben b,eaterpraftbenten 
 
 con $oebue. Satire in prose and verse against Kotzebue, 
 
 104 pp. 
 1803. 3>on, drama, 100 pp. 2)ie teUe im 1. 2lft, roo Son bie SSogel au 
 
 bem Sempel fd)eud^t, ^at rillparjer in ,,2)e3 SJZeere^ unb ber 
 
 Siebe 2BelIen" benu^t. 
 181 1 . SJorlefungen i'tber bramatifdje Munft unb ^iteratur. Read lectures 
 
 i, an3 26 to 31^- 
 1821. ebto^te. Dating back to 1781. Volume i, pp. 1-384. SchlegePs 
 
 poems are weak. 2lrton, 3>n i>er ^rembe and the -one on the 
 
 sonnet are fair. The sonnet on himself is a poetization of his 
 
 own vanity. 
 
 KARL WILHELM FRIEDRICH VON SCHLEGEL 
 
 Born March 10, 1772, at Hannover, brother of August 
 Wilhelm Schlegel. Their father, Johann Adolf, died in 1793, 
 the year Friedrich made his literary debut with his essay on the 
 schools of Greek poets. Dull and melancholy in his youth, his 
 parents thought it best to start him in business; but in 1788 
 he entered the University of Gottingen to study law and philol- 
 ogy, went then to Leipzig and turned his attention to literature. 
 Influenced by C. G. Heyne. Led a wild life while at Leipzig 
 (May 1791-} an. 1794). Became interested in Greek through 
 
 [43]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 the influence of Caroline Michaelis-Boehmer, influenced by Gott- 
 fried Korner in Dresden (1794-96). Went to Jena in 1796, 
 where he worked out the theory of Romanticism from Goethe's 
 " Wilhelm Meister." Broke with Schiller (May 31, 1797) partly 
 because Schiller published Caroline von Wolzogen's "Agnes von 
 Lilien" in the Horen. Went (1797) to Berlin and was in- 
 troduced by the musician Reichardt to Henriette Herz, Rahel 
 Levin, Dorothea Mendelssohn-Veit and Schleiermacher. Estab- 
 lished with August Wilhelm Das Athendum (1798-1800), 
 the official organ of the older school. Lived in the Romantic 
 circle in Jena from 1798 to 1800. Broke, partly, with his brother 
 after writing " Lucinde." Studied Sanscrit in Paris from 1801 
 to 1808 and published the magazine Europa. Lived with 
 Dorothea Mendelssohn-Veit from 1799; sh"e~was baptized in 
 1804 and both joined the Catholic Church in 1808 (or 1803), 
 the first famous " conversion " since the days of F. Stolberg. 
 Went to Vienna in 1809, lectured on modern history and litera- 
 ture with great success ; became friendly with Metternich, to 
 whom he dedicated his " Geschichte der alten und neuen Litera- 
 tur " (1812) ; was Secretary of the Diet at Frankfurt am Main 
 (1815-18)'; published the magazine Concordia from 1820 to 
 1823, a paper which tried in vain to reconcile the conflicting views 
 on Church and State. Together with his brother Wilhelm he 
 was the originator of modern criticism. A lazy genius, while his 
 brother was a man of industrious talent. The two regenerated, 
 or created, classigal^^hjlology ; Friedrich was one of the first to 
 make a real study of Goethe and of Lessing, from the latter 
 of whom he in part derived the idea of " Fragmente." He 
 drew the line from Fichte to Romanticism. Goethe defended 
 him and had his " Alarcos" performed, partly because Kotzebue 
 attacked him. An unusually suggestive writer; it was he who 
 first found bte <2prad)e ber rofjcn nbcr fraftigen 9?atur in ber 
 ionifdjen, bte ber Qh-iifje in ber borifcfren, bte ber <Sd)5nf)cit in 
 ber attifd)en, bie ber Siinftelet in ber alcjanbrintjd)cn 3)id)tcr= 
 fd)iitc. So it always was with him ; he gave a new turn to 
 
 [44]
 
 THE WRITERS OF THE BERLIN-JENA GROUP 
 
 everything he touched. His wife Dorothea not only helped 
 him by suggestion but did some of the work now published 
 under his name. He said of the literature of his time : (tim= 
 mung roirb Gtegenftanb eine Srama, unb ein bramatifdjer 
 toff, toirb in ttyrtfcfye gorm ge^roangt. Xie fyerdorbringenbe 
 ftraft ift raftlo unb unftat, . . . bie 90?obe fjulbigt mtt jebcnt 
 5(ugenblicfe etnent ncuen SlOgotte. . . . 2)ie beutfdje ^oefte 
 ftellt ein DoEftanbige geograpfyifrfjes 9?aturalien=abinet alter 
 9?ational=dfjaraftere jebe 3 e it fl ^ er ^ un & J e ^r SSeltgegenb 
 bar ; nur ber beutjrf)e r fagt man, fe^te. He was always fond 
 of jesting, especially about the evils that had come over the 
 world with the inventing of the printing press. His wife died 
 August 3, 1839; he himself died at Dresden while giving a 
 series of lectures, January 12, 1829. 
 
 BIBLIOGRAPHY 
 
 griebrtdj con <5d)Iegel3 jammtlic^e SBerfe. Fifteen volumes in 7, 
 Vienna, 1847. 1 tne ' ast volume, pages 263 to 288, there is a good 
 biographical and critical sketch by Ernst, Freiherr von Feuchtersleben. 
 
 griebrid) djlegelS profatfdje 3ugenbfd>riften (1794-1802). Edited by 
 J. Minor, Wien, 1906. This is invaluable; it contains those brilliant 
 flashes of incoherent wit that characterized the youthful writer. 
 
 ^debrief) <3d)legel unb bie Xenten. By Michael Bernays, Leipzig, 1869. 
 
 5 6 PP- 
 
 griebnd) djlegel am ShmbeStag in {jranffurt. ByJ.Bleyer, MUnchen, 
 
 1913- 
 
 Friedrich Schlegel's Relations with Reichardt. By S. P. Capen, 
 Philadelphia, 1903. 49 pp. 
 
 Frederic Schlegel et la genese du Romantisme allemand. By I. 
 Rouge, Paris, 1904. 315 pp. An excellent treatise. 
 
 2)ie religiongptiilofoj^ifdieaJMtdjten ffiiebiidi-^jcj^egelg. By Wal- 
 ther Glawe, Berlin, 1905. 45 pp. 
 
 ^riebrid) <3cf)legel3 pfiilofop&ifdje 2lnfdjauungen in ifyrer ntroicfe= 
 lung unb jgftematijd)en 2lu^geftaltung. By Paul Lerch, Berlin, 1905. 
 8a pp. 
 
 grtebrid) Sd)legelei cid)idjtopf)i(ofopf)ie. By Friedrich Lederbogen, 
 Leipzig, 1908. 86 pfK 
 
 [45]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 READING LIST 
 
 1795. liber bie Stotima, prose sketch, Volume 4 ("Werke"), pp. 71-116. 
 1799. Suctnbe, formless novel, 300 small pages in the first edition. 
 
 gaum je jurjor nocf) {pater hat etn beutfdjer 3ioman fold) 2lrger= 
 
 ni erregt rote bie Sucinbe. 
 1802. SUarcoS, tragedy, 70 pp. Written in many different verse and 
 
 strophe forms. Goethe had it performed at Weimar ; it was 
 
 at this performance that he rose from his seat and said to the 
 
 audience, ,,9ftan larfje ntc^t!" 
 1804. efdljtdjte be 3 au & erer ^ Berlin, romance in prose, Volume 7, 
 
 pp. 1-140. Really written by Dorothea. 
 1808. 3Som llrfprung ber ^oefie, prose sketch, Volume 8, pp. 351-355. 
 
 Valuable. 
 
 1808. U6er bie 2Bets>l)ett urtb @prad)e ber 3 n ^i er > critical discussion, 
 
 in pp. 
 
 1809. ebtcfyte. Best known; Galberort; ^m 2Balbe; %m peffart; e= 
 
 liibbe; Seutfc^er inn; S5a roige; 2lu^ bem ^lagegefange 
 ber Gutter otteg; 2Beife beg 3)i<f)ter3; 2ln ^ubroig XiedE. 
 1812. efc&icfjte ber alten unb neuen Siteratur, Volume 2, pp. 1-248. 
 
 [46]
 
 SECTION VI 
 THE FATE DRAMATISTS 
 
 One of the most peculiar episodes in the Romantic 
 movement was the fate drama. More interesting than 
 artistic, it grew out of the events of the time. From 1789 
 to i8jj. Napoleon was the man nf Fatp, To the Germans 
 he seemed like the mysterious fulfiller of a higher will.. 
 And after his overthrow, the Holy Alliance of Prussia, 
 Austria and Russia, which nipped in the bud any far-away 
 hope the Germans had of united and concentrated effort^, 
 seemed like a second fate, worse than the first. Tne 
 fearful battles of the War of Liberation had been fought 
 and won to no purpose so far as civic and social and 
 national relief was concerned. Small wonder then that/- 
 the poets of the time visualized and reflected such un- 
 toward incidents. The motif in Germany was not the 
 invention of any one poet. A movement in which Tieck, 
 Schiller and Grillparzer played each a prominent part 
 cannot have been based on any unity of action. Also, 
 it is a vague conceit. When is a drama a fate drama ? 
 It is impossible to determine this with stop-watch accu- 
 racy. Purpose and chance, or fate, frequently play parallel 
 rdles in the lives of men. A fate drama is one where fate V 
 is predominant, where the turning point is sharp and pro- \ 
 nounced rather than round and therefore somewhat slow \ 
 in development. 
 
 [47]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 The scheme, for scheme it was, appealed to some of the 
 Romanticists because it gave them an opportunity to utilize 
 the gruesome, the spectral, the criminal and the-mete- 
 dramatic. Then there was Calderon, whom they were 
 studying and who had done, after a fashion, the same 
 thing. Such a movement could naturally have but a short- 
 lived existence, and by 1820 it was already being parodied 
 by Castelli, Platen and others, though, like Romanticism 
 / itself, it never entirely disappeared and traces of it are still 
 to be found in the works of Ludwig, Hauptmann, Hof- 
 mannsthal and Schnitzler. Nor was the idea original with 
 the Romanticists; it was employed by the Greeks, where 
 the great the gods ruled over the small the mortals. 
 i'twas the reverse Thp smnll n 
 
 dateor_a_dagger ruled over the, great the mortals. 
 The three most conspicuous fate dramatists are Houwald, 
 Miillner and Zacharias Werner. 
 
 An idea of the fate drama can be obtained from Milliner's 
 " Schuld," one of the most important of the series. The 
 tragedy was written in 1812, first performed April 17, 
 1813, and, after a few scenes had been published in Die 
 Zeitung fur die elegante Welt, it appeared at Leipzig in 
 1816. In the preface to the third edition, written in 1817, 
 Miillner says, SBon ber <Sd)itlb ftnb 6t3 jet>t bret )tebe>aus>= 
 gafcen, fjofftdjertoeije 9?adjbru<fe genannt, erftfjtenen. It was 
 translated into English by W. G. Frye under the title 
 "The Guilt, or the Gipsy's Prophecy," and by Gillies 
 under the title " Guilt, or the Anniversary." Sainte-Aulaire 
 translated it into French under the title " L' Expiation," 
 Dobrentei translated it into Hungarian, and there is also a 
 Danish rendering. The play was highly praised in its day ; 
 
 [48]
 
 THE FATE DRAMATISTS 
 
 that it contains poetic scenes cannot be denied even by the 
 most prejudiced, though it is not so effective, dramatically, 
 as Werner's " Der vierundzwanzigste Februar." Miillner 
 denied that he had been influenced by Schiller. Aside 
 from servants there are seven characters ; the place is the 
 shore of the North Sea. The plot is as follows : 
 
 Don Valeros, a Castilian lord, has a son Hugo, who, 
 on account of a prenatal curse pronounced by a Gipsy 
 woman, has been entrusted to the family of Count Oerindur 
 in the North. After reaching maturity, Hugo goes to 
 Spain, and falls fatally in love with Elvire, the wife of Don 
 Carlos. Hugo kills Carlos while hunting and he and Elvire 
 then go to the North according to a previous agreement. 
 Valeros follows them in order to take vengeance on the 
 murderer of Carlos. To his indescribable surprise, he 
 learns that Hugo and Don Carlos are brothers, and that 
 the curse pronounced by the Gipsy has been fulfilled on 
 account of the very precautions that were taken to obviate 
 it. When Hugo sees what he has done, he takes his own 
 life, Elvire having, in the meanwhile, taken hers. The 
 curse of the Gipsy was as follows : 
 
 agetang totrft bu bid) quaten, 
 (f)' bu quttt tot r ft beiner Saft ! 
 Sft, toa bu gebierft, em nabe, 
 SSitrgt er beu, beu bu fdjon fjaft ; 
 Sft'S em 28etbt>tlb, ftirOt'S burd) tfjn, 
 Unb bu fafjrft in unben f)iu. 
 
 The motif of fate is ever present. Hugo says that he is 
 not sinful and murder-loving by nature, but that an unpro- 
 pitious fate had foredoomed him to this inevitable end. 
 
 [49]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 He takes his life with the same dagger that Elvire had 
 thrust into her own heart, and both die on the anniversary 
 of Don Carlos's death. The motif of the harp with the 
 string that broke is also effectively used and never lost 
 sight of ; it begins the drama and closes it. 
 
 As Milliner said, it is perfectly evident that he could 
 not have received any essential inspiration from anything 
 Schiller ever wrote ; but the similarity between Milliner's 
 " Schuld " and Grillparzer's "Ahnfrau," written only 
 three years later, lies on the surface. 
 
 Of the fate drama Heine says: S)te riec&en fiityten 
 tt>of)l bie Iftonucnbtgfeit, biefeS quctluoKe SSaritm in ber 
 gobie ju erbriirfen, unb fie erfannen bae> gatum. . . . 
 S)id)ter unferer 3eit Ijaben ba3fe(6e gefuhtt, bas> $atum nad)- 
 gebttbet, unb fo cntftanben unfere hcuttgen <3d)idfal<tragobicn. 
 Ob biefe 9^ad)6ttbung gtucEOcf) war, ob fie ii6er(jaupt 5le(jn= 
 ticfjf ett mit bem grtedjtfdjen llrbttb Ijatte, taffen lt)ir batjingeftellt. 
 enug, fo lob(td) and) ba treben nod^ ^erDorbrtngung ber 
 efu'^t^einf)ett roar, fo roar bod) jene @d)tctfal^tbee etnc fetjr 
 tronrige 5(ii!()u(fe, ein uncrqnidltdje^, fdjtibltcf)e3 nrrogat. 
 @anj rtitberfpredjenb ift jene @d)tcffa(tbee mit bem eift unb 
 ber 9#orat unfercr &it, toekfie betbe bura^ ba Sljrtftcntum 
 au^gebilbet iuorben. 
 
 CHRISTOPH ERNST, FREIHERR VON HOUWALD 
 
 Born November 29, 1778, at the baronial castle, Straupitz in 
 der Niederlausitz. Family ennobled in 1656. Father a lawyer, 
 president of the General Court of Justice. Studied (1793-1802) 
 domain-science at Halle, where he formed a lifelong friendship 
 with Contessa. Married 1806. Had nine children of his own 
 and adopted three others. Wrote much for children. Faithful 
 
 [50]
 
 THE FATE DRAMATISTS 
 
 attendance to his duties as farmer, land-syndicate and charity- 
 officer interfered with his writing. Main period of poetic pro- 
 duction 1817-24. Gentle, lovable, somewhat sentimental and 
 melancholy temperament. Never rich, always generous. Pop- 
 ular rather because of his disposition than because of his genius. 
 Decorated by Frederick William III and patronized by Frederick 
 William IV. Died on his estate, January 29, 1845. 
 
 BIBLIOGRAPHY 
 
 rnftoon^ouroalbS jammtlidje SBerfe. Edited (uncritical) by Fried- 
 rich Adami, 5 volumes, Leipzig, 1859. 2)tt3 Se&en be StdjterS, by 
 Adami, Volume i, pp. 1-96. 
 
 2)0 @cf)tcffal3brama. Edited by Jakob Minor, D. N. L., Volume 151. 
 Introduction, pp. i-vii, and pp. 459-462 for Houwald. 
 
 2>te <3d)icffal3tragobte in ifyren >auptoertreterrc. By Jakob Minor, 
 Frankfurt am Main, 1883. 189 pp. Treats Werner, Miillner and Hou- 
 wald (pp. 159-189). 
 
 Spouroalb a!3 Sramatifer. By Otto Schmidtborn, Marburg, 1909. 62pp. 
 (Teildruck.) 
 
 READING LIST 
 
 1817. 9iomantijcf)e 2lrlorbe, miscellaneous prose sketches, tales, etc., 
 
 426 pp. 
 
 1818. einem @d)tcffal faun 9Ziemanb entgefien, farce, ridiculing fate 
 
 tragedies, 38 pp. 
 
 1819. ebtdjte, Volume IV, pp. 543-664. Begun in 1797. 
 1819. 2)a S3ilb, tragedy, 178 pp. 
 
 1819. 35er #eud)tthurm, tragedy, 84 pp. 
 
 1820. $luo) unb egen, drama, 47 pp. 
 
 AMANDUS GOTTFRIED ADOLF MULLNER 
 
 Born October 18, 1774, at Langendorf. Father plain and 
 quiet. Mother, the favorite sister of G. A. Burger, talkative and 
 imaginative. Studied (1789-93) at Schulpforta, and took a 
 course in law at Leipzig (1793-97). Practiced law at Weissen- 
 fels from 1798 till his death. Established there an amateur 
 theatre in 1810. An actor himself. Almost forty before he 
 
 [51]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 began to write. All his plays written between 1809 and 1819. 
 In 1 8 1 2 he wrote two comedies and two tragedies. His comedies 
 abound in uncles. Edited three different magazines. Received 
 (1805) the degree of doctor of laws at Wittenberg. Married 
 Amalia von Lochau. Querulous and critical by nature. Wrote a 
 few prose stories that deal with criminal subjects. Died June 1 1, 
 1829, at Weissenfels. 
 
 BIBLIOGRAPHY 
 
 3MIlner3 bramatifd)e SBerfe. Seven volumes in 4, Braunschweig, 
 1828. Prefaces by Milliner. 
 
 2MUner3 ^efcen, Sfyarufter unb eift. By Professor Dr. Schiitz, 
 Meissen, 1830. 480 small pages. 
 
 READING LIST 
 
 1812. 2)ie djulb, tragedy, 188 small pages. 
 
 1812. 3)er neummbjnxxnjtgfte fye&ruar, tragedy, 72 small pages. 
 
 1815. 25ie Dnfelei, comedy, 100 small pages. 
 
 FRIEDRICH LUDWIG ZACHARIAS WERNER . 
 
 Born November 18, 1768, at Konigsberg. His father, a 
 professor at Konigsberg, died in 1782. His mother was nervous 
 and abnormal ; she died in the obsession that she was the Holy 
 Mother and that the Savior was her son. He attended the 
 University of Konigsberg from 1784 to 1790. Heard Kant. 
 Held government positions in South Prussia from 1793 to 1805. 
 At Warsaw he associated with E. T. A. Hoffmann, J. E. Hitzig 
 and Mnioch. During this period he was three times married and 
 three times divorced. His mother and Mnioch died on Feb- 
 ruary 24, 1804. In 1805 he received a government position in 
 Berlin, where he associated with the men of letters of the time. 
 His "Luther" was performed in Berlin in 1806. Received from 
 Prince Primas Dalberg in 1809 a pension ; this was later taken 
 over by Karl August of Saxe- Weimar. Went over, first secretly 
 then openly, to the Catholic Church, became a priest in 1814 
 
 [52]
 
 THE FATE DRAMATISTS 
 
 and spent the rest of his life preaching to great companies 
 in Wien. A man of real gifts, especially along the line of the 
 drama. Admired by Schiller, Goethe and Grillparzer at first; 
 some thought he would take the place of Schiller as a dramatist. 
 His best poetic years were 1805-1810. After this his religiosity 
 completely carried him away. One of the most unwholesome 
 characters in German literature. Influenced by J. Boehme, 
 Tieck, Wackenroder, Schleiermacher. Wrote several poems. 
 His sermons read rather well. Made little distinction in his 
 youth between the church and the theatre ; he preached from 
 the stage and acted from the pulpit. 3ncf)arta3 SBerner tt)ar 
 ber ein^ige 3)ramattfer bcr <3d)ule, beffcn (Stiicfe auf ber 53ii()ne 
 aufgefiifjrt unb bom parterre opplaubtert ttwrben. Died at 
 Wien, January 17, 1823. 
 
 BIBLIOGRAPHY 
 
 $ac!)aria SBerner : La Conversion d'un romanHque. By E. Vierling, 
 Nancy, 1908. 333 pp. Appendix of 37 pp. 
 
 3ad)artag 28ernerg 2Beif)e ber $raft. (Sine tubie jur ea)nif beg 
 Sramag. By Jonas Frankel, Hamburg, 1904. 141 pp. 
 
 liber ben influjj von 3ad)<ma3 SBernerg 2JZnftif auf fetn bramati= 
 jcl)eg djaffen. By Karl Irmler, Metz, 1906. 40 pp. 
 
 3acf)ariag SBerner. 2Jh)fttf unb 9iomantif in ben ,,of)nen beg Sfjalg." 
 By Felix Poppenberg, Berlin, 1893. 79 pp. A good study. 
 
 gadjariag 2Berner3 auSgenwfylte c^rtften. Fifteen volumes in 5, 
 Grimma, 1841. Volume 5 (pp. 14-15) contains a biographical sketch of 
 Werner together with some letters and excerpts from his diary. 432 pp. 
 
 READING LIST 
 
 1803. 2)ie <36fjne beg I)aIg, drama in two parts, 12 acts, 541 pp. 
 
 1806. 2)ag $reuj an ber Dftfee, tragedy in 3 acts, 100 pp. 
 
 1807. SRarttn iiutfjer, ober bie 3Beifye ber 5lraft, historical drama in 5 acts, 
 
 225 pp. 
 
 1808. 2Uttla, $6mg ber Spunnen, romantic tragedy in 5 acts, 168 pp. 
 
 1808. SBanba, romantic tragedy in 5 acts, with songs, 85 pp. 
 
 1809. >er Dterunbftroanstgfte ^ebruar, fate tragedy in i act, 55 pp. / 
 1816. 2)ie Gutter ber 3Jiaffa6tier, tragedy in 5 acts, 172 pp. 
 
 [53]
 
 SECTION VII 
 THE WRITERS OF THE HEIDELBERG GROUP 
 
 It is extremely difficult, it is indeed impossible, to draw 
 a sort of literary Mason and Dixon line between the old 
 '' and the young Romanticists. In the roauv-we associate 
 the former with Jena and Berlin, the latter with Heidel- 
 berg. In general, the former were born about five years 
 before the latter. But then there were all kinds of natal, 
 congenital, regional and temperamental exceptions. Arnim 
 and Brentano were, for example, of Berlin. And yet, de-j *, 
 spite the fact that the ideals and tendencies of the two 
 groups were more or less similar, it was largely a question 
 
 /"of the North and the South. And in a broad way it can . 
 / \T ~^r 
 
 f be_ saidJJaat the North was critical, the South was creative^A 
 V And then we think of Tieck, to whom this generalization 
 is unjust generalizations in literature are always unjust 
 to some one. And it was also a question of Goethe. He 
 found those of Heidelberg more congenial they were 
 more poetic. They collected folk songs, and that reminded 
 him of Herder, and of himself. They wrote works that 
 contained more human touches than did those of Tieck 
 and the Schlegels, and that pleased him. And they were 
 younger so that he could chide them and send them away 
 with more propriety than he could the others. And he did 
 send them away when they began to preach an extrava-^ 
 gant subjectivism and a delicious dolce far niente and a 
 
 [54]
 
 THE WRITERS OF THE HEIDELBERG GROUP 
 
 Mediaeval as opposed to Classical art. By 1808 Goethe 
 had passed through his era ot 35eut)rf)e $iinft ; he was now 
 interested more in Helena than Herzeloide. The seconcNv 
 part of "Faust" is indeed Romantic, but it is Romantic J 
 in the old, in the northern, sense, not in the southern. 
 
 The fundamental difference between the Romanticism 
 of Berlin and that of Heidelberg is best brought out in 
 the journals, in the respective official organs, of the two 
 groups. The very name Athenaum is significant. Either 
 its editors are manifestly planning to look down from 
 some lofty height on their own land or they are going to 
 revive the glories, by way of teaching a lesson, of some 
 far-away land in a far-off age. They did the latter. Vari- 
 ous other names were at first suggested for this paper : 
 Herkules, Dioskuren, Parzen, but none of these would do. 
 Neither would Deutsche Annalen nor Freya. Then for a 
 while it was a choice between Schlegelenm and A thenaum, 
 and this was chosen. The Schlegels made it plain that they 
 were not simply the editors but also the contributors. Only 
 a select few wrote for this journal. And Heine's too fre- 
 quently quoted remark about Romanticism and Mediaeval- 
 ism comes to poignant grief on reading this journal. Greece, 
 the Romance peoples, the philosophy of the late eighteenth 
 and the early nineteenth century, and the authors themselves, 
 these are the sole themes of this Romantic magazine with 
 the Classic name. Of its 1047. pages there are scarcely 
 47 pages of easy reading. \The Athenaum is typical of 
 Berlin-Jena Romanticism, of trie North. 1 
 
 With Heidelberg, with the South, all this is different. 
 The very name, Einsiedler-Zeitung or Trosteinsamkeit, is 
 again significant. The editors, Arnim, Brentano and Gorres,
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 were not planning to retire from their own land ; they 
 wished, on the contrary, to revive the best there was in it, 
 and they hoped to do this by retiring from a number of 
 "causes" which seemed to them overworked or unworthy; 
 and not the least of these was the idolization of Classical 
 antiquity. And Heidelberg, which at this time boasted of 
 such names as Thibaut, Creuzer, Fries, Bockh and Daub, 
 and which was on the point of getting Tieck, who did not 
 write for the Athenaum, was in a particularly happy posi- 
 tion to popularize the best traditions of Germany. There 
 are 412 pages in the Einsiedler-Zeitung, as published in 
 book form, and there are about 100 different articles. 
 Excepting a very few by Friedrich Schlegel and Friedrich 
 Wilken, every single one is on a Germanic_theme. 
 
 To make, therefore, a few guarded generalizations(jBerlin.^ 
 Romanticism was critical, philosophic, foreign, unpopular ; 
 Heidelberg Romanticism was creative, poetic, Germanic, 
 popular. Berlin abounded in irony, was cosmopolitan, ^ 
 unlyrical, speculative, and more perfect in form ; Heidel-- x 
 berg had more humanness, was national, readable, lyrical, 
 graphic, and richer in content. Despite Tieck's prolific- 
 ness, no writer of the old group wrote a single work that 
 is still read for pleasure's sake ; each writer of the Heidel- \/ 
 berg group did. Berlin suggested, Heidelberg executed. \S 
 The main poets of Heidelberg were Arnim, Brentano, 
 Chamisso, Eichendorff and Uhland. This is, however, 
 only a conventional grouping. Arnim, Brentano and Cha- 
 misso lived, after 1808, in Berlin and constituted what 
 might be called a second Berlin School. Nor was Eichen- 
 dorff of the South by birth. Even regional generalizations 
 are, in the case of poets, generally impossible. 
 
 [56]
 
 THE WRITERS OF THE HEIDELBERG GROUP 
 
 LUDWIG JOACHIM VON ARNIM (AcHiM VON ARNIM) 
 
 Arnim was born at Berlin, January 26, 1781. He came of 
 sturdy stock in the Mark, his family belonging to the nobility. 
 After attending the Joachimsthalsches gymnasium in Berlin, he 
 entered (i 7981) the University of Halle, where he concerned him- 
 self with physics, then a popular study. In 1800 he entered 
 the University of Gottingen, where he continued his researches 
 in mathematics, physics and chemistry. As early as 1799 he 
 published an article on electricity that attracted attention. It 
 was at Gottingen that he became acquainted with Goethe and 1 -"" 
 Brentano; the latter saved him for literature. From 1801 to 
 1 8 1 4 he lived an unsettled life ; travelled through South Germany, 
 Switzerland, France, England, Holland, the Rhine region; was 
 in Heidelberg from 1805 to 1806, or 1807, in close touch with 
 Brentano, Gorres and the Grimms. He then lived in Berlin, 
 Gottingen, Heidelberg. Weimar and Konigsberg. In 1811 he 
 married Bettina, Brentano's sister, with whom he lived an ex- 
 tremely happy married life ; they had seven children. During 
 the War of Liberation he was captain of the fianbfturm. In 
 1814 he retired to his estate at Wipersdorf near Dahme, near 
 Berlin, where he died of apoplexy on January 21, 1831. 
 
 Arnim bears about the same relation to the Heidelberg School t^ 
 that Tieck bears to the Berlin-Jena School. A loyal Protestant, < 
 a chivalric gentleman, a noble patriot, he condemned Napoleon 
 and fought for the reforms of Stein when it was even physically 
 dangerous to take such a stand. He is one of the most amiable y-' 
 \ characters in German Romanticism, one who never allowed the t-- 
 aberrations of the movement to get away with him. Though 
 known now chiefly because of his work on " Des Knaben 
 Wunderhorn," in which he was interested mostly as an ethical, 
 patriotic, national enterprise, while Brentano was concerned 
 with the aesthetic side of the task, he nevertheless wrote some 
 interesting if not great dramas, many lyrics, mostly scattered 
 throughout his prose works, and a number of excellent novels 
 
 [57]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 ^ and short stories. His greatest work is " Die Kronenwachtej;" 
 W He was a great student of Herder and a great admirer of Goethe. 
 Eichendorff said of him : Sftdnnlid) fd)i.in, Don eblem, Ijofycm 
 28ud)|c, freimiittg, feurig iinb milb, juberlcifftg itnb efyrcnljnft 
 in allcm SSefcn, treu 511 ben greunben fjattenb, tt>o biefe toon 
 alien ucrtaffen, war 5trnim in bcr Stfjat, tt>a anbere burdj 
 mittclaltcrlic^en 3(ufpu^ gern fd)cinen rooltten : eine ritterticfje 
 Cr[d)cinung im bcftcn <3inne. His own words, a sort of prayer, 
 found in "Die Kronenwachter," give a clear idea of his laudable 
 ambition : 
 
 tb Siebe mir unb einen frozen 9Jhmb, 
 
 a id) bid), fperr, ber rbe tue hinb ; 
 
 efunb^ett gib bet jorgenfreiem ut, 
 
 @in frommeg erj unb einen feften SUJut ; 
 
 ib 5ltnber mir, bte alter 3Kiif)e raert, 
 
 25erfd)eud)' bte ^einbe t>on bent trauten erb; 
 
 tb 5lit9 e l bann unb einen iigel @anb, 
 
 Sen iigel (Sanb im Ueben SSaterlanb, 
 
 jd)enl' bent abfd)tebfd)roeren etft, 
 er fid) leid)t ber fd)5nen 9Belt entretjjt. 
 
 BIBLIOGRAPHY 
 
 2lrntm SCerle. Edited by Monty Jacobs, Berlin, no year ( 1910), 2 vol- 
 umes. The best edition for the general student (Goldene Klassiker- 
 Bibliothek), contains excellent biographical and critical introduction 
 (pages i to Ixx), special introductions to the separate works, and 25 
 pages of good notes. 
 
 SluSgenwfylte Sftooellen. Berlin, 1853. Contains 9 of Arnim's short 
 stories. 
 
 2ld)tm con 3lrntm unb bte tljm nafye ftanben. By Reinhold Steig and 
 Hermann Grimm, 3 volumes, Stuttgart, 1894-1904. A work in every 
 way monumental. 
 
 2lrntm3 rb'ft injamfett. Edited in book form by Fridrich Pfaff, 
 Freiburg and Tubingen, 1883. 412 pages. The most convenient place 
 to study the official organ of the Heidelberg School. The work is sup- 
 plied with an introduction of 96 pages. 
 
 2)e3 $naben SBunberborn. By Anton Birlinger and Wilhelm Crece- 
 lius, with illustrations by H. Merte and C. G. Specht, 2 volumes, Wies- 
 baden, 1874-1876. A valuable work. 
 
 [58]
 
 THE WRITERS OF THE HEIDELBERG GROUP 
 
 25e3 naben SBunberfyorn unb feine Quellen. By Ferdinand Rieser, 
 Dortmund, 1908. 560 pp. 
 
 2lrnim3 unb 33rentano3 romantijc^e 33olf3lteb=@rneuerungen. By J. 
 E. V. Muller, Hamburg, 1906. 74 pp. 
 
 !oUin3 Siebeleben. Edited with an introduction by J. Minor, Stutt- 
 gart, 1883. 148 pp. (An excellent study for the biographical material in 
 this novel.) 
 
 2)te 33ejteljungen be SrcmtatiferS 2ldf)im von Slmim jur altbeutfcfyen 
 Siteratur. By Walther Bottermann, Gottingen, 1895. 88 PP- 
 
 S)ie rtifin 3)0lore3. By Friedrich Schulze, Leipzig, 1904. 101 pp. 
 
 2. 2lcf)tm non 2lrnim3 geiftigc ntroirfelung an feinem S5rama ,,allc 
 unb 3 eru i a ' em/y crlautcrt. By Friedrich Schonemann, Leipzig, 1912. 
 269 pp. Bibliography, pages xiv-xv. 
 
 READING LIST 
 
 1802. <goQin Siebeleben, novel on the style of "Werther," 131 pp. 
 1808. >e $naben SBunber^orn. (First three volumes.) 
 
 1810. 2lrmutf), 9leic^t^unt, d^ulb unb 33ue ber raftn 2)olore3: cine 
 
 roa^re efc^ic^te jur Ief)rreicf)en Unter^altung armer graulein, 
 novel, 764 pp. 
 
 1811. 9iooeQen : 3f abeQa con Slgnpten, 1 1 5 pp. ; 35er to He 2>t">alibe auf 
 
 bem ^ort 9latonneau,.i7 pp.; ^iirft (Sanjgott unb anger alb- 
 gott, 40 pp. 
 
 1811. alle unb Serufalem, drama, 250 pp. 
 
 1813. 2)ie 2lppelmanner, puppet play, 48 pp. 
 
 1813. Set tra^lauer 5Urf)J u 9> comedy, 28 pp. 
 
 1817. 2)ie ^ronenrodrf)ter. Really the first German novel of importance 
 taken from Germany's remote past. Incomplete, 491 pp. (Con- 
 tains, as do all of Arnim's works, scattered lyrics.) 
 
 CLEMENS MARIA BRENTANO 
 
 Brentano was born at Thal-Ehrenbreitstein, September 8, 
 1778. The one poet of the Romantic School of Italian parent- 
 age, he is in many ways connected with the literary lights of his 
 day. His father, Pietro Antonio Brentano, married Maximiliane 
 von Laroche and from this marriage sprang also Kunigunde, 
 the wife of Savigny, and Bettina, the wife of Achim von Amim. 
 Hermann Grimm married Gisela von Arnim, the daughter of 
 
 [59]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Bettina; Maximiliane is mentioned in " Dichtung und Wahrheit," 
 and Sophie Laroche, the grandmother of Clemens, the author of 
 " Fraulein von Sternheim," was a friend of Wieland in his youth. 
 Brentano's mother died in 1793, his father in 1797, leaving the 
 naturally untractable child to be brought up by an embittered 
 aunt, Luise von Mohn. He lived an extremely irregular life.^ 
 After attending preparatory schools in Koblenz and Mannheim, 
 he was placed (1795) in an oil and wine store in Langensalza, 
 where unspeakably distasteful duties devolved upon him. In 1 797 
 he entered the University of Halle, in 1798 Jena, where he saw 
 Wieland, Herder, Goethe and the Romanticists. He married 
 (1803) Sofie Schubert, the divorcee of ProfessorMereau. She died 
 in 1806, and in 1807 he married Auguste Busmann, from whom 
 he was soon divorced. Later in life he fell in love, in Berlin, 
 with a Protestant, Luise Hensel, who jilted him. On February 2, 
 1817, he went, for the first time since childhood, to the priest 
 to confess, and lived a different life from then on. From 1818 
 to 1824 he lived in Ditlmen, observing and writing down the 
 remarks of an erratic nun, Katharine Emmerich. During the 
 last eighteen years of life he gave up poetry entirely and 
 devoted himself to Catholicism. He died at Aschaffenburg, 
 July 28, 1842. 
 
 Brentano is one of the strangest characters in German_Ro-t/ 
 manticismyHe lived Romanticism. He wrote some good lyrics; 
 attacked, in satirical skits, Kotzebue; did some excellent work 
 : on "Des Knaben Wunderhorn"; wrote some of the best_fairy 
 tales in German literature; discovered, in a sense, the beauties 
 of the Rhine ; but despite all this it is impossible to vindicate 
 his life and works. He was fantastic, visionary, unstable, 
 sipated, with all his talents. He is one of those unfortunate 
 poets whose life one tries to forget while reading his works. 
 At his death Diepenbrock said: SQZoge ott il)tn ben Sricben 
 fd)enfcn, ben fein unruljige emiit auf (Srben nic&t finbcn 
 fonnte ; nicf)t in ber ^Soefie, nid)t in ber SieOc unb rcunbfd)aft 
 unb leibcr jetOft ntcijt in ber 9icligion. 
 
 [60]
 
 THE WRITERS OF THE HEIDELBERG GROUP 
 
 BIBLIOGRAPHY 
 
 Siemens 33rentano gefammelte <SdE)riften. Nine volumes in 5 parts, 
 Berlin, 1852-1855. 
 
 2)ie 2Jiarcf)en be3 GlemenS 33rentano. Edited by Guido Gorres, Stutt- 
 gart, 1879. Two volumes in i, contains 15 2Hcird)en and an introduction / 
 of 40 pages. 
 
 (Siemens Srentano ; ein Se6en6ilb. By P. Johannes Baptista Diel, | 
 S. J., and Wilhelm Kreiten, S. J., Freiburg i. B., 1878. An unwieldy book 
 of 1013 pages. 
 
 Obnri. Edited by Anselm Ruest, Berlin, 1906. 548 pp. 
 
 obroi ; ein $apitel beutjcfjer Siomanttf. By Alfred Kerr, Berlin, 1898. 
 136 pp. 
 
 2)ie 3Mrd)en Sletneng SrentanoS. By Hermann Cardauns, Koln, 
 1895. "6pp. 
 
 ntftefjung unb C-uellen ber 2Hard)en GlemenS 23rentano. By Otto 
 Bleich, Braunschweig, 1896. 54 pp. (In Archiv fiir das Studium der 
 neueren Sprachen und Literaturen, Vol. 50.) 
 
 viftttD 355afa. Heilbronn, 1883. 136 pp. (In " Deutsche Literatur- 
 Denkmale des 18. und 19. Jahrhunderts," Vol. 15.) 
 
 (Siemens 33rentcmo3 S^omanjen oom Stofenfranj. Edited by Max 
 Morris, Berlin, 1903. 484 pp. (A very thorough study.) 
 
 Valeria; ober SSaterlift. Edited by Reinhold Steig, Berlin, 1901. 119 
 pp. (The stage version of " Ponce de Leon.") 
 
 33rentano3 " Ponce de Leon"; etne afularftubie. By Gustav Roethe, 
 Berlin, 1901. 100 (quarto) pp. 
 
 Smmericf)=33rentano : eiltgfpreo)ung ber ftigmatifterten 3luguftiner= 
 9?onne, 21. ^. (gmmerid^, unb beren ftmfteS Dangelium noo) Element 
 Srentano. By J. Rieks, Leipzig, 1904. 432 pp. 
 
 S)a iQauS ber S3rentano. By W. Miiller von Kbnigswinter. A novel 
 with Clemens Brentano as hero, 1873. 374 PP- 
 
 READING LIST 
 
 1803. obrot, formless novel, 855 pp. (Includes many poems.) \ 
 
 1803. ^Sonce be Seon, comedy, 278 pp. 
 
 1809. 9tomanjen nom 9iojenfranj, epic, mystic, Catholic poem, 418 pp. 
 
 1815. 2>ie riinbung ^|Srag, historic, romantic drama, 416 pp. 
 
 1817. 3Me me^reren 2Be^mulIer, story, 64 pp. 
 
 1817. efd)id)te com braoen i?afperl unb fcfjonen Slnnerl, story, 42 pp. ^ 
 
 1818. 2lu ber Gf)ronifa etne^ faljrenben c^iilerS, story, 48 pp. 
 1838. (Socfel, infel unb acfeleia, story, 256 pp. 
 
 [61]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 / 
 
 LOUIS CHARLES ADELAIDE DE CHAMISSO DE 
 
 BONCOURT (ADELBERT VON CHAMISSO) 
 
 Born January 30, 1781, at Schloss Boncourt, not far from 
 St. Menehould, in Champagne. Came of an old aristocratic 
 French family that was obliged to leave France because of the 
 Revolution (1789-92). His oldest known ancestor, Gerard de 
 Chamissot, is mentioned in a document of 1305. The family 
 came to Germany (Liittich), Aachen, (The Hague), Diisseldorf , 
 Wiirzburg, Baireuth finally to Berlin. Quiet and obedient as 
 a boy, fond of reading, not very happy. Made a page at the 
 Court of Queen Friederike Luise, received instruction in French 
 at the French gymnasium, became (March 31, 1798) ensign in 
 the regiment von Gotze, then lieutenant (January 24, 1801). 
 /^x-Used the French language for writing till 1801. Family returned 
 to France, he himself was there on leave in 1802-1803. Studied, 
 while yet undecided, Voltaire, Diderot and especially Rousseau. 
 Returned to Germany, took up the serious study of German, 
 read Schiller, Klopstock, Luther and Kant. Read Shakespeare 
 in the translation of Eschenburg. Obliged to enter into active 
 military service in 1805, received a furlough after the capitula- 
 tion of Hameln (cf. " Memoire iiber die Ereignisse bei der 
 Kapitulation von Hameln," 1806, three pages), went then to 
 France where he stayed till the Peace of Tilsit (July 7-9, 1807). 
 Returned to Germany, was with Fouque at Nennhausen, with 
 Varnhagen at Hamburg ; then in Berlin, where he received his 
 honorable discharge from the army and again thought of studying. 
 Had a love affair with a widow, Ceres Duvernay, that came to 
 an end in 1809. Received a call (1809) to France as a professor, 
 went, found the position filled ; returned to Germany and on 
 his way spent some time at Coppet with Madame de Stael and 
 A. W. Schlegel. Came then to Berlin and began the serious 
 study of natural science. Made a journey around the world 
 (July 15, i8i5~October 31, 1818); Chamisso was the naturalist 
 of the party. His collections made on the journey were brought 
 
 [62]
 
 THE WRITERS OF THE HEIDELBERG GROUP 
 
 to_Berlin, he was given the degree of doctor of philosophy, and 
 jnade custodian of the Botanical Garden in Berlin. Married 
 Antome Piaste and became the father of seven children. Visited 
 France and received indemnity for the paternal property that 
 had been destroyed. Joined the " Mittwochsgesellschaft " in 
 Berlin, became coeditor with Schwab, and cotranslator with 
 Gaudy of Beranger. Health failed after 1833, wife died in 
 1837. Began to write while quite young. Early poems show 
 but slight influence of Romanticism ; they are plastic and modern, 
 not moodful and Mediaeval. Set to music by Truhn, Schumann, 
 Silcher, Franz and Grieg. Wrote but little from 1815 to 1825. 
 Full of contrasts : French by birth, German by temperament. 
 United Gallic clarity and Teutonic humor in his works. Said 
 he was always the opposite of his immediate companions : a 
 Protestant among Catholics, a Catholic among Protestants. A 
 wholesome, manly character. Editor, translator, scientist, soldier, 
 an uncommonly likable man. A Romanticist in his day, a Realist 
 in the making. Made the tefza rima popular in Germany. <Sein 
 Sebcn roanbett fidj~~atr~mtt ber efdjloffentjett etne 
 rgetpunfte, ber in ber $ugenb einfe^t, int ,,@d)Ie= 
 mifjl" mtt bottem SSerfe aueinanbertritt, auf ber 9ftittagl)of)c 
 bc SebenS alte Xtffonanjcn auSfchetbet unb im filter mtt mtl= 
 bcm SSerfldrungfd)immer auStont. Died at Berlin, August 21, 
 1838. 
 
 BIBLIOGRAPHY 
 
 gefammelte SBerfe. Edited by Max Koch, 4 volumes, no 
 year (Cotta), Stuttgart. Volume i contains biographical sketch, pages 
 9-62. (1883.) Convenient place to study Chamisso. 
 
 6f)amtffo SBerfe. Edited by Oskar F. Walzel, D. N. L., Volume 148. 
 Biographical introduction, pages i-cxxii. (1892.) Contains poems, trans- 
 lations and " Schlemihl." 
 
 Gljamtffoia SSerfe. Edited by Max Sydow, Berlin, 1912. Two vol- 
 umes, 5 parts. Introduction of 155 pages (Seben itnb SBerfe) and sep- 
 arate introductions. Most convenient place to read Chamisso. 
 
 Adelbert de Chamisso de Boncourt. By Xavier Brun, Lyon, 18961 
 371 pp. In French. The most elaborate study of Chamisso. 
 
 [63]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Sfiamiffo unb feine geit. By Karl Fulda, Leipzig, 1881. 274 pp. 
 
 Chamisso: Life; Poems; Faust; Schlemihl. By Eugene Oswald, 
 London, 1893. 35 pp. In Publications of English Goethe Society. 
 
 SitterurifdEje Sljarafterfitlber. By A. W. Ernst, Hamburg, 1895. 
 Chamisso, pages 27 to 51. 
 
 2Bte fjamifjo ein Seutfc&er raurbe. By Dr. Hiiser, Halle, 1847. 
 24 (large) pp. 
 
 2lbelbert oon (S&amifjo al SJaturforfdEjer. By E. H. von Du Bois- 
 Reymond. Leipzig, 1889. 69 pp. 
 
 Sag 6ofe ^prinjip in oet&eS auft unb SljamiffoS @d)lemtf)l. By E. 
 Losch, Niirnberg, 1845. J 4 PP- ^ n "Album des literarischen Vereins 
 in Niirnberg." 
 
 b,amiffo3 ^Seter d^lemi^l. By Julius Schapler, Deutsch-Krone, 
 
 1893- 45 PP- 
 
 Sfjamtfjog j^auft unb $eter d^lenti^I. By Franz Kern, in "Kleine 
 Schriften," Volume i, pages 92 to 118. Berlin, 1895. 
 
 2)er umor bei S^amifjo. By Julius Schapler, Deutsch-Krone, 1897. 
 
 65 PP- 
 
 (SfyamifjoS ebtd^te. By Eduard Schubotz, Cassel, 1910. 127 pp. 
 
 gortunati liidfedel unb SBun^&iitlein. in piel, won 2lbelbert 
 OOn S^amiffo. Edited with notes, introduction, commentary, by E. F. 
 Kossmann, Stuttgart, 1895. 68 pp. 
 
 $eter @rf)Iemif)l> rtmnberfame efrfjtd^te. Miinchen, 1908. An ex- 
 tremely interesting edition. Contains numerous unique illustrations, and 
 is not expensive. 
 
 READING LIST 
 
 1806. 2lbel6ert3 j5 a & e "> snort story (first work), 6 pp. 
 1814. ^Seter d&lemiljlS nmnberfame efd)idE)te, story, 75 pp. - 
 1838. ebid^te. Chamisso's poems, seventh edition, complete, Leipzig, 
 1843, 630 pp. This edition gives the dates of the individual 
 poems. Some of the best, and best known, are ^rauen 
 unb =8eben (1830); 8e6enlieber unb =33tlber (1831); 
 Soncourt (1827) ; alag t) ontej (1829). 
 
 [64]
 
 THE WRITERS OF THE HEIDELBERG GROUP 
 
 JOSEPH KARL BENEDIKT, FREIHERR VON 
 EICHENDORFF 
 
 Born March 10, 1788, at the Castle Lubowitz near Ratibor 
 in Upper Silesia. Family one of the oldest and noblest in 
 Germany. Grew up under uncommonly happy circumstances. '"' 
 Had private tutors till 1801. Attended with his brother Wilhelm 
 the Maria Magdalene gymnasium in Breslau from 1801 to 1804. 
 Attended the University of Breslau, 1804-05, the University of ^ 
 Halle, 1805-06. Heard here Schleiermacher and Steffens, and 
 became acquainted with the literature of Tieck^ Wacke'nroder, 
 Noyalis. Visited during the vacation Claudius in Wandsbeck, 
 for whom he had great admiration. Spent the winter 1806-07 
 at home. Entered the University of Heidelberg in May, 1807. 
 Influenced by Arnim and Brentano, and especially by Gorres k-" 
 and Loeben. Began to write under the pen name " Florens." 
 Finished his studies at Heidelberg in 1808, went then to Paris 
 to study the collections. Returned by way of Heidelberg, 
 Niirnberg, Regensburg, Wien, Lubowitz. Attended for a while 
 to the estate, wrote poems and part of " Ahnung und Gegen- 
 wart " Dorothea Schlegel gave the novel this name. In 
 Berlin in 1809 he became more closely acquainted with Arnim L -" 
 and Brentano, met Adam Miiller and heard lectures by Fichte. 
 Went then to Wien to prepare for the Austrian civil service ; asso- 
 ciated with Dorothea and Friedrich Schlegel, Adam Miiller, 
 Gentz and Philipp Veit. Entered Liitzow's famous regiment in 
 1813 when Friedrich Wilhelm III made his appeal to his people, 
 but never saw actual service. Returned to Lubowitz, married 
 Luise Viktoria Larisch, to whom he had been engaged for 
 five years, and moved to Berlin. Entered the army again, 
 but arrived at Waterloo when the fighting was over and 
 entered Paris with the victorious troops. Returned to Ger- 
 many and became referendary at Breslau in 1816. Associated 
 with Friedrich von Raumer and Karl von Holtei. His father 
 died in 1818. The family lost their Silesian property. In 1819 
 
 [65]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 he passed with honor the state examination in Berlin, became 
 (1819) assistant to the Minister of Education, Catholic Commis- 
 sioner of Education at Danzig in 1820, Government Councillor 
 in 1821, member of the East Prussian government in Konigs- 
 berg in 1824. In 1831 he was appointed Speaker of the 
 Ministry of Education in Berlin ; associated with Savigny, 
 Raumer, Chamisso, Felix Mendelssohn. Received his honorable 
 dismissal in 1844, for religious reasons; lived then in Wien, 
 Kothen, Dresden, Berlin, Neisse. ,Qne of- the~most. likable char- 1^" 
 acters in German literature. Valuable primarily as a lyric writer. 
 Songs have been set to music by Schumann, Franz, Mendels- 
 sohn, Gliick, Jensen, Curschmann, Bruch, L. Hess, Reinthaler, 
 Draseke, Herzogenberg, Kampf and Brahms. Though his 
 message was limited, it was sincere and inspired, so that he has 
 /had an enormous influence on lyric poetry, an influence that 
 extends down to the present. He sang of longing, the forest,^" 
 mills, brooks, the fields, neglected gardens and lonely castles, 
 and the forest horn is one of his favorite accompaniments. 
 r He represents the subdued, pensive, reflective, melancholy side 
 of nature ; his attitude toward nature was that of a healthy 
 
 t~ Romanticist ; he did not philosophize about it, he loved it 
 and glorified it in his poems. He drew much inspiration for 
 his songs from the situation at Lubowitz. As a dramatist he 
 is not to be taken seriously. His dramas are either literary 
 dramas, a dubious species, or historical dramas that grew 
 out of his antiquarian interests ; no one thinks of them in 
 connection with the stage. His long novel, " Ahnung und 
 \Gegenwart," is full of Romantic unrealities. It pictures the 
 pious adventures of a soulful university graduate, who, after 
 happily withstanding a number of " temptations," ends in a 
 
 V monastery. The novel shows the influence of that long series 
 
 of like tendency, " Wilhelm Meister," " Ofterdingen," " Florentin," 
 
 " Titan," " Sternbald." It contains some of his best lyrics. 
 
 y'Eichendorff not only acted the part of a Catholic, he was a 
 
 Catholic. And yet he held government positions in Protestant 
 
 [66]
 
 THE WRITERS OF THE HEIDELBERG GROUP 
 
 Prussia. His " Taugenichts " and some of his lyrics will last l^' 
 as long as anything else written by any Romanticist. He died 
 at St. Rochus, near Neisse, November 26, 1857. 
 
 BIBLIOGRAPHY 
 
 cimtlidje 9Ber!e be {Jreifjerrn SofepO on idjenborff. 
 frittfc^e 2lu3gabe, in SBer&mbung tnit ^Ijillip Sluguft 33etfer. Edited by 
 Wilh^lm_JCosh and August Sauer, Regensburg, no year. There are to 
 be, apparently, 13 volumes in this edition, 4 of which have already 
 (1913) appeared: Volumes 10-13. This will be the monumental edition, 
 containing all the devices known to modern bookmaking. 
 
 Sofepfj gretfyerrn o. @id)enborff3 SBerfe. Edited by Rudolf von Gott- 
 schall, 4 volumes in 2, Leipzig (Hesse), no year (recent). A superb 
 edition for popular purposes. Biographical introduction in Volume i, 
 pages i to 38. Contains practically all of Eichendorff's pure literature. 
 The best cheap edition. 
 
 Sojepf) gretfjerrn oon (SicfjenborffS famtltcfje poetifdje SEBerfe. Four 
 volumes, Leipzig, 1883. Contains biographical sketch in Volume 4, 
 pages 421 to 607. Otherwise uncritical. 
 
 @i<f>enborff SBerfe. Edited by Ludwig Krahe, 4 parts in 2 volumes, 
 Berlin (Bong), no year (recent). Contains biographical introduction, 
 pages i to xlvi, and separate introductions to the various works. 
 
 ebirf)te oon SofepI) gmfjenrn oon tcfjenborff. Edited with introduc- 
 tion and notes by O. Hellinghaus, Munster, 1888. 380 pp. 
 
 2lu3 bem Se&en eine3 augemtf)t3. With 39 heliogravures after the 
 originals of Phillip Grot Johann and Edmund Kanoldt, Leipzig, no 
 year. 87 (quarto) pp. 
 
 Set beittfcfje SRoman be adjtjefynten !yal)rl)iwbert in feinem 3Sed)tilts 
 nt^ jum Gfyrtftentume. Paderborn, 1866. 458 pp. One of Eichendorff's 
 various critical works. 
 
 2>ofep{j won io^enborff. <Sein Se&en unb feine Sid^tungen. By Hein- 
 rich Keiter, Koln, 1887. 112 pp. 
 
 2)er junge io^enbotff. By H. A. KrUger, Leipzig, 1904. 172 pp. 
 
 llnterfurfiungen ju id&enborp 3loman 2l^nung unb egenroart. By 
 Konrad Weichberger, Jena. 1901. 44 pp. 
 
 llngebrudte 2)icf)tungen io^enborffg. By Friedrich Castelle, Mun- 
 stef, 1906. 137 (small) pp. Bibliography, pp. 134-137. Contains "Her- 
 mann und Thusnelda " and " Wider Willen." 
 
 [67]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 . B. (SidjenborffS bid&terifcljer. ^ruhjett. (1810-1813.) By Ewald 
 Reinhard, Miinster. 62 pp. Bibliography, pp. 61-62. 
 
 (SidEjenborffS ftiftorifcfye Xrauerfpiele. By Julius Erdmann, Halle, 
 1908. 35 pp. (Teildruck.) / 
 
 The Influence of the German Volkslied on Eichendorff' s Lyric. By 
 A I Jacob Harold Heinzelmann, Leipzig, 1910. 92 pp. Bibliography, pp. 
 90-92. 
 
 READING LIST 
 
 1811. 2lf)nung unb egennwrt, novel, 250 pp. (Pagination, except for 
 
 dramas, after Hesse.) 
 1817. 3)a Sftarmorbilb, story, 33 pp. 
 V 1824. $ctC ben ^S^Uiftern, dramatic fairy-tale in 5 adventures (literary- 
 
 historical comedy), 78 pp. 
 
 1826. 2lu3 bem Seben eine SaugenicfjtS, story, 74 pp. (His most pop- 
 
 ular work.) 
 
 1827. 3Merbetf) liicf unb nbe, literary comedy, 55 pp. 
 
 1828. jelirt BOH 9lomano, tragedy in 5 acts, 200 pp. 
 
 1830. 2>er le^te elb on SJZartenburg, tragedy in 5 acts, 335 pp. 
 
 1832. 3Stel Stirmen um 9lirf)ts>, story, 55 pp. 
 
 1833. 2)ie Ureter, comedy in 3 acts, 80 pp. 
 
 1834. 2)tdjter unb ifyre efellen, story, 186 pp. 
 
 1835. (Sine SNeerfafyrt, story, 50 pp. 
 1837. 2)a3 d^lofs 3)iiranbe, story, 32 pp. 
 
 I 1847. ilber bie ettyifdje unb reltgiofe 33ebeutung ber neueren romanti= 
 
 fc^en ^5oefie in >eutfcf)lanb, critical work, 296 pp. 
 
 1857. ebtcfyte. Eichendorff's first poems appeared in Friedrich Ast's 
 Zeitschrift filr Wissenschaft und A'unsi, 1808. Toward the 
 latter part of his life, when he was translating Calderon's 
 " Christian Dramas " and writing historical and critical works, 
 his lyric vein partly dried up. But during the earlier part of 
 his career, say up to 1837, his lyrics appeared frequently and 
 everywhere. Some of his best known ones are scattered 
 throughout his novels and novelettes. A very good collection 
 is in " Die Biicher der Rose " series, Leipzig, no year. The 
 book is edited by Wilhelm von Scholz, with vignettes and 
 42 pictures by Moritz von Schwind. 
 
 [68]
 
 THE WRITERS OF THE HEIDELBERG GROUP 
 
 JOHANN LUDWIG UHLAND 
 
 Born April 26, 1787, at Tubingen. Came of an old family 
 that had long been connected in various ways with the univer- 
 sity of his home town. Inherited a sense of justice and inflexi- 
 bility from his father, fancifulness and soulfulness from his 
 mother. A brilliant boy, well educated, he entered the Univer- 
 sity of Tiibjogen in 1801 to study law, and studied there, until 
 1808, law and languages. Wrote poetry as early as 1800, and 
 read Saxo Grammaticus and the German " Heldenbuch " while 
 still young. Passed his doctor's examination April 5, 1810; 
 went then to Paris to study the code Napoleon, stayed less than 
 a year and studied in addition to the code the manuscripts of 
 -the QJd^FYench epics. Left Paris and returned to Tubingen, 
 February 14, 1811, to take up the practice of law. Became 
 acquainted with Gustav Schwab. Lived in Stuttgart from 1811 
 to 1828, first as government secretary then as a lawyer. The 
 year 1813 saw him in great trouble. On May 29, 1820, he was 
 happily married to Emilie Fischer. He returned to Tubingen in 
 1830, where, excepting for various journeys, he lived .the rest of 
 his life. Appointed professor of German at Tubingen in 1829. 
 His parents died in 1831. Resigned his professorship in 1833 
 for political reasons. A member of the Parliament of Wurttem- 
 berg from 1832 to 1838., Pursued Germanistic^ studies from 
 thgnon. Elected a delegate to the National Convention at 
 Frankfurt am Main in 1848 ; after the failure of this under- 
 taking retired forever from public life. One of the noblest men 
 Germany ever jproduced ; though awkward in appearance, his 
 soul was exalted, his mind trained and imaginative, his heart 
 pure and strong. Editor, lawyer, translator, scholar, a poet of 
 nature, the Classicist of Romanticism, a politician of the old 
 school. Not strong as a dramatist, the author of no epics, his 
 lyrics, ballads and romances enable him to be ranked with 
 GoetRe. His poems have been set to music by Rubinstein, 
 Spohr, Gotz, Hauptmann, R. Strauss, Schubert, Kreutzer, 
 
 [69]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Schumann, Raff, Bruch, Mendelssohn, Esser, Weingartner, 
 Loewe and Brahms. He wrote but few love poems ; poetized 
 nature, friendship, and, in an indirect way, events of the day. 
 The intellectual father of Swabian democracy, he refused orders 
 and distinctions of various sorts. His investigations along the 
 line of folk songs, the Old French Epics, and Walther von_der 
 Vogelweide have not yet been superseded. Heine_gave him a 
 1 ' <'hJh~Rl c -? among the Swabian poets, as well as among poets in 
 general ; Goethe could never become enthusiastic over him, 
 except with regard to his ballads ; Lenau praised him ; all who 
 knew him respected him. Caught cold while attending the 
 funeral of Justinus Kerner, February, 1862, never recovered, 
 and died at Tubingen, November 13, 1862. 
 
 BIBLIOGRAPHY 
 
 Subnrig UfylanbS Seben ; au beffen -ftadjlaf} unb au3 etgener rtnne= 
 rung. By his widow, Stuttgart, 1874. 479 pp. 
 
 UljlanbS Seben: ein ebenfbud) fur bag beutfdje 3Solf. By Johannes 
 Gihr, Stuttgart, 1864. 381 pp. 
 
 Subnrig Ufjlanb. ein Seben unb feine Sidjtungen. By Friedrich 
 Notter, Stuttgart, 1863. 452 pp. 
 
 Subnrig lU)lanb, feine greunbe unb geitgenoffen. B y Karl Mayer, 
 Stuttgart, 1867. 558 pp. Mayer was also a poet; the book contains 
 many letters and details about Uhland's circle. 
 
 Seitrcige JU tl^lanb. By Ernst Brandes, Marienburg, 1892. 36 pp. 
 
 Subrotg Uf)lanb. ine <Stubie ju feiner <Sti!uIarfeter. By Hermann 
 Fischer, Stuttgart, 1887. 199 pp. 
 
 Subnrig Uljlanb. Sine @It3je. By Gustav Liebert, Hamburg, 1857. 
 
 85 PP- 
 
 3u Subroig U^Ianb^ ebad)tntg. By W. L. Holland, Leipzig, 1886. 
 102 pp. 
 
 UI)lanb gefammelte 2Ber!e. Edited with biographical introduction 
 by Hermann Fischer, Stuttgart, no year (1892), Cotta, 6 volumes. 
 
 ttfjlanbg SCBerfe. Edited by Ludwig Frankel (Bibliographisches In- 
 stitut), Leipzig and Wien, no year (1893). 
 
 Subroig U^Ianb^ SBerfe. Edited by H. Bromse, Berlin, 1913. Three 
 parts in i volume. The excellent edition of Bong & Co. 
 
 [70]
 
 THE WRITERS OF THE HEIDELBERG GROUP 
 
 a!3 Sramatifer. By Adelbert von Keller, Stuttgart, 1877. 
 491 pp. An invaluable book for the study of Uhland as a dramatist 
 Contains, aside from Uhland's two completed dramas, the outlines, in 
 chronological order, of 26 dramatic fragments. " Benno," a tragedy, is 
 printed separately in Eufhorion, Band VI, Heft i, 1899. 
 
 Subroig llljlanb al3 Sidjter unb patriot. By Hermann Dederich, 
 Gotha, 1886. 163 pp. 
 
 ebidjte Don Subroig llfjlanb. Edited by Erich Schmidt and Julius 
 Hartmann, Stuttgart, 1898. Two volumes ; first volume contains poems, 
 second notes. The best place to study Uhland's poems. 
 
 Subroig Ufylanb. 35ie (Sntroicfelung be SnriferS unb bie eneft3 be 
 ebid)te3. By Hans Haag, Stuttgart, 1907. n8pp. 
 
 Ufjlanb. Sidjtftrahlen au3 feinen SBerfen, mit einer biograpljifdjen 
 Gfyarafterifti!. By Adolph Kohut, Dresden, 1887. 93 pp. (A good an- 
 thology.) 
 
 U&lanbS norbifdje tubien. By Wilhelm Moestur, Berlin, 1902. 64 pp. 
 
 Ub,lanb a!3 ^BolttUer. By Walther Reinohl, Tiibingen, 1911. 268 pp. 
 
 Uf)Ianb ^5oettf. By Gotthold Schmidt, Frankfurt, 1906. 83 pp. 
 
 Ufilanb unb Stiicfert. in fritifdjer aSerfua^. By Gustav Pfizer, Stutt- 
 gart, 1837. 70 pp. 
 
 U6er UfilanbS rn(t t>on u^roaben. By Heinrich Weisman, Frank- 
 furt am Main, 1863. 105 pp. 
 
 Quellenftubien ju tl^lanbg Sallaben. By Paul Eichholtz, Berlin, 1879. 
 1 20 pp. 
 
 UhlanbS Sagbud^ (1810-1820). Edited by J. Hartmann, Stuttgart, 
 1898. 338 pp. 
 
 READING LIST 
 
 1818. Srnft, fQetjog oon o^roaben, drama, 157 pp. 
 
 1819. Subroig ber 33aier, drama, 121 pp. 
 
 1822. 3Baltf)er on ber Sogelroeibe, ein attbeutf^er Sifter, scholarly 
 and poetic treatise, 157 pp. 
 
 1862. ebirf)te, dating back to 1800, about 300 pages. Poems went 
 through many editions ; they are frequently printed in one 
 larger volume with the two dramas. There are numerous 
 school editions. They should be read in their entirety. 
 
 [71 ]
 
 SECTION VIII 
 
 THE SIDE LIGHTS 
 
 Strictly speaking, literary " schools " have not been 
 numerous in Germany. There have not been many in- 
 stances where a number of poets more than two 
 holding a common doctrine, accepting the same teachings, 
 exhibiting in practice the same general methods and intel- 
 lectual bent, have banded together and made propaganda 
 for a common cause. The very fact that a man is a poet 
 is proof positive that he is different from other men, 
 including other poets, and there never were even two 
 poets exactly or even nearly alike. To have a successful 
 school, there must be good teamwork ; and to have this, a 
 long series of similarities on the part of the participants 
 is necessary. We can speak of the First Silesian School 
 (1625-75), the Second Silesian School (1650-1700), the 
 otttnger feain (1767-1800), Storm and Stress (1767- 
 87), the Eliin ; j_enaJR ; omantic SchooL( 1798-1801), the 
 Heidelberg Romantic School (1806-08) and Young Ger- 
 many (1830-48) with more or less propriety, and with 
 that the list of " schools " is about complete. Goethe and 
 Schiller established a Classical School (1794-1805) at 
 Weimar only in the sense that they wrote poetry of a high 
 order, which found many imitators and many more readers 
 and admirers. But it is with a school as with a triangle, 
 or with jealousy : it requires three parts to complete it. 
 
 [72]
 
 THE SIDE LIGHTS 
 
 And then a school is unlike a triangle, or jealousy, in that 
 more than three parts will tend to make it more nearly 
 perfect, more enduring and effective. 
 
 In the case of the twenty-eight poets, grouped under this 
 rubric, we have to do with a number of men each one of 
 whom went his own way and accomplished something that 
 makes him unforgetable. They lived irvthe age of Roman- 
 ticism and were not merely influenced by it, they contributed 
 very largely to it. Indeed some of the very best works of 
 the period were written by these men, who, in default of a 
 better term, are called " side lights." But to classify them, 
 or arrange them in schools, is neither possible nor desirable. 
 In a number of instances, they can be grouped according 
 to birth or tendency. Hauff, Morike, Schwab and Kerner 
 are the Swabians. Arndt, Schenkendorf and Korner arc 
 the poets of the War of Liberation. Nestroy and Raimund 
 worked and played in Vienna. Grabbe was a broken 
 dramatist of some power, Kleist was a broken dramatist 
 of tremendous power. Freiligrath, Fallersleben, Herwegh, 
 Grim and Riickert were political poets. We associate 
 Heine with Platen and Immermann because of their feud. 
 Schulze and Geibel wrote gentle poetry, and Halm wrote 
 ideal dramas. Stifter was born in Bohemia, and Lenau in 
 Hungary, and both poetized nature ; Hoffmann is unclas- 
 sifiable for obvious reasons ; Alexis is a transferred and 
 Teutonized Walter Scott ; Wilhelm M tiller is allowed, by 
 reason of his very lyric genius, to stand more or less alone ; 
 Annette von Droste is poles removed from any of the 
 others ; Fouque was a perfect gentleman ; and the vain 
 Waiblinger stands last in the list alphabetically and from 
 the standpoint of genius. 
 
 [73]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Such grouping, however, is a matter of orientation, of 
 convenience. These writers cannot be classified. They 
 came from all parts of German-speaking Europe. It would 
 be difficult to find another group of poets so unlike. Think 
 of the contrast between Morike and E. T. A. Hoffmann, 
 Hauff and Grabbe, Schulze and Grim, Kerner and Platen, 
 Herwegh and Arndt, to say nothing of Korner ! And as 
 to age, Korner died when he was twenty-two, Hauff when 
 he was twenty : five, Waiblinger when he was twenty-six, 
 Arndt when he was ninety-one. Arndt was born in 
 only two years later than A. W. Schlegel and W. v 
 boldt, the oldest of the old Romanticists. Ilerwegh was 
 born in 1817, two years after the birth of Robert Franz, 
 four after the death of Korner and six after the death of 
 Kleist. Kleist died in 1 8 1 1 , Geibel was still living in 
 1884. And as to what they did while they lived, there is 
 no space for a list of even the superficial things that differ- 
 ence any one of them from the others. They constitute a 
 class by themselves for the very reason that each one is 
 sui generis. They are arranged in this section in alpha- 
 betical order, the most attention being given to Heine first 
 and Kleist second. 
 
 Born June 29, 1798, at Breslau. Father was director of the 
 Chancellery of War and Crown-Lands. The family emigrated 
 from France and was originally called Hareng. Attended the 
 Friedrich Werdersches gymnasium in Berlin, took part in the 
 campaign of 1815, studied law at the universities of Berlin and 
 Breslau and became a lawyer in Berlin. Edited the Berliner 
 
 [74]
 
 THE SIDE LIGHTS 
 
 Konversationsblatt with Friedrich Forster from 1827 to 1830, 
 and then alone until 1835. Halle conferred on him the degree 
 of doctor of philosophy in 1828. After 1835 he unsuccessfully 
 went into various sorts of speculative business. Published with 
 Hitzig, from 1842 to 1862, " Der neue Pitaval," a collection of 
 criminal stories. Became involved in the Italian revolution of 
 1848. Left Berlin in 1852, retired permanently to Arnstadt in 
 Thiiringen, was paralyzed in 1856 and never recovered. A rest- 
 less individual, with no great store of thought but with great 
 ability to picture the small in historical fashion. His works on 
 Brandenburg influenced Fontane. Wrote some poems and short 
 stories, but known now only as a novelist. The " Walter Scott 
 of the Mark." His novels begin well and then decline in merit; 
 he allows his characters of the fifteenth and sixteenth centuries 
 to speak as if they lived in the nineteenth ; his works are archi- 
 tecturally weak ; he tries to make his characters too clever. 
 His works previous to 1830 are thoroughly Romantic; from 
 then on he wavered between the characteristics of Young Ger- 
 many and modern Realism. Died at Arnstadt, December 16, 
 1871. 
 
 BIBLIOGRAPHY 
 
 3BiUtbaIb 2Her.i3'3 Daterlanbifcf)e Montane. Berlin, no year. Eight 
 volumes. 
 
 SReue SBilber au bem getfttgen Seben unferer $dt. By Julian Schmidt, 
 Leipzig, 1873. Alexis, pages 76 to 148. 
 
 w @djlof! Sloalon", ber erfte Ijiftorifdje SRoman con SBiHibalb 2Ueri. 
 By Richard Fischer, Leipzig, 1911. 103 pp. 
 
 READING LIST 
 
 1832. (abani, novel, 712 pp. 
 
 1842. 35er Stolanb oon 33erlin, novel, 520 pp. 
 
 1846. 2)te fjbofen be errn oon Sreboro, novel, 327 pp. 
 
 1852. 9tuf>e ift bie erfte Siirgerpflidjt, novel, 782 pp. Title taken from 
 
 a remark made by the Minister, F. W. Schulenburg-Kehnert, 
 
 on the Monday after the battle of Jena. 
 
 [75]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 ERNST MORITZ ARNDT 
 
 Born December 26, 1769, at Schoritz on the island of Riigen, 
 the son of a tenant and former serf. Learned to read from the 
 Pentateuch. Entered the gymnasium of Stralsund in 1787, 
 studied there two years, took then private lessons and entered 
 (1791) the University of Greifswald to study theology. Went 
 to Jena in 1793 and finished his course there. Returned home 
 in 1794, became a private tutor, from 1796 on in the home 
 of Kosegarten. Made (1798-99) a foot-tour through Austria, 
 Hungary, Italy, France, and Belgium. Received his master's 
 degree at Gijj^fswald in 1800, became privatdozent in history, 
 an adjunkt in the faculty of philosophy in 1801, professor 
 extraordinary of history in 1806. Soon obliged to give up his 
 position, because of his book " Geist der Zeit," and flee from the 
 attacks of the French. Lived in Sweden from 1806 to 1809, 
 returned then to Germany 'under an assumed name, became 
 again professor of history at Greifswald. Resigned in 1811, 
 went to St. Petersburg and worked for the good of Germany. 
 Published, after the War of Liberation, a newspaper at Koln ; 
 made professor of modern history at Bonn in 1818. Was sus- 
 pected of demagogic tendencies in 1820, forced to resign in 
 1826. Lived in Bonn until 1840 as a private citizen, in that year 
 restored to his professorship by Friedrich Wilhelm IV. Elected a 
 member of the National Assembly in 1848, belonged to the 
 Hereditary Imperial Party. Resigned in 1849. Retired from 
 his professorship in 1854. Married Nanna Schleiermacher in 
 1 8 1 8. A staunch German patriot, an implacable foe of Napoleon. 
 Lyric writer, journalist, teacher, historian, religious patriot. Not a 
 great master of form, but of wonderful skill in inspiring interest 
 in the cause of a united Germany. Not a Romanticist in the 
 ordinary sense. His three poems, $)er ott, bcr (Jifen luacljfcn 
 liefj; 28a3 tft be 2)cutfd)cn SSaterlanb? and 28a Olafen bte 
 -Tvompeten? as well known as any other poems of the period. 
 Died at Bonn, January 29, 1860. 
 
 [76]
 
 THE SIDE LIGHTS 
 
 BIBLIOGRAPHY 
 
 rinnerungen <xu3 bem aufjeren Seben. Autobiographical material. 
 Appeared at Leipzig in 1840. 381 pages. Edited by Hugo Rb'sch, 
 Leipzig, 1892. Contains valuable esoteric details. 
 
 (Srnft Storifc 2lrnbt3 eben, f)aten unb 2ftetnungen, nebft einigen 
 feiner geiftltdjen unb oaterlcinbifdjen Sieber. By Wilhelm Baur, Ham- 
 burg, 1882. 248 pp. 
 
 3lrnbt. By Paul Meinhold, Berlin, 1910. 253 pp. 
 
 rnft aflorifc Slrnbt. ein Seben unb 2lrbetten fiir SeutfdE)lanb3 grei* 
 f)ett, @&re, in&eit unb r6fce. By Rudolf Thiele, Gutersloh, 1894. 
 210 pp. 
 
 Set Stdjter 3lmbt. By Georg Lange, Berlin, 1910. 62 pp. (Teildruck.) 
 Dissertation, valuable for Arndt's predecessors, i.e. for those by whom 
 he was influenced. 
 
 READING LIST 
 
 1818. etft ber Qtit, prose sketches on the political situation in Ger- 
 many. Vol. i in 1807, Vol. 2 in 1809, Vol. 3 in 1813 all 
 directed against Napoleon; Vol. 4 in 1818, against Germany's 
 own political and national lethargy. Next to Fichte's " Reden," 
 the most patriotic writings inspired by the deeds of the time. 
 
 2053 PP- 
 
 1860. ebtdE)te, dating back to 1793, when his first poems appeared in 
 the Gottinger Alusenalmanach. About 500 pages. Mostly 
 patriotic and war songs, some hymns (^cf) roeifj, moran id) 
 glaube ; 2)ic^, eift ber SBafjrfyeit ; 3<ty glaub' an bid)) and some 
 occasional poems. 
 
 ANNA ELISABETH FRANZISKA ADOLPHINE LUISE 
 MARIA, FREIIN VON DROSTE-HULSHOFF 
 
 Born January 10, 1797, at Hiilshoff near Miinster in West- 
 phalia. Her father was gentle, cultured, soulful, a student of 
 nature, a man of broad reading. Her mother was clever and 
 orderly. Always weak, of strong imagination, an enormous 
 reader. Participated in the lessons given her brothers by tutors 
 and acquired in this way good mental training. Lived at various 
 
 [77]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 times, and in this order, at Miinster, Driburg, Koln, Bonn, 
 Riischhaus near Miinster, Eppishausen in the canton of Thur- 
 gau, Meersburg. Became acquainted with A. W. Schlegel, the 
 poet Wilhelm Smets, Simrock, Joseph von Lassberg, Levin 
 Schiicking, Katharina Schiicking, Uhland, Schwab, the Boisse- 
 rees, Fr. Schlegel, Johanna Schopenhauer and other prominent 
 figures of her time. Made contributions to Grimm's &inber= 
 unb wumarc)en. Brought up in rigidly Catholic surroundings. 
 The poetess of Westphalia, the greatest poetess of Genuam/^ 
 Heine, Lenau, Laube and Gutzkow did not understand her. 
 Greatly admired by Detlev von Liliencron. Betty Paoli said of 
 her: 5luf bent Qkbiet ber ^oefte in ntetrifd)er orm ttieifj id) 
 in ben mir gugangltcfyen Stteraturen feme rau, bie ber $>rofte 
 an bie <Seite ju ftetten ttwre. Her songs are not singable, they 
 are too strong, too thoughtful. She never borrowed from other 
 \ writers, though Scott and Byron influenced her, and she never 
 tried to be really musical. The most nearly unique character in 
 all German Romanticism. Levin Schiicking said of her: @ie 
 ttmr, otte in altem genommen, bie SSerforperiing ebetfter unb 
 reinfter ^rtfuemmtiir. She died at Meersburg, May 24, 1848. 
 
 BIBLIOGRAPHY 
 
 efammelte djriften uonSlnnette greiin con 3)rofte=iU3f)off. Edited 
 by Levin Schiicking, Stuttgart, 1879, 3 volumes. The best place to read 
 her writings. A second, enlarged edition appeared in 1898. Introduc- 
 tion, Volume i, pages i to 52. Selected editions have also been published 
 by Hesse and Reclam. 
 
 Annette t>on 2>rofte=iil3f)off; tfyre bidjterifcfje ntnricfehmg unb ifyr 
 3Serf)dltm3 ?ur englifd)en Siteratur. By Bertha Badt, Leipzig, 1909. 
 96 pp. 
 
 2)ie religiofe Snril ber Stnnette oon S)rofte=^iilg^off. By Arthur Bank- 
 witz, Berlin, 1899. 9^ PP- 
 
 2)ie 93aaabented)nif 2lnnetteng von 2)r.ofte=iU3f)off. By Lothar 
 Boehme, in Euphorion, Volume 14, 1907, pages 724 to 763. 
 
 Slnnette on 2)rofte=iil3Ijoff. By Hermann Graef, Leipzig, 1906. 
 45 PP- 
 
 [73]
 
 THE SIDE LIGHTS 
 
 Slnnette on 2)rofte=<QiiIljoff, 25eutfd)lanb 2)id)terin. By Leopold 
 Jacoby, Hamburg, 1890. 74 pp. 
 
 eutfd)e S&araftere. By R. M. Meyer, pages 138 to 162. 
 
 Sie religiofe Snrif beg beutfcfyen ^atljolijiSmuS in ber erften <0alfte 
 be 19. 3af)r.f)unbert3, unter befonberer Seriicfftdjtigung 2lnnetten3 con 
 Sroftc. By August Weldemann, Leipzig, 1911. 135 pp. 
 
 2lnnetten uon >r.ofte=iU3f)op bramatifdje Xcitigfeit. By Martin 
 Kniepen, Miinster in Westfalen, 1910. 104 pp. 
 
 2lnnette con 2)r.ofte=<QiU3&off aI3 roeftphalifdje 2)irf>terin. By Wilhelm 
 von Scholz, Miinchen, 1897. 47 pp. 
 
 READING LIST 
 
 3)ic 3ui>enbud)e : ein ittengemalbe au bent gebirgigten 
 
 pfyalen, short story, 55 pp. 
 
 1848. ebidjte. Annette von Droste began to write poems when she 
 was twelve. It is here impossible to date them. As compiled in 
 the Schiicking edition, her poems fill 825 pages. She owed her 
 greatest success to the twelve entitled "Heidebilder " (1838), 
 37 pages. She wrote a romantic epic entitled "Walther," 
 65 pages. Some of her best known long, narrative poems 
 are " Das Hospiz auf dem grossen St. Bernhard," " Des Arztes 
 Vermachtnis," " Die Schlacht im Loener Bruch," " Der Spiri- 
 tus Familiaris des Rosstauschers." "Das geistliche Jahr" is 
 her best known collection, 186 pages. It is a collection of 
 poems for the various " sacred " days of the year. She is also 
 the author of nine hymns, 20 pp. 
 
 AUGUST HEINRICH HOFFMANN VON FALLERSLEBEN 
 
 Born April 2, 1798, at Fallersleben. Father a merchant. 
 Attended the preparatory schools of Fallersleben, Helmstedt, 
 and Braunschweig. Entered the University of Gottingen in 
 1816 to study theology, but soon took up philology^and archae- 
 ology. Met Jak^b^Gnrnrn in Kassel, who drew his attention to 
 Gerrnanics. Lived in Bonn from_jj5i9 to 1821, from which 
 point he made various journeys to the Netherlands. Appointed 
 custodian of the university library at Breslau in 1823, professor 
 
 [79]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 extraordinary at Breslau in 1830, regular professor in _ 18.35. 
 Discharged for political reasons in 1842, left Breslau in 1843 
 and wandered over Germany as a worthy martyr. After the 
 Revolution of 1848 he received a pension but not a position 
 in Prussia. Married his niece, Ida zum Berge, in 1849, ^ ve( ^ 
 then in Bingerbriick, Neuwied and Weimar, where he published, 
 with Oskar Schade, the Weimarisches Jahrbuch fur deutsche 
 Sprache, Litteratur und Kunst. His wife died in 1860. After 
 the discontinuance of the Jahrbuch, he became librarian of the 
 Duke of Ratibor at his Schloss Corvey on the Weser ; lived 
 here till his death. Wrote much, about 187 separate works. 
 Did a great deal for the restoration and investigation of the 
 folk songs of Germany and the surrounding countries. Had 
 the popular, catchy lyric gift. Best known as the author of 
 )eutfd)tanb, 2>eutfd)lanb iiOcr atte. Died at Corvey, Janu- 
 ary 19, 1874. 
 
 BIBLIOGRAPHY 
 
 SJZetn Seben. Six volumes in 3, Hannover, 1868. Autobiographical 
 and interesting. 
 
 offmanng won ^allerSleben gefammelte SBerfe. Eight volumes, ed- 
 ited by Heinrich Gerstenberg, Berlin, 1890-1893. Contains notes and 
 introductions, also an abridged edition of Hoffmann's 2JJein Seben in the 
 last two volumes. 853 pp. 
 
 READING LIST 
 
 r 1840. UnpolitifdEje Steber (written out of the feeling of disappointment 
 at the reign of Friedrich Wilhelm IV, costing the poet his free- 
 dom), 204 pp. 
 
 \ 1841. Unpolitifcfye Sieber, same as above, 202 pp. 
 
 J 1843. Spolitifdfje ebtrfjte cmS ber beutfdjen SSorjett (anthology from 
 Walther, Freidank, Marner, Reinmar, Luther, Sachs, Alberus, 
 Waldis, Fischart, Ringwald, Opitz, Weckherlin, Czepko, Logau, 
 Rist), 286 pp. 
 
 [80]
 
 THE SIDE LIGHTS 
 
 FRIEDRICH HEINRICH KARL, FREIHERR DE LA 
 MOTTE^FOUQUE 
 
 Born February 12, 1777, at Brandenburg an der Havel. 
 Grandson of the famous General Fouque who served under 
 Frederick the Great, he came of an old French family that 
 emigrated to Germany for conscience' sake. He grew up at 
 Sakrow near Potsdam and Lenzke near Fehrbellin, at which 
 places he was instructed by private tutors, among others by 
 A. L. Hiilsen. Intended to study at Halle, but entered the army 
 in i724Jind took part in the Rhine campaign, during which he 
 met H^von Kleist. Married at Aschefsleben while quite young 
 and was soon divorced. Met Goethe and Schiller at Weimar in 
 1802. In 1803 he married Caroline von Briest, the divorcee 
 of Von Rochow. Retired from the army and lived on his wife's 
 estate, Nennhausen near Rathenow. Entered the army again 
 in 1813, rose rapidly and was discharged, on account of ill 
 health, with the rank of major. From 1813 to 1831 he lived 
 alternately at Nennhausen and in Berlin, writing with great 
 rapidity. His second wife died July 27, 1831, after which he 
 went, under economic pressure, to Halle, where he lectured on 
 poetry and history. Here he married his third wife, Albertine 
 Tode, also a writer. With time he became pietistically pessimis- 
 ^c. Friedrich Wilhelm IV called him to Berlin in 1842, where 
 he lived the rest of his life. An extremely prolific writer, he is 
 the author of over a hundred works, of which only_^JJndine," 
 and to a certain extent "Der Zauberring," still survive/^The 
 public had little to do with him after 1820. Admired by Jean 
 Paul and introduced to the reading public by A. W. Schlegel, 
 he in turn did good service for some of the younger poets, 
 notably Immermann, with whom he broke after he had heard 
 of Immermann's unritterlirf)e SBetragen in connection with 
 the student fraternity at Halle. It is easy to think of him as 
 the opposite of E. T. A. Hoffmann, His ideals \\erc faith, love, 
 honor, chivalry. He spent his life picturing duels, tournaments 
 
 [81]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 i/ / 
 
 and adventures. But he was without ideas. His horses and thet/ 
 
 armor of his knights received more attention than anything else. 
 He always prayed before beginning to write. Influenced in his 
 youth by Klopstock, Stolberg and Sined the Bard, he in turn 
 influenced Friedrich Kind, Theodor Hell and Graf Loeben. Poe 
 admired his " Undine." His works lack life. He drew his i^" 
 material from many lands, paying little attention to historical 
 accuracy. Edited magazines and translated. >er mtirfifdje 
 id)terfiirft, ber gefeEfd)afttid)c 9Rittetyunft ber romantifdjen 
 chule. Died at Berlin, January 23, 1843. 
 
 BIBLIOGRAPHY 
 
 2lugenwf)lte SBerfe oon rtebndE) 33aron be 2a 2Jlotte $ouque. 
 gabe letter iQanb.) Twelve volumes in 4 parts, Halle, 1841. 
 
 OUqit6. D. N. L., Volume 146 (II. i), biographical introduction by 
 Max Koch, pages i-cxxvi. Berlin and Stuttgart, no year (1893). 
 
 gouque", 2lpel, SJUlti^. Seitrage jur efd^ia)te ber beutjd^en 9tomantil. 
 By Otto Eduard Schmidt, Leipzig, 1908. 219 pp. Biography of Fouque, 
 pages 1-58. 
 
 ^OltqueS 5Ber!e. Edited by Walther Ziesemer, 3 parts in one volume, 
 Berlin (Bong), no year (recent). 
 
 8e6en3gefd)icf)te be3 Saron gnebric^ be Sa 9J?otte goitqite, 
 net burc^ i^n fel&ft. Halle, 1840. 368 pp. 
 
 liber ^ouqueg llnbine, nebft einem Slnfjang ent^altenb 
 Dpernbirf)tung Unbine. By Wilhelm Pfeiffer, Heidelberg, 1903. 169 pp. 
 
 gouque al^ rjahler. $ouque3 tellung jum 9iitterroman unb jur 
 Siomantif. By Lothar Jeuthe, Breslau, 1910. 44 pp. 
 
 >er elb beS SJorbenS. By Max Kammerer, Rostock, 1909. 135 pp. 
 
 READING LIST 
 
 \! 1808. 2)er elb beg 3JorbenS, trilogy (igvirb, ber djlangentobter; i= 
 
 gurb^ SJad^e ; 3l^Iaviga) in dramatic form, 509 pp. 
 1811. Unbine, fairy story, 90 pp. 
 
 5er gayfeetnng, novel, 620 pp. 
 1813. ebtrfjte: ^riegStte!) fitr bie freiroiaigen Safi^; 9Jac ber @d^Iacf)t . 
 oon ^ulm. 
 
 [82]
 
 THE SIDE LIGHTS 
 
 HERMANN FERDINAND FREILIGRATH 
 
 Bom June 17, 1810, at Detmold. His father a teacher. His 
 mother died when he was seven years old ; she had great influ- 
 ence on him by telling him stories from the Bible that gave him 
 inspiration for his Oriental pictures. Attended the gymnasium 
 at Detmold and was privately instructed and moulded by Clos- 
 termeier, the father-in-law of Grabbe. He became a merchant 
 in Soest (1826-1831) and studied French and English on the 
 side; a bank-clerk in Amsterdam (1831-1836), during which 
 time he wrote a number of his best poems. Visited Schwaben, 
 went (1840) to Weimar, married Ida Melos in 1841 and settled 
 down in Darmstadt. Friedrich Wilhelm IV gave him (1842) a 
 yearly pension of 300 thaler for his part in the restoration of 
 the Rolandsbogen, at least Freiligrath felt that this was the ex- 
 planation of the honor, though it was bestowed at the sugges- 
 tion of Alexander von Humboldt. Moved (1842) to St. Goar. 
 Hoffmann von Fallersleben first interested him in political poetry ; 
 he gave up his pension in 1844. Politically embarrassed, he 
 travelled through Switzerland and Belgium, went to London in 
 1846, but returned to Germany in 1848 and lived in Diisseldorf. 
 Imprisoned because of his poems (Aug. 29, 1848) he was re- 
 leased on October 3 of the same year and moved then to Bilk 
 near Diisseldorf. Again obliged to leave Germany, he went 
 (1851) to London, where he remained until 1868. The London 
 firm for which he worked failed in 1867, Freiligrath was without 
 an income ; German patriots presented him with a purse of 
 $45,000 on his return. From 1868 till his death he lived at 
 Cannstatt near Stuttgart. Editor, translator, business man, 
 patriot) lyric writer, he was one of Germany's truest friends ; 
 his patriotism was without partisanship. He was acquainted 
 and friendly with Auerbach, Wolfgang Miiller, Geibel, Matze- 
 rath, Pfarrius, Hacklander, Simrock, Immermann, Uhland, 
 Kerner, Cotta, Schwab, Karl Mayer and others. He translated 
 Manzohi, Lamartine, Reboul, De Musset, Desbordes-Valmore, 
 
 [83]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Barbier, Coleridge, Southey, Charles Lamb, Keats, Felicia 
 
 Hemans, Scott, Thomas Moore, Hood, Tennyson, Burns, 
 
 Longfellow, Harte, Hugo, Aldrich, Whitman and others. One 
 
 i of his best known statements is, er 3)td)ter ftefjt auf einer 
 
 I fyofyern SSarte, ai> auf ben 3innen bcr Cartel. Connected with 
 
 Romanticism by reason of his relations with other members 
 
 of the movement, his lyrics with their Oriental and tropical 
 
 pictures, his belief in a united German Empire, his subjectivity, 
 
 \ his translations, his revolutionary spirit, his attitude toward the 
 
 sea, his whole life. Died at Cannstatt, March 18, 1876. 
 
 BIBLIOGRAPHY 
 
 $reiligratf)3 2Ber!e in jedE)3 etlen. Edited by Julius Schwering, 
 Berlin (Bong), no year (recent). Contains an introduction, pages i to 
 cxx, and all the other devices known to this excellent series. 
 
 ^erbinanb ^reiligratf). in btograpfjifdjeS 25enfmal. By Schmidt- 
 Weissenfels, Stuttgart, 1876. 120 pp. 
 
 gerbinanb greiligratlj. in S)idE)terleben in Sriefen. By Wilhelm 
 Buchner, Lahr, 1882. 945 (large) pages, containing many valuable 
 letters. 
 
 Seiltfcfye (S&araftere. By Richard M. Meyer, Berlin, 1897. 280 pages. 
 Freiligrath, pages 163 to 177. 
 
 gerbinanb 'gretligratf) &te polittfdjer SDidjter. By Anton Volbert, 
 Miinster, 1907. 69 pp. 
 
 erbtnanb greiligrat^ in Slmerica. By M. D. Learned, in Americana 
 Germanica, Volume i, number i, pages 54 to 73. 
 
 erbinanb 5 re W9 ra tf)3 ilberfe^ungen aug bent (Snglifcfjen im erften 
 3af)rje^nt jeine @d)affen. By Wilhelm Erbach, Bonn, 1908. 137 pp. 
 
 gerbinanb ^reiligrat^ iiberfe^vtngen au Victor ugo. By Ernst 
 Breitfeld, Plauen, 1896. 28 (quarto) pp. 
 
 READING LIST 
 
 1877. $erbinanb greiligrat^ gelammelte Sid^tungen (dating back), 
 6 volumes in three. Freiligrath began to write poems (he 
 wrote nothing else) in his fifteenth year. Some of his best 
 known ones are 2JJooS=&ee ; 2Bar' idE) im S3ann con 
 Xoren ; S)er 2Uer.anbriner ; Soroenritt ; 2)er ie&e S)auer. 
 
 [84]
 
 THE SIDE LIGHTS 
 
 FRANZ EMANUEL AUGUST GEIBEL 
 
 Born October 18, 1815, at Liibeck. Father a Reformed 
 pastor, mother of French emigrant stock. Attended the Katha- 
 rineum of Liibeck, entered (1835) the University of Bonn to 
 study theology and philology, the University of Berlin (1836) 
 to study philology only. Through the influence of his friend of 
 student days in Liibeck, Ernst Curtius, he received a position 
 as tutor in the house of the Russian ambassador, Katakazy, in 
 Athens in 1838, having been given in the meanwhile his doctor's 
 degree at Jena in absentia. Remained one year, then returned 
 to Liibeck and wrote poems. He accepted an invitation from 
 Freiherr Karl von der Malsburg to spend some time at his 
 Schloss Escheberg near Kassel. Friedrich Wilhelm IV gave him 
 (1842) an annual pension of 300 thaler. Spent the year 1843 
 at St. Goar with Freiligrath, at Weinsberg with J. Kerner, at 
 Stuttgart with Cotta. From 1844 to 1852 he went from place 
 to place, with Liibeck as his headquarters. Accepted in 1852 
 the call to Miinchen as honorary professor of literature. Married 
 (1852) Amanda Luise Trummer of Liibeck. A daughter was 
 born in 1853, in 1855 his wife died. His Bavarian position 
 came to grief in 1868, when he greeted Friedrich Wilhelm IV 
 as the royal ancestor of united Germany. This resulted in his 
 leaving South Germany and making Liibeck his permanent 
 abode. He received the Schiller Prize for his " Sophonisbe " in 
 1869. His daughter married in 1872 ; this, connected with his 
 illness, caused him to retire more and more from active life. 
 
 ._JBegan to publish poems when he was nineteen. A master of 
 form, sang of spring and love and patriotic, national themes 
 
 ~~"from 1840 to 1871. Knew practically every contemporaneous 
 Romanticist. Was influenced by Walther von der Vogelweide, 
 Holderlin, Uhland, Eichendorff, Morike, J. D. Gries, Chamisso, 
 Lenau, Heine, Riickert, Platen. This and his own poetizing of 
 romantic themes connects him with the Romantic movement. The 
 youngest of the entire group, he died at Liibeck, April 6, 1884. 
 
 [85]
 
 BIBLIOGRAPHY 
 
 manuel eibel. By Karl Goedeke, Stuttgart, 1869. 366 pp. Pos- 
 sibly the most reliable source for a study of Geibel. 
 
 manuel eibel, au rinnerungen, Skiefen unb SCagebiicljern. By 
 K. K. T. Litzmann, Berlin, 1887. 254 pp. 
 
 monuel eibel, anger ber Siebe, iQerolb beg 3leidje3 ; ein beutfdjeS 
 3Mcf)terleben. By K. T. Gadertz, Leipzig, 1897. 412 pp. 
 
 manuel eibel al3 religiofer Sifter. By H. Lindenberg, Liibeck, 
 1888. 35 pp. 
 
 35ie moberne 9ZtbelungenbidE)tung : eibel, ijbebbel, Sorban. By Georg 
 Reinhard Rope, Hamburg, 1869. 224 pp. 
 
 manuel eibel. in ebenfblatt. Liibeck, 1884. 50 pp. No name. 
 
 33oQenbete unb Sfangenbe. By Richard Maria Werner, Minden i. W., 
 1900. 320 pp. Geibel, pages 39-64. 
 
 Smanuel @eibel3 gefammelte SBerle. Eight volumes in 4, Stuttgart, 
 1893 ( 3 d ed.). 
 
 manuel eibel Snril auf i^re beutfd^en SSorbilber gepriift. By Fried- 
 rich Stichternath, Miinster i. W., 1911. 146 pp. A valuable study. 
 
 mamtel eibelS ^UQen^^^. By Johannes Weigle, Marburg, 1910. 
 94 pp. 
 
 maniiel eibel al iiberfe^er unb SRadjafimer englifd^er 2)id^tungen. 
 By Heinrich Volkenborn, Miinster, 1910. 94 pp.- 
 
 manuel eibel unb bie franjofifd^e Sgril. By M. D. Pradels, Miinster, 
 no year (recent). 
 
 READING LIST 
 
 1855. SMfter 3lnbrea, comedy in 2 acts, 75 pp. 
 
 1857. Srunljilb, tragedy in 5 acts, 166 pp. 
 
 1868. op^oni^be, tragedy in 5 acts, 94 pp. 
 
 1884. ebidjte, dating back to 1834, when he first published some of his 
 poems in the Musenalmanach, edited by Schwab and Chamisso. 
 His poems were in the I2gth edition in 1902. Aside from the 
 three themes love, nature, patriotism he wrote on many other 
 topics, and translated, with Heinrich Leuthold, selections of the 
 French poets from the Revolution on. He translated also from 
 English and Spanish. Adolf Jensen (1827-1879) has set the follow- 
 ing lyrics to music : Sereinft, ebanfe mein ; S)u feudjter ^rii^ 
 Iing3abenb; 9?un bie djatten bunfeln; %m ebirg ; D fcb/neHer, 
 mein SRofi ; $linge, f linge, mein ^anbcto ; Unb fdjlafft bu, mein 
 2Rabdjen; 3lmUferbe5Iuffeg. J. W.Lyra, Lachner, Franz, Rubin- 
 stein, Hiller and Brahms ha^e also composed music for his songs. 
 
 [86]
 
 THE SIDE LIGHTS 
 
 CHRISTIAN DIETRICH GRABBE 
 
 Born December n, 1801, at Detmold. Father a plain busi- 
 ness man, mother passionate, stubborn, rash. Studied (1820- 
 1822) law at Leipzig and led a wild life. Wrote "Gothland" 
 while there. Studied (1822) at Berlin, associated with E. T. 
 A. Hoffmann, Heine, Uechtritz. Called to Dresden by Tieck in 
 1823, passed his bar examination at Detmold in 1824, became 
 a lawyer without much practice. With the help of Klostermeier 
 he received (1827) a military position in Detmold. Married 
 Klostermeier's daughter Lucie in 1833. Marriage extremely 
 unhappy. She rejoiced at his death. Dismissed from his posi- 
 tion in 1834, went to Frankfurt am Main; associated with 
 Duller, his biographer, led a wild life. Immermann invited him 
 then to Diisseldorf, where he continued his dissipation. Re- 
 turned in 1836 to Detmold. Talented, especially along the line 
 of the drama; dissipated, intemperate, without character; a 
 strong opponent of the old Romanticists, influenced by Schiller ; 
 Goethe, Shakespeare, Byron. Gervinus said his dramas were 
 " senseless," Scherer said he was " foolish." Represents the 
 belated storm-and-stress phase of Romanticism. Died at Det- 
 mold, September 12, 1836. 
 
 BIBLIOGRAPHY 
 
 rabbe'3 iteben. By Eduard Duller, Diisseldorf, 1838. 91 pp. Unfair. 
 The same volume contains his unfinished drama " Die Hermanns- 
 schlacht," 139 pp. 
 
 33ettrdgejum@tubuim rabbeS. ByC.A.Piper.Munchen.iSgS. 145??. 
 
 SBeitrdge jut $enntni3 rabbet. By Oscar Blumenthal, Berlin, 1875. 
 
 44 PP- 
 
 rabbe al SKenfcb, unb Starter. By Arthur Ploch, Halle, 1904. 71 pp. 
 
 rabbeS SerfyaltmS ju fyafefpeare. By Hermann Bartmann, MUn- 
 ster, 1908. 50 pp. 
 
 Shakespeare's Influence upon Grabbe. By Horace Lind Hoch, Phil- 
 adelphia, 1911. 75 pp. 
 
 Gljrift. Stetr. rabbe'3 fammtlidje SBerfe. Edited by Oscar Blumen- 
 thal, 4 volumes, Detmold, 1874. Contains notes. 
 
 [87]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 READING LIST 
 
 1822. igerjog Sfyeobor Don otfylanb, tragedy in 5 acts, 315 pp. 
 
 1822. cfyerj, Satire, ^onte unb tiefere Sebeutung, comedy in 3 acts, 
 
 100 pp. 
 
 1827. Son 3>uan unb $auft, tragedy in 4 acts, 153 pp. 
 
 1827. 2lbf)anblung iiber bie fjafefpearomanie, 40 pp. 
 
 1829. $aifer ^iebrid^ Sarbarofja, tragedy in 5 acts, 210 pp. 
 
 1830. $aifer jQeinricb, ber etfjfte, tragedy in 5 acts, 252 pp. 
 
 1831. -Kapoleon ober bie fyunbert age, drama in 5 acts, 256 pp. 
 1835. 2lfdE)enbrobel, dramatic fairy tale, 85 pp. 
 
 ANTON ALEXANDER, GRAF VON AUERSPERG 
 
 (ANASTASIUS GRUN) 
 
 Born April n, 1806, at Laibach in Krain. Came of one of 
 the oldest families of the Austrian nobility. " Anastasius " means 
 ''resurrected,' while green is the color of hope. Passed his 
 childhood at the paternal estate, Thurn am Hart, in Unterkrain ; 
 entered (1813) the Theresianum in Wien and then the academy 
 for engineers. His father died in 1816 ; he then studied law and 
 philosophy at the universities of Graz and Wien, spent some 
 time in travelling, took over the management of his estate in 
 1831 ; made a journey in 1837 through France, Belgium and 
 Holland ; married Countess Attems in 1839 and lived from that 
 time principally on his estate. Elected a member of the Frankfurt 
 Parliament in 1848 and then of the National Assembly, from 
 which he soon resigned. Entered politics again in 1860 and 
 worked for all that was German. He was made a efyeimrat 
 in 1863, honorary citizen of Wien in 1864, honorary doctor of 
 the University of Wien in 1865, president of the delegates of 
 the Imperial Parliament in 1868. Showed even as a boy signs 
 of extreme love of freedom. Belongs to the Austrian group of 
 political poets to which belonged Karl Beck (1817-1879), 
 Moritz Hautpmann (1821-1872) and Alfred Meissner (1822- 
 1885). Associated with Lenau as we associate Byron with 
 
 [88]
 
 THE SIDE LIGHTS 
 
 Shelley, Schiller with Goethe, and Uhland with Schwab. Con- 
 nected with Romanticism by his persistent and fearless opposi- 
 tion to Metternich, his glorification of old German heroes, 
 notably Maximilian I, his belief in the " good old time," and his 
 language, which abounds in contrasts, hyperboles and florid 
 figures. Wrote but little ; his poetry, generally in trochaics, is 
 the poetry of reflection and portrayal rather than of creation and 
 narration. Grillparzer said of him : (r roeifj ganj loofyt 511 bil= 
 bcrn, attein 511 bitben nicht. Translated the English" Robin Hood 
 Ballads " and the Slavic " Volkslieder aus Krain." Died at 
 Graz, September 12, 1876. 
 
 BIBLIOGRAPHY 
 
 2lnaftofiu3 riin3 famtlicfje SBerfe. Edited by Anton Schlosser, Leip- 
 zig, no year (1906). Ten volumes in 2, complete. Contains biographical 
 introduction, Vol. i, pages i to 193, also individual introductions to sep- 
 arate works, and elaborate bibliography, pages 194 to 200. 
 
 2lnaftafui3 din. SSerfdjoUeneS unb 33ergU6te au3 befjen Seben imb 
 SBtrfen. By P. v. Radies, Leipzig, 1879. 2O PP- 
 
 2lnoftafiu3 rim unb 9?ifolau Senau. By Johannes Proelss, in 
 Deutsche Rundschau, Volume CXXVI, 1906, pages 84 to 107. Con- 
 tains a good deal of important material for a study of the mutual relation 
 of the two poets. 
 
 READING LIST 
 
 1830. 2)er lefcte fitter (Maximilian I), cycle of romances in the Nibe- 
 
 lungen verse form, no pp. 
 
 1831. pajiergange eine3 SBtener ^oeten, in verse, 50 pp. 
 
 1835. djutt, in verse, 100 pp. Supposed to be his best work; shows 
 how the rubbish of the past enriches the soil of the future. 
 
 [89]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 ELIGIUS FRANZ JOSEF, FREIHERR VON MUNCH- 
 BELLINGHAUSEN (FRIEDRICH HALM) 
 
 Born April 2, 1806, at Krakau, the son of a high official. 
 Studied law and philosophy, at Briinn and Wien. Married in 
 1826 Sophie von Schloissnigg. His wife became chronically ill 
 soon after the marriage ; Halm entered into a long, honorable 
 friendship with the famous actress Julie Rettich (died 1866). 
 Lived an extremely successful life. Became councillor in 1840, 
 custodian of the Court Library at Wien in 1845, member of the 
 Imperial Academy of Science at Wien in 1847, elected to the 
 Austrian House of Lords in 1861, made general intendant of 
 the Court Theatres at Wien in 1867. Yet, like Grillparzer and 
 Stifter, he suffered from moods, melancholy, sensitiveness and 
 
 /sickness. Not happy as a poet, since he wrote not to make a 
 confession, but to present an artistic picture. More successful in 
 his day than Grillparzer or Hebbel. Wrote many poems, but 
 few good ones. Brought Romanticism into the drama. It has 
 been said that he succeeded because of the weakness of his 
 opponents. Did good work along the line of the Spanish drama. 
 Never became really popular. Died at Wien, May 22, 1871. 
 
 BIBLIOGRAPHY 
 
 ^-riebricf) a(mg SBerfe. Wien, 1856-1872. Twelve volumes in 4. 
 No introduction. 
 
 j^riebria) alm unb ba fpanifdje Srama. By Hermann Schneider, 
 Berlin, 1909. 258 pp. 
 
 tiber )alm3 SamoenS. By Ludwig Scharf, Braunschweig, 1882. 
 In " Studien und Skizzen," pages 50 to 62. 
 
 2ftunci)=33eUittgf)aufen. By Anton Schonbach, " Allgemeine Deutsche 
 Biographic," Volume 22, pages 718-725. 1885. 
 
 READING LIST 
 
 1835. (3rifelbi3, dramatic poem in 5 acts, 144 pp. 
 1837. 6amoen3, dramatic poem in one act, 40 pp. 
 1842. S)er @ob,tt bet SBtlbnifi, dramatic poem in 5 acts, 180 pp. 
 1854. 2)er j5?ecf)ter won 3tox>ertna, tragedy in 5 acts, 145 pp. 
 1864. 2)a3 i>au3 an ber SSeronabriidEe, prose tale, 162 pp. 
 
 [90]
 
 THE SIDE LIGHTS 
 
 WILHELM HAUFF 
 
 Born November 29, 1802, at Stuttgart. His father, a gov- 
 ernment official at Tubingen and Stuttgart, died in 1809. Lived 
 then at the home of his maternal grandmother in Tubingen ; 
 entered the cloister school at Blaubeuren in 1818, the Protestant 
 Seminary at Tubingen in 1820, an institution founded by Ulrich 
 von Wiirttemberg in 1536 ; took his doctor's degree in theology 
 (Oct. 27, 1824); became private tutor to the children of Baron 
 von Hiigel in Stuttgart, where he remained over a year. In 
 1826 he made a tour through Europe, visiting France, Belgium 
 and North Germany. His " Mann im Monde " involved him in 
 a lawsuit with Clauren, which he legally lost but which brought 
 him to the attention of the public through his " Kontrovers- 
 predigt," in which he annihilated Clauren from the literary 
 point of view. In 1827 he became editor of the Cottasches 
 Morgenblatt, married his cousin (Feb. 13, 1827) and settled 
 down in Stuttgart with apparently a long life of usefulness 
 before him. Inherited his literary inspiration from his mother, a 
 woman of keen intellect and fertile imagination. Studied the- 
 ology in the same institution through which Hegel, Holderlin, 
 Schelling and other distinguished men had passed ; was a pro- 
 digious reader and prolific writer, a born story-teller ; a dreamy, 
 not robust, yet exuberant, youth ; personally acquainted with the 
 literary men of his day, sure of a place in the affectionate 
 memory of all Swabians. His daughter died in 1844, his widow 
 in 1867, he himself at Stuttgart, November 18, 1827. 
 
 BIBLIOGRAPHY 
 
 2B. oup jtimmtlidje dEjrtften. Edited by Gustav Schwab, Stutt- 
 gart, 1830. Thirty-six small volumes in 12 parts, introduction in Volume 
 i, pages 1^52. 
 
 2BUf)elm <wff . Edited by Felix Bobertag, D. N. L., Volumes 1 56, 1 57, 
 158 (i), 1 58 (2). The best edition, contains general and special introductions. 
 
 <Utff3 famtltd^e SBerfc. Edited by Ad. Stern, 6 volumes, Leipzig, no 
 year. Contains introduction, illustration, facsimile. (Max HessesVerlag.)
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 READING LIST 
 
 1826. 8itf)tenftein, romantifdE)e age au3 ber nwrttentbergifdjen & 
 
 fd)idl)te, 351 pp. Shows influence of Scott, Fouque, Wieland. 
 His main work. 
 
 1827. Sptjantafien im 33remer 3iats>feUer, fantastic tale, recalling Heine 
 
 and Hoffmann, 46 pp. 
 1827. 2)er SJJann im SJZonbe, outlined in 1823, a satire on Clauren, 
 
 197 pp. 
 1827. Set 3 raer S ^ttje (one of the " Marchen fiir Sohne und Tochter 
 
 gebildeter Stande "), 27 pp. 
 
 1827. 25a3 falte erj (one of the " Marchen "), 60 pp. 
 1827. ebtcfjte, dating back, 35 pp. Two of his best known poems are 
 
 Sftorgenrot ; @teE)' id) in finftrer. 2JZttternadE)t. The former is 
 
 based on a folk song and has in turn become one. 
 
 CHAJJIM HARRY HEINE 
 
 Heinrich Heine was born at Diisseldorf, December 13, 1797. 
 His father, Samson Heine, was a practical merchant ; his mother, 
 Elisabeth van Geldern, a woman of imagination and instinctive 
 feeling for poetry. After attending the lyceum at Diisseldorf 
 from 1808 to 1815, he was placed in the office of a banker in 
 Frankfurt am Main, and in 1816 he entered into partnership 
 with his uncle, Salomon Heine, in Hamburg. The firm was 
 closed in 1819. In the fall of the same year he entered the 
 University of Bonn to study law, his uncle supporting him. He 
 joined a SBurfdjcnfc&aft ; heard lectures by A. W. Schlegel, whom 
 he at first loudly praised and then ridiculed one of the first 
 exemplifications of that instability of character that he was so fre- 
 quently to betray in later life. In 1820 he entered the Univer- 
 sity of Gottingen, from which he was suspended on January 23, 
 1821, for reasons that have never been definitely agreed upon 
 by his biographers. He then continued his studies in Berlin, 
 where he frequented the brilliant salon of Rahel Lewin, and 
 associated with Grabbe and others of doubtful influence. It was 
 
 [92]
 
 THE SIDE LIGHTS 
 
 e that he published in 1822 his first volume of poems. In 
 1823 we find him in various places on various missions 
 Liineburg, Kuxhaven, Hamburg and Berlin. In 1824 he 
 matriculated again at Gottingen ; made a journey in the mean- 
 while through the Harz Mountains and Thuringia, on which he 
 met Goethe ; and took his doctor's degree in law at Gottingen 
 on July 20, 1825, having already joined the Christian Church 
 on June 20, 1825, taking the name of Christian Johann Hein- 
 rich Heine. After visiting Norderney in 1826 and England in 
 1827, he became coeditor in Miinchen with F. Lindner of the 
 Neue Allgemeine Politische Annalen, in which position he praised 
 and flattered the Minister Schenk, the poet Beer and King Lud- 
 wig, but nothing came of it. From Miinchen he went to Italy, 
 returned to Germany, lived a short while in Berlin and Hamburg 
 and then went, in 1831, to Paris, never permanently to return. 
 From 1834 on he associated with Eugenie Mirat, a woman of 
 no culture, and married her in 1841. He drew a pension of 
 4800 francs from the French government, and one of nearly 
 equal amount from his uncle, although the legality of both has 
 been seriously questioned. In 1843 an< ^ J ^44 he returned 
 to Germany without exciting any great sensation or sympathy. 
 In 1845 he began to suffer from tuberculosis of the spinal 
 column, an affliction which tied him to his " mattress grave " in 
 1848 and from which he was never able to rise. He died at 
 Paris, February 17, 1856. 
 
 The one conspicuous Hebrew in the Romantic School, Heine 
 holds a unique position, so unique that to appraise his worth it 
 is necessary to set up new canons. There is no character in all 
 German literature about whom there exist such contradictory 
 opinions. He has been lauded as an Achilles by his friends and 
 condemned as a Thersites by his enemies. Morike said of him : 
 (Sr ift em $)td)ter gang itnb gar, aber idj mocfyte nidjt eine 
 (Stunbe mit ifjm leben. He had but one permanent friend, 
 Immermann, and there is room for doubt as to the sacredness of 
 even this friendship. He had, however, many open foes 
 
 [93]
 
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Platen, Borne, Menzel. His own admiration for Napoleon is 
 explicable if not excusable in view of the fact that Napoleon 
 liberated the Jews in Diisseldorf. A doubter himself from child- 
 hood, even as to the year of his birth, a great deal of his life is 
 shrouded in mystery. His love affairs with his cousins Amalie 
 and Therese Heine have never been definitively cleared up. His 
 relation to Camille Selden, who was with him in his last years, 
 is also a matter of conjecture. He delighted in beclouding the 
 issue it is never possible to say where he stands, even in 
 poetry. He was primarily a first-class lyric writer and a high- 
 class journalist, and that about covers his merits. He was not a 
 man of great genius, but of wonderful, almost unequaled, talent. 
 What he did he did with efficiency ; as a cynic and satirist and 
 wilifier, Germany has not produced his peer. His insincerity 
 
 j^was equally remarkable. He derived great help from Roman- 
 ' /ticism and then poked all sorts of fun at it. He learned from 
 the folk songs, from Tieck, Eichendorff, Uhland, Brentano and 
 Wilhelm Miiller, and then was always ready to come up against 
 them with some sarcastic remark that makes good reading. He 
 was the first German to make happy use of the sea in poetry ; 
 , by his " Reisebilder " he started the Germans on hitherto un- 
 trodden paths; by his feuilletons (1830-40) he introduced a 
 form that has ever since found favor ; in his " Lieder " he sang 
 of unrequited love as only he could sing ; by his general influ- 
 ence Gaudy, Dingelstedt, Baumbach, Scheffel and Grisebach are 
 different from what they would have been. His talent was 
 vastly superior to his character. He had just cause for a grudge 
 against Germany, but so had many others who expressed it in 
 better form than he Gutzkow, Platen, Uhland. As a drama- 
 tist he had no ability at all, yet he thought he had. Heine is 
 Germany's one statueless and monumentless poet, despite the 
 fact that German literature is indebted to him for three great 
 services : the breaking away from Mediaeval-Catholic Romanti- 
 cism, the giving up of formlessness and the synchronous intro- 
 duction of plasticity, and the interweaving of modern life into 
 
 [94]
 
 THE SIDE LIGHTS 
 
 modern literature. But if Germany has turned a cold shoulder 
 on Heine, the outside world has not. As in the case of Goethe, 
 Hoffmann, Hauptmann and Nietzsche, the other great nations 
 have studied him in detail. Germany has studied him without 
 awarding him external honors. 
 
 BIBLIOGRAPHY 
 
 einndj >etne gefammelte SBerf e. Edited by Gustav Karpeles, Berlin, 
 1887. Nine volumes, critical. 
 
 einrid) etne3 ftimtlidje SBerfe. Edited by Ernst Elster, Leipzig and 
 Wien (Bibliographisches Institut), 7 volumes, no year (1887-1890). The 
 best place to read Heine. Contains notes, facsimiles, biographical in- 
 troduction, variants and all the other devices known to modern editing. 
 The Walzel edition will hardly supersede this one. 
 
 jQeinrid) eine famtUdje 2Berfe. Edited by Stephan Born, 1 2. volumes, 
 Stuttgart, no year (1887 ff.). 
 
 <jbetnrid) <beine3 jamtltc^e SBerle. Edited by Oskar Walzel, assisted 
 by Jonas Frankel, Ludwig Krahe, Albert Litzmann, Julius Petersen. 
 (Insel Verlag.) Not yet (1914) complete; has been much heralded. 
 
 Heinrich Heine's Works. Translated by C. G. Leland, New York, 
 1906. Twelve volumes. 
 
 ijbetnricf) &eine Sidjtungen auSgeroafjlt unb erlaittert. By Karl Hessel, 
 Bonn, 1887. 349 pp. 
 
 The Prose Writings of Heinrich Heine. Edited with an introduction 
 by Havelock Ellis, London, 1887. 327 pp. 
 
 eine3 2lutobiograpb,ie, naa) feinen 2Berfen, Sriefen unb efprcidjen. 
 By Gustav Karpeles, Berlin, 1888. 586 pp. This work was translated 
 by Arthur Dexter and published by Henry Holt and Company, New 
 York, 1893. 375 pp. 
 
 Jbeinricf) .^eineS ^amilimltben. By his nephew, Ludwig von Embden, 
 Hamburg, 1892. 344 pp. Contains i2 letters. 
 
 Ctne StebeglCiCn. By Max Kaufmann, Zurich, 1897. 135 pp. 
 
 rtnnerungen an iQeinrid) Sbeine unb feine $amilie. B y nis brother, 
 Maximilian Heine, Berlin, 1868. 247 pp. 
 
 2lu3 bem Seben SjbeinricI) Seined. By Hermann Hiiffer, Berlin, 1878. 
 181 pp. 
 
 Speinric^ Jpetne. rinnerungen au ben le^ten jroantfg 3^^?" fetne^ 
 Seben^. By M me Caroline Jaubert, translated by L. Welter, Paris and 
 Leipzig, 1884. 93 PP- 
 
 [95]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Sjbeinricf) ieine : 2lu3 fetnem Seben unb au3 feiner $eit. By Gustav 
 Karpeles, Leipzig, 1899. 347 PP- 
 
 einridj >eine : ein Seben, fein Sfyarafter unb feine SBerfe barge= 
 ftellt. By Heinrich Keiter, Koln, 1891. 127 pp. 
 
 jQeinritf) igeine : Grinnerungen. By Alfred Meissner, Hamburg, 1856. 
 266 pp. 
 
 !$einrid) eine : ein SebenSgang unb feine dEjriften. By K. R. Prolls, 
 Stuttgart, 1886. 393 pp. 
 
 <>einritf) igeineS ftranf&eit unb eibengeftf)id)te. By S. Rahmer, Ber- 
 lin, 1902. 81 pp. 
 
 rinnerungen an ^einrtc^ eine. By his niece, Maria Embden-Heine, 
 Princessa della Rocca, Hamburg, 1881. 156 pp. 
 
 einricf) eineg le^te 2;age. From the French of Camille Selden, 
 Jena, 1884. 104 pp. 
 
 Subnrig Some unb ^einrict; eine. By G. M. C. Brandes, Leipzig, 
 1898 (2d ed.). 190 pp. 
 
 igeinrid) etne unb feine 3 e ^9 e nffen. By Gustav Karpeles, Berlin, 
 1888. 345 pp. 
 
 ijbeineg (5f)orafter unb bie moberne eele. By Max Kaufmann, 
 .Ziirich, 1902. no pp. 
 
 jQeinrtcf) eine unb bie ^rauen. By Adolph Kohut, Berlin, 1888. 
 
 35 2 PP- 
 
 ^einric^ eine al^ Strfjter unb SKenfcf^. By Max Nietzki, Berlin, 
 1895. 1 70 pp. 
 
 Henri Heine : Penseur. By Henri Lichtenberger, Paris, 1905. 250 pp. 
 
 Portraits et souvenirs litteraires. By Theophile Gautier, Paris, 1892. 
 Heine, pages 103-128. 
 
 The Life, Works and Opinions of Heinrich Heine. By William 
 Stigand, New York, 1880. Two volumes; the work has been unfavor- 
 ably received. 
 
 einricf) eine 2eben unb SBerfe. By Adolf Strodtmann, Hamburg, 
 1884. 1172 pp. 
 
 Life of Heinrich Heine. By William Sharp, London, 1888. An ex- 
 cellent popular treatise. Contains an elaborate bibliography compiled by 
 John P. Anderson of the British Museum. 
 
 Sjb. eine ,,33ucf) ber Steber" unb fein 2?erf)altni jum beutfdjen 33olf3= 
 lieb. By Robert Gotze, Halle, 1895. 47 PP- 
 
 The Personal and Literary Relations of Heinrich Heine to Karl 
 Immermann. By Grace Mabel Bacon, University of Michigan, 1910. 
 97 PP- 
 
 [96]
 
 THE SIDE LIGHTS 
 
 einricf) eine3 SSertyaltniS jur Religion. By A. C. Kalischer, Dresden, 
 1890. 72 pp. 
 
 iQeinrid) eine3 SSer^altni^ ju Sorb SJnron. By Felix Melchior, Berlin, 
 
 1903. 169 pp. 
 
 2)ie Slufnatyme Sorb 33pron in 2>eutfd)lanb unb fein (Sinfluf; auf ben 
 jungen Seine. ByWilhelm Ochsenbein, Bern, 1905. 228 pp. 
 
 SeineS 2?erb,altni 5x1 fjafefpeare. By Ernst August Schalles, Berlin, 
 
 1904. 68 pp. 
 
 Seinrid) eine 33ejie&ungen jum beutfcfjen 2RitteIalter. By Georg 
 Miicke, Berlin, 1908. 48 pp. 
 
 Seinrid) eine imb bie 33ibel. By Heinrich Reu, Miinchen, 1909. 
 39 (large) pp. 
 
 25te bidfjteriftfie pradEje in iQeineS ,,33udE) ber Sieber". By Max Seelig, 
 Halle, 1891. no pp. 
 
 einrtd) eine unb ber ;)ial>Lu oon Sad^ara^. By Gustav Karpeles, 
 Wien, 1895. 64 pp. 
 
 2)er 3)id^ter be Slomanjero. By R. M. Meyer, in " Gestalten und Pro- 
 bleme," 1905. Pages 151-163. 
 
 tiber ^Jtateng birf)terticf)e Sebeutung mit befonberer Sejie^ung auf 
 JjbetneS tlrteil in ben 3tetfebilbern. By Franz Kern, in "Kleine Schrif- 
 ten," 1895. Volume i, pages 164-185. 
 
 jQeinridj &eine 5 ra 9 ment " er 9^abbi won Sod^arac^". By Lion 
 Feuchtwanger, Miinchen, 1907. u6pp. 
 
 Unterfuc^ung jur SBeurteilung beg jungen >eine unb jeiner Sid^tung. 
 By Paul Beyer, Berlin, 1911. 84 pp. 
 
 Uber ba3 2Befen ber Seine 'fc^en 2)icf)tung. By Ernst Gnad, in "Lit- 
 terarische Essays," Wien, 1891. 34 pp. 
 
 jpeinricfj >etne. By Matthew Arnold, in " Essays in Criticism." 37 pp. 
 
 fjbeine unb fetn 9Bi. By Erich Eckertz, Berlin, 1908. 196 pp. 
 
 German Wit : Heinrich Heine. By George Eliot, in her " Essays," 
 1885. 53 pp. 
 
 2)te franjofifdje Sitteratur im Urteile ^einrid^ eine. By L. P. Betz, 
 Berlin, 1897. 67 pp. 
 
 einrtcf) eine: 2luc^ ein Senfmal. By Adolf Bartels, Dresden, 1906. 
 
 375 PP- 
 
 einrtc^ Seine unb 2Hfreb be ^uflet: Sine biograp^ifd^=litterarifd9e 
 ^SaraHele. By L. P. Betz, Ziirich, 1897. 117 pp. 
 
 liber bie oolfStumlidjen lemente in ben ebid^ten eine3. By Au- 
 gust Walther Fischer, Berlin, 1905. 150 pp. 
 
 eburttag. By K. E. Franzos, Berlin, 1900. 32 pp. 
 
 [97]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 einritf) eine unb ba3 beutfd)e 33olf3lieb. By R. H. Greinz, Neu- 
 wied, 1894. 96 pp. 
 
 Henri Heine, Poete. By Jules Legras, Paris, 1897. 438 pp. 
 
 $U <0eine Sallaben unb 9tomansen. By Oskar Netolizka, Kronstadt, 
 
 1891. 31 pp. 
 
 Uber bie influffe ber Komantif auf einricf) eine. By Theodor 
 Odinga, Leipzig, 1891. 26 pp. 
 
 Sie freten 3if)r)tb,men in )>eine3 9Jorbfeebilbern. By Paul Remer, 
 Heidelberg, 1889. 56 pp. 
 
 Heine and Tennyson : an Essay in Comparative Criticism. By C. W. 
 Stark, in " Haverford Essays," 1909. 29 pp. 
 
 einricf) Joetneg SBirfen unb treben. By Adolf Strodtmann, Ham- 
 burg, 1857. 142 pp. 
 
 etne3 (Sinflufe auf djeffelg 3)tcb,tungen. By W. C. Sudel, Leipzig, 
 1898. 59 pp. 
 
 S)er til ber >einefdE)en 3u9c n i>ptofa. By Max Ebert, Berlin, 1903. 
 
 5 6 PP- 
 
 liber ben eBraud) be 33eiraorte in etne3 ebid^ten. By James 
 Alburn Chiles, University of Illinois, 1908. 112 pp. 
 
 eine unb 2)itffelborf. By Eugen Moos, Marburg, 1908. 80 pp. 
 
 35ie 5perfonenfa)ilberung in >eine3 journaliftifcfien Serid^ten. By 
 Walther Bloemertz, Dusseldorf, 1909. 70 pp. 
 
 >etnrid) eine^ 3)Jemoiren. Edited by Eduard Engel, Hamburg, 1884. 
 Contains poems, prose and letters then unknown. 359 pp. 
 
 >einrtcf) eine unb unfere Qeit. By Leo Berg, in " Zwischen zwei 
 Jahrhunderten," Frankfurt am Main, 1896. 26 pp. 
 
 2>tnmorteUen ^einricb, eines>. By Adolf Strodtmann, Berlin, 1871. 
 216 pp. 
 
 einricfj etne SBer&tiltniS jur Religion. By Carl Puetzfeld, Berlin, 
 1912. 154 pp. Contains bibliography, pages xi-xii. 
 
 Jparrn. @in Sioman aug ber erften ^alfte beS neunje^nten 3fl^^un= 
 bert^. By Eduard Stilgebauer, Konstanz, 1913. 451 pages. This is a 
 novel with Heine and those who associated with him as characters. 
 
 [98]
 
 THE SIDE LIGHTS 
 
 READING LIST 
 (Pagination according to the Elster edition) 
 
 1821. 2>Uttge Setbett, poems, 50 pages. Divided into " Traumbilder " 
 (10), "Lieder" (9), these poems are simply numbered; 
 " Romanzen " (20) these are given titles and " Sonette" (13). 
 
 1823. 2Umanfor, eine Sragobie, without divisions or list of characters, 
 52 pages. The drama was written in 1820-21. An impossible 
 tragedy, reflecting a good deal of Heine's own life. 
 
 1823. Snrifd)e3 ^nt^mejjo, poems, 30 pages. A collection of 65 poems 
 without titles. So called because they were first published in a 
 single collection between his two dramas. 
 
 1823. JBiUiam Jlatcliff, Xragobte, without divisions, but contains list of 
 
 characters, 34 pages. Written in the last three days of January, 
 1822. The plot is Heine's own invention in the main. The 
 drama was hissed off the stage at its unique performance in 
 Braunschweig on August 20, 1823. 
 
 1824. 2)ie Jjbettnfehr, poems, 56 pages. A collection of 93 poems, five 
 
 of which are given titles: " Gotterdammerung," " Almansor," 
 " Ratcliff," " Donna Clara," " Die Wallfahrt nach Kevlaar." 
 The collective title owes its origin to the fact that the majority 
 of the poems were written after Heine's return home from the 
 University of Berlin. They were first published at Hamburg 
 in 1826. 
 
 1824. 2lu ber arjretfe, poems, 12 pages. A collection of 7 poems, 
 including " Der Hirtenknabe " and " Die Use." 
 
 1826. Sic Slorbfee, poems, 34 pages. A collection of 22 poems with titles. 
 
 1827. Slid) ber iHeber, collective title of the above-listed poems. It is 
 
 this collection that made Heine famous and made the year 
 1827, or 1826, a year from which to date a new genius in Ger- 
 man literature. 
 
 1830. Steifebtlber, descriptions of travel in prose with interspersed 
 lyrics, 490 pages. Divided into four parts. Begun in 1824 and 
 finished in 1830. The second part, "Die Bader von Lucca," 
 is dedicated to Immermann. 
 
 1832. j5rd|t}6ftjd)e guftcinbe, p rosej IQ ^ pages. A collection of reports 
 which Heine wrote for the Augsbitrger Allgemeine Zeitung 
 from December 1831 to September 1832. Heine moved to 
 Paris in June, 1831. 
 
 1834. 2tii3 ben 2Jlemoiren be errn oon djnabeleroopSfi, prose, 51 pp. 
 
 [99]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 1835. $ur efrf)id;te ber 9Jeligion unb ^ilofop&ie in 2)eutfdE)lanb, 136 pp. 
 
 1835. lementargeifter, prose, 60 pp. 
 
 1838. fyafefpeareS 9Mbcf)en unb rauen, prose, 120 pages. Written 
 for a French bookseller; a delightful bit of popular criticism. 
 
 1840. Subrotg 33orne, scurrilous and at times indecent criticism in prose, 
 132 pp. 
 
 1840. 33er Rabbi von 33adE)aracIj, ein ^toswent. Legend in prose, 38 
 pages. Dedicated to Heinrich Laube. This is one of Heine's 
 most important works; it was his " Schmerzenskind." Begun 
 early in life ; he destroyed part of it and never found the op- 
 portunity to finish it. 
 
 1843. Sltttt roll, humorous, satirical, doctrinaire poem, 68 pages. 
 Divided into 27 sections, each called a " Kaput "; the last one 
 is " dedicated " to Varnhagen von Ense. Written in unrhymed 
 strophes, as follows : 
 
 SRoncetiol, bu ebleg 
 2Benn idi beinen SRamen b,ore, 
 iBe&t unb buftet mit im >erjen 
 2)ie toerfdjollene blaue Slume! 
 
 1844. 2)eutfdE)lanb, ein 2BintermardE)en, satirical, humorous, doctrinaire 
 poem, 64 pages. Divided as is " Atta Troll " and written in 
 the same sort of strophes, except for the rhyme and metre, as 
 follows : 
 
 3m traurigett 9Konat MobemBer loor'8, 
 
 3>ie Sage nmrben triiber, 
 
 er SBinb ri& Don ben SSaumen boS 2au6, 
 
 Sa retft' ic5 naclj entfc^Ianb Ijiniiber. 
 
 Heine paid Germany a visit in 1843. 
 
 1851. 2)er Softer gauft, ein Xanjpoem, a prose sketch in 5 acts, 15 pp. 
 1851. SRomcmjero, poems that have a connection, 152 pages. Divided 
 
 into three books : " Historien," " Lamentationen," " Hebrai- 
 
 sche Melodien." 
 
 1853. 2)ie otter im r,il, prose, 24 pp. 
 
 1854. eftanbniffe, confessions in prose, 60 pp. 
 
 1854. Sutejia : S3eridE)te iiber ^Solitif, ^unft unb SSoIfgleben, prose, 236 pp. 
 
 1856. SJfemoiren, prose, 70 pp. 
 
 In addition to the above, Heine wrote many poems, some gen- 
 eral articles under the collective title " Der Salon," and a num- 
 ber of reviews, one of the best of which is his introduction to 
 " Don Quichotte." 
 
 [100]
 
 THE SIDE LIGHTS 
 
 GEORG FRIEDRICH RUDOLF THEODOR HERWEGH 
 
 Born May 31, 1817, at Stuttgart. Father an impecunious 
 innkeeper. Lived a joyless childhood. Always somewhat nerv- 
 ous and petulant. Had no brothers, but one sister, five years his 
 junior. His parents separated October 31, 1832. A brilliant 
 boy, passed the final examination at the gymnasium in Stuttgart 
 when he was fourteen. A Swabian in politics, poetry, dress, 
 friendship and speech. Attended the seminary at Maulbronn. 
 A great reader, fond of Aristophanes and histories of the French 
 Revolution. Disliked his teachers. Entered the seminary at 
 Tubingen (Oct. 23, 1835) to study theology, dismissed with a 
 sharp reproval (Aug. 5, 1836). Then studied law at Tubingen ; 
 returned home at Easter, 1837, determined to become a poet. 
 Helped Lewald with the publication of ^Europa. Obliged to 
 enlist March 7, 1838, got into trouble and was finally discharged, 
 or rather he escaped, from the army and went to Switzerland 
 in July, 1839. Wrote poetry. In Paris from 1841 to 1842. 
 Met Heine and Dingelstedt. Started in the autumn of 1842 
 on a journey through Germany. Honored everywhere. Met 
 (Nov. 6, 1842) Emma Siegmund in Berlin, became engaged 
 to her (Nov. 13^ 1842). Married her March 8, 1343. - Had an 
 audience in Berlin with Friedrich Wilhelm IV was then ban- 
 ished from Germany and returned to Switzerland ; became a 
 Swiss citizen. Returned to Paris in 1843, met Heine, Beranger, 
 Proudhon, George Sand and Liszt. Studied botany and read 
 Ludwig Feuerbach. Broke away from religion. Took part in 
 the French revolution of 1848. Became a politician and read 
 " Don Quixote," led a party of Republicans through southern 
 Germany and escaped to Paris in 1849. Returned to Switzer- 
 land and met Richard Wagner, Mommsen, Gottfried Keller 
 and others. Went in 1861 to Karlsbad for treatment. Met 
 Meissner and Laube. He thought of various undertakings, 
 / finished by translating eight of Shakespeare's dramas. Lived 
 from 1866 till his death in Baden-Baden. An impatient 
 
 [101]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 democrat. Hated the idea of the German Empire. The inscrip- 
 tion on his monument pictures him as " persecuted by the 
 great, hated by the servile, misunderstood by the majority, loved 
 by his own." Died in Baden-Baden, April 7, 1875. 
 
 BIBLIOGRAPHY 
 
 Jjerroegl)^ SBerfe. Edited by Hermann Tardel, 3 parts in i volume, 
 Berlin (Bong), no year (recent). Contains good general and special 
 introductions. 
 
 eorg Sberroegl). etn Seben unb fein djaffen. By Adolf Trampe, 
 Leipzig, 1910. 132 pp. Bibliography, pp. vi-xi. 
 
 Le Poete Georges Herwegh. By Victor Fleury, no place, no year 
 (recent). 397 pp. A very thorough study. Bibliography, pp. 371-375. 
 
 READING LIST 
 
 1841. ebtrfjte eine Sebenbigen (dating back), 171 pp. 
 
 1843. inunbjroanjtg 93ogen au3 ber diraeij. Miscellaneous articles 
 
 by Herwegh, 336 pp. 
 1877. SReue ebicfjte on eorg Jjberroegfj. Published after his death, 
 
 Zurich, 291 pp. 
 1896. ebicfyte eine<a Sebenbtgen. Twelfth edition, Leipzig, 264 pp. 
 
 Some of his best known poems are 2ln ben $omg von $reu= 
 
 fjen ; 2)<x3 SflljeinroeinUeb ; %d) tnocfjte fjingefyen roie bag 2lbenb= 
 
 rot ; 35tc bange Wafyt ift nun Return. 
 
 ERNST THEODOR WILHELM (AMADEUS) HOFFMANN 
 
 Born January 24, 1776, at Konigsberg. Parents came from 
 families of distinguished lawyers, father was dissipated and 
 mother eccentric; they separated in 1779 and the boy's train- 
 ing was directed by his maternal uncle, Otto Dorfer. He lived 
 a very unhappy life, full of monotony and devoid of any sort of 
 inspiration. Attended the German-Reformed school at Konigs- 
 berg (1783-91), studied law at Konigsberg (1792-95), passed 
 his examinations July 22, 1795, became barrister at Konigsberg 
 (1795-96), referendary at Glogau (1796-98), notary at Berlin 
 (1798-1800), assessor in Posen (1800-02). Married M. Th. M. 
 
 [ I02 1
 
 THE SIDE LIGHTS 
 
 Rorer (Trczynska), of Polish descent, in 1802. Lived a dissolute 
 life in Posen, and was then exiled to Plozk (1802-04) because 
 of cartoons of public men; transferred to Warsaw (1804-07), 
 then a part of Prussia. Lost his government position after the 
 battle of Jena and then spent seven unhappy years in Berlin 
 (1807-08), as director of an orchestra at Bamberg (1808-13), 
 and in Leipzig and Dresden (1813-14). Regained his position 
 with the government after the War of Liberation and returned 
 to Berlin, where he lived the rest of his days, immortalizing the 
 wine restaurant of Lutter and Wegener, writing stories, and 
 performing good service as a judge; he favored Jahn in the 
 attempts that were made to prove Jahn's introduction of ath- 
 letics a bit of anarchy. Utterly improvident, he turned night . 
 into day and day into night, and, talented and precocious indi- 
 vidual that he was, he remained a dilettant in life and art. His 
 vocation was law ; his avocation literature ; his hobbies music, 
 drawing, and architecture ; his weakness intemperance ; his L 
 strength versatility. He has had unmistakable influence on 
 Grabbe, Alexis, Hauff, Solitaire, H. C. Andersen and Gott- 
 fried Keller. Goethe disliked him, and Carlyle, though he 
 translated him into English, paid him only left-handed compli- 
 ments. He has been frequently translated into French and 
 
 influenced Hugo, Dumas, Gautier, De Nerval, Balzac and others. 
 
 He composed music that received the unstinted approval of 
 Weber and gave themes to Delibes, Offenbach, Schumann, 
 Wagner, Tschaikowsky. He himself was fond of J. S. Bach, 
 Cherubini, Spontini, Mehul and Gluck, and hated Paer. His 
 opera "Undine" (1816) can be said to be the first music-drama 
 after the fashion of Weber and Wagner. His music to Brentano's 
 
 ". ."Lustige Musikanten" has also been highly praised. He was \^ 
 influenced by Rousseau, Wiegleb, Jean Paul, Novalis, Brentano, 
 and the Schlegels. Much difference of opinion as to his merits : 
 some say he had the making of the poet in him, but that he 
 remained undeveloped. Others compare him with Kleist to 
 whom he bears some resemblance and thus contend that
 
 he was not a poet. The comparison of Hoffmann with Poe 
 has been made frequently, generally to bring out the point that 
 the weird, fantaslic.^and ..supernatural of neither is convincing. 
 V His works abound in doubles ; somebody is always being trans- 
 formed/He had no lyric, no dramatic, gift and but little appre- 
 ciation of nature. That he was so profoundly influenced by 
 Jacques Callot (1592-1635) and Jacques Cazotte (1720-92) 
 gives a fair idea as to what he was like. He said of himself 
 that in him nature tried a new recipe and failed. Nevertheless, 
 he is, next to Heine and Kleist, the most alive to-day of all the 
 ^Romanticists. His life was one long conflict between life and/--'' 
 \\ art, and his works show it. He pictured again and again the 
 struggles between the man making a living and the man court- 
 ing the muse. He was afraid of death and afraid to grow old ;/^- 
 he painted death in the form of old hags his works abound 
 in such characters and tried to find youth in wine. Of him 
 Carlyle said : " His life was disjointed : he had to labor for his 
 bread, and he followed three different arts ; what wonder that 
 in none of them he should attain perfection. ... As a poet IS 
 he aimed but at popularity, and has attained little more. His 
 intellect is seldom strong, and that only in glimpses ; his abun- 
 dant humor is too often false and local ; his rich and gorgeous 
 fancy is continually distorted into crotchets and caprices. In 
 fact he elaborated nothing ; above all, not himself." He died 
 at Berlin, June 25, 1822. 
 
 BIBLIOGRAPHY 
 
 . X. 21. Sjboffmann'S gefammelte djrtften, 12 volumes, Berlin, 1845. 
 In good print, without introductions, with excellent illustrations by 
 Theodor Hosemann. 
 
 . Xfy. 21. $offmann cutgeroaf)lte SDBerfe, 4 volumes (Cotta), with an 
 introduction by Joseph Lautenbacher (Vol. I, pages 1-50), Stuttgart and 
 Berlin, 1892. 
 
 @. X. 21. offmann famtltcfje 2Berfe, 1 5 volumes in 4, with an intro- 
 duction (pages i-cx) by Eduard Grisebach, Leipzig (Hesse), 1899. The 
 best eclectic edition. 
 
 [I0 4 ]
 
 THE SIDE LIGHTS 
 
 2lu3 bent Seben jroeter Sifter : Srnft Jfjeobor 2BHf)elm fpoffmann'3 
 unb riebrtcf; ottlob SBefcel'3. By Z. Funck, Leipzig, 1836. 315 pp. 
 Hoffmann, pages 1-172. An old-fashioned treatment. 
 
 (S. Z. 21. offmann3 Seben unb Sfacfylaf!. By Julius Eduard Hitzig, 
 Stuttgart, 1839. 507 pp. Contains letters, drawings, facsimiles, etc., but 
 is an old-fashioned biography, formless and nattering. 
 
 . X. 21. ^offntann. @ein Seben unb feme SCerfe. By Georg Ellinger, 
 Hamburg and Leipzig, 1894. 230 pp. A critical study. 
 
 Contes posthumes d'Hoffmann, traduits par Champfleury, Paris, 1856. 
 323 pp. Pages i to 1 66 deal with Hoffmann's life. 
 
 Poetes et Nevroses. By Arvede Barine, Paris (2d ed.), 1908. Treats 
 Hoffmann (pages 1-58), De Quincey, Poe, De Nerval. 
 
 . . 21. >offmann (Srja&lungen in ^ranfreic^. By Gustav Thurau, 
 Konigsberg, 1896. 48 pp. 
 
 The Influence of E. T. A. Hoffmann on the Tales of Edgar Allen Poe. 
 By Palmer Cobb, Chapel Hill, North Carolina, 1908. 104 pp. 
 
 . . 21. Jpoffmann : tubien ju feiner $erjonlid)fettunb feinen JBerfen. 
 By Arthur Sakheim, Leipzig, 1908. 291 pp. 
 
 SDie Sebeutung beg afluftfalifrfjen unb ^fuftifdjen in 6. X. 21. off= 
 mann^ literarifdjem @d)affen. By Carl Schaeffer, Marburg, 1909. 
 56 pp. 
 
 SWenfcb/en unb aftadjte. 2lugen)db / [te rjablungen Don . . 21. ^>off= 
 mann. Miinchen, 1911. 538 pp. In the "Biicher der Rose" series, 
 Volume 6. Contains 10 of Hoffmann's best known tales, splendidly 
 printed. Cheap but very good. Handiest place to get a general idea 
 of Hoffmann. 
 
 @. f). 21. SboffmamtS Dper. By Martin Ehrenhaus, 1913. 4 pp. In 
 Die Schanbiihne, January, 1913. A short but instructive article. 
 
 jpanbbucf) jur efdjtcfjte ber beutfdjen Siteratur. By Adolf Bartels, 
 Leipzig (2d ed.), 1909. 859 pp. Though uncritical and occasionally 
 incorrect, this manual should be on every student's desk; it is a con- 
 venient place to find the main data. It is especially good for Hoffmann, 
 pages 394 to 398, giving the exact place of appearance of each of 
 Hoffmann's works. 
 
 READING LIST 
 
 1809. SRitter ludt, short story, deals with Gluck, and with Hoffmann's 
 ideas of music, first appeared in Friedrich Rochlitz's Allge- 
 meine Alusikzeitung, Leipzig, 18 pp. 
 
 1812. Son 2>ucm, eine fabelhafte 33egebenl)eit, short story, 13 pp.
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 1813. 35et golbene opf, considered by many his best work, fairy tale, 
 
 80 pp. 
 1816. 25a 2J?aiorat, one of the " Nachtstucke," influenced by Schiller's 
 
 " Rauber," 77 pp. 
 1816. JDie (SUrjre be SeufelS, novel, 282 pp. 
 
 1816. 9tat ftrefpel, translated into English and published in New York 
 
 under the title "The Cremona Violin," basis of Act III of 
 Offenbach's opera, " Les Contes d'Hoffmann," short story, 
 
 22 pp. 
 
 1817. )er anbmann, fairy tale, basis of Act I of Offenbach's opera 
 
 and of Delibes' ballet "Coppelia," 47 pp. 
 
 1817. efcf)tcl)te t)om cerlorenen ptegelbUb, the counter-piece to Cha- 
 
 misso's " Peter Schlemihl," basis of Act II of Offenbach's 
 opera, short story, 22 pp. 
 
 1818. $letn=3acl)e, genannt ginnober, in part the basis of the Prologue 
 
 and Epilogue of Offenbach's opera, fairy tale, 100 pp. 
 
 1819. SWeifter SWavtin ber $iifner unb feme efellen, a picture of medi- 
 
 aeval artisan life, different from any other of Hoffmann's works, 
 
 short story, 90 pp. 
 1819. J)a3 j^rciulein Don Gilbert), considered by many his best work, 
 
 the figure of Cardillac said to be his best drawn character, 
 
 short story, 71 pp. 
 1821. Sebenganfto^ten be3 $ater3 2Jhmr, nebft fragmentarifdjer 33togra= 
 
 pf)te beg ^apellmeifter^ ^of)anneg ^reBler (Hoffmann himself), 
 
 incomplete novel laid out on a pretentious plan, 386 pp. 
 
 1821. UZufjfnacIer unb 3Jtaufefonig, fairy tale, basis of Tschaikowsky's 
 
 "Nut-Cracker Suite," 58 pp. 
 
 1822. 3)e3 33etter3 dfenfter, dictated by Hoffmann to his attendant 
 
 while on his deathbed, short story, 25 pp. Aside from 
 "Meister Martin" all of Hoffmann's works resemble each 
 other. Some of the other titles are " Der Artushof," " Ignaz 
 Denner," " Die Jesuitenkirche in G," " Das Sanctus," " Das 
 ode Haus," " Das Geliibde," " Seltsame Leiden eines Theater- 
 direktors," " Die Bergwerke zu Falun," " Die Automate," 
 " Doge und Dogaresse," " Der Dichter und der Komponist," 
 " Signer Formica," " Meister Floh," " Datura Fastuosa." 
 
 [106]
 
 THE SIDE LIGHTS 
 
 KARL LEBRECHT IMMERMANN 
 
 Born April 24, 1796, at Magdeburg. His oldest known an- 
 cestor fought as sergeant in the Swedish army during the Thirty 
 Years' War. Father, stern and bureaucratic, married, at the 
 age of forty-five, Friederike Wilda, then eighteen. Mother, 
 colorless and retiring, played a minor role in his life. Studied 
 (1807-13) at the gymnasium in Magdeburg, then for two years 
 interruptedly at Halle (1813-17). Fought at Belle Alliance, 
 entered Paris with the victorious army, was discharged as second 
 lieutenant. Suffered from unrequited love and then lived (1821 
 39) in unnatural relations with Grafin Elisa von Ahlefeldt, the 
 divorced wife of Adolph von Liitzow. Married Marianne Nie- 
 meyer (1839). Practiced law at Magdeburg (1817-19), Miinster 
 (1819-24), Magdeburg (1824-27), Diisseldorf (1827-40). 
 Rendered valuable service to the German stage by his man- 
 agement of the Stadttheater at Diisseldorf (1832-37). Fre- 
 quent traveller, omnivorous reader, able critic, prolific writer of 
 poor lyrics, mediocre dramas, good epics. Irreconcilable discord 
 in his character and inconsistency in his works. Brought up in 
 rationalistic surroundings, and one of the first of the realists, 
 his relation to Romanticism was nevertheless intimate and 
 imitative, sometimes spurious, incoherent but lifelong. Died 
 August 25, 1840, at Diisseldorf. 
 
 BIBLIOGRAPHY 
 
 3mmermann3 3DcrIe. Edited by Robert Boxberger, 20 parts in 8 
 volumes, Berlin, Gustav Hempel, 1883. 
 
 3mmermann3 2Berfe. Edited by Harry Maync, 5 volumes, Leipzig 
 and Wien, 1906. 
 
 3mmermann 2Berfe. Edited by Werner Deetjen, 3 volumes, Berlin 
 (Bong), no year (1912). Contains biographical introduction, Volume I, 
 pages i to Ixxxvii, and special introductions to individual works. 
 
 $arl 5Smtne*mann. ein Seben unb feme SBerfe. Edited by Gustav 
 zu Putlitz, 2 volumes, Berlin, 1870. 697 pp. 
 
 [I0 7 ]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 (Sine ebatf)tm3ftf)rift jum 100. eburtStage be 
 3)tdE)ter3. By R. Fellner, J. Geffcken, O. H. Geffcken, R. M. Meyer 
 and Fr. Schultess, Hamburg and Leipzig, 1896. 220 pp. 
 
 !ymmermann3 2JJerlin. By Kurt Jahn, Berlin, 1899. 128 pp. 
 
 2>tnmermcmn3 3>ugenbbramen. By Werner Deetjen, Leipzig, 1904. 
 200 pp. 
 
 SmmermannS 2Beltanftf)auung. By Sigmund von Lempicki, Berlin, 
 
 1910. 136 pp. 
 
 Karl Lebrecht Immermann: a Study in German Romanticism. By 
 Allen Wilson Porterfield, New York, 1911. 153 pp. 
 
 2>ttimcrmann3 Sriftan unb Sfolbe. By Max Szymanzig, Marburg, 
 
 1911. 258 pp. 
 
 3)er Dberfjof. Edited by Hermann Muchau, Leipzig, 1901. 255 pp. 
 Immermann never wrote a separate work with this title. Editors have 
 simply taken certain chapters from " Miinchhausen " and published 
 them independently. Some editions contain about 75 pages, others 
 375 pages. This is the one work by which Immermann is now, 
 known. 
 
 liber Zefynil unb til ber 3?omane unb -ftooellen 2>mmermann3. By 
 Leo Lauschus, Berlin, 1913. 136 pp. 
 
 READING LIST 
 
 1825. arbenio unb elinbe, tragedy, 85 pp. 
 
 1828. $atfer ^nebrid) ber 3 roe ite, tragedy, 117 pp. 
 
 1829. Sultfttnttfjen, satirical epic, 108 pp. 
 
 1830. ebtdfjte, 244 pp. Immermann's poems, with but few exceptions, 
 
 are weak. He published also at Hamm, in 1822, ebidjte, 184 
 pages, with 3JiuftfbetIagen by Wachsmann. The best of his 
 poems are found in the Maync edition. 
 
 1832. -merlin, dramatic poem, 108 pp. 
 
 1833. 2lnbrea ofer, tragedy, 79 pp. 
 1835. Ste pigonen, novel, 674 pp. 
 
 1839. -IHiincfjfjaufen, novel, 699 pp. 
 
 1840. SJletttOrabilien, autobiography and criticism, 699 pp. 
 
 1841. rtftan unb Sfolbe, epic (fragment), 271 pp. 
 
 [108]
 
 THE SIDE LIGHTS 
 
 JUSTINUS ANDREAS CHRISTIAN KERNER 
 
 Born September 18, 1786, at Ludwigsburg, the son of an 
 official, related to Hauff and Uhland. Studied in the schools 
 of Ludwigsburg, Knittlingen and Maulbronn, entered (1804) 
 the University of Tubingen to study medicine. Associated at 
 Tubingen with Uhland, Karl Mayer and Varnhagen von Ense, 
 with all of whom he collaborated on the Sonntagsblatt fur ungebil- 
 dete Stdnde (1807). Took his medical degree in 1808. Travelled 
 (1809-12), visiting Berlin, Hamburg, Wien,Miinchen, principally 
 in the interest of his studies in medicine. Settled down in 
 Welzheim in 1812, where he married Friederike Ehemann 
 in 1813. Became official physician in 1815 in Gaildorf, and 
 in 1818 was transferred to Weinsberg, where he lived the rest 
 of his life. He made occasional excursions in the summer to 
 Baden-Baden, and once took a journey down the Rhine and 
 went to Helgoland. He was obliged to retire in 1851 owing 
 to almost total blindness. Wife died in 1854. Built the popular 
 " Kernerhaus " in Weinsberg and became famous for his hospi- 
 tality. Known personally to almost all the Romanticists of the 
 time. The oldest and most talented poet of the Swabian circle. 
 A dreamy, melancholy strain in his lyrics. A popular and suc- 
 cessful physician, saw much suffering and portrayed suffering 
 frequently. Became interested in mesmerism, somnambulism 
 and the like, really believed in ghosts and magnetic cures. Studied 
 the case of Friederike Hauffe and wrote from it his " Seherin." 
 Represents in life and practice what a number of the Roman- 
 ticists theorized about the occult. Died at Weinsberg, Febru- 
 ary 22, 1862. 
 
 BIBLIOGRAPHY 
 
 3>uftinu3 $erner 33riefroed)fel mit feinen ^reunben. Edited by his 
 son Theobald Kerner, annotated by Ernst Miiller. Two volumes, Stutt- 
 gart, 1897. A mine of detailed information about the men and poets of 
 the day, valuable not only for Kerner but also for his numerous friends. 
 
 SaS ernerf)au unb feme afte. By Theobald Kerner (died 1907), 
 Stuttgart, 1897. An extremely interesting book. 396 pp. 
 
 [ 109]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 2>uftinu3 Werner. By Aime Reinhold, Tubingen, 1886. 172 pp. Con- 
 tains a handy chronological list of Kerner's works and publications 
 19 entries from 1807 to 1859. 
 
 efcl)id)te ber Snrif 3ufttnu $erner3. By Johannes Richert, Berlin, 
 1909. 60 pp. (Teildruck.) 
 
 2>uftinu Werner al3 3lomanti!er. By Franz Heinzmann, Tubingen, 
 1908. 48 pp. 
 
 SufttrmS $erner auSgettmfilte poetijd)e SBerfe. Two volumes, Stutt- 
 gart, 1879. The most convenient place to read Kerner's poems. 
 
 READING LIST 
 
 1829. 2)te efterin Don ^Sreoorft, prose account of observations made 
 in a peculiar medical case, dedicated to G. H. Schubert, 594 pp. 
 
 1849. 3) fl 3 Silberbud) au metner ^nabenjett (1786-1804), 294 pp. 
 
 1856. $ranj Slnton 2ftemer, ber (Sntbecfer beg t&iertfcf)en 9Kagneti3mu3, 
 prose account of the father of mesmerism, 212 pp. 
 
 1859. ebto^te, dating back to 1807, about 300 pp. Best known poems: 
 2)er fcfjroere Xraum ; SBunberlieb; Ser reicf)fte "ftntft ; Ser2Ban= 
 berer in ber agemii^le; ^m 3Binter; 2)te fd)it)dbiftt9e Sttf)ter= 
 
 BERND HEINRICH WILHELM VON KLEIST 
 
 Kleist was born at Frankfurt an der Oder, October 18, 1777. 
 He was the son of Joachim Friedrich von Kleist, an army officer, 
 and Juliane Ulrike von Pannwitz. His father died June 18, 
 1788, his mother February 3, 1793. We know but little of his 
 father, who seemed to have little interest for anything outside 
 of the army, and possibly less about his son's youth ; it is even 
 a question as to whether he was born October 18 or October 10. 
 Of his mother he always spoke with profound respect. He was 
 the third of five children by a second marriage and was supported 
 and encouraged by his half sister, Ulrike, a masculine sort of 
 unwomanlike woman (1774-1849). He had a private tutor in 
 his youth, Martini by name, since it would have been undignified 
 for the son of an army officer to attend the regular gymnasium. 
 
 [no]
 
 THE SIDE LIGHTS 
 
 Martini spoke of Kleist as ein ntc&t 511 bdmpfcnbcr gcuer= 
 geift. After the death of his father he came to Berlin and 
 studied in the home of the preacher of the French ofpital= 
 fircfye, Samuel Heinrich Catel, a man of some literary gifts, who 
 taught Kleist many things, including French. In 1792 he 
 entered the army as a corporal, took part in the campaigns 
 along the Rhine, 1793, 1794, !795> an d became second lieu- 
 tenant, March 7, 1797. In the summer of the same year he 
 made a journey through the Harz with his friend, Riihle von 
 Lilienstern. Army life became more and more distasteful to 
 him ; he wanted to act as a human being, but was obliged to 
 act as an officer. Moreover, he was being drawn to intellectual 
 pursuits. He secured, therefore, his discharge from the army 
 and entered, at Easter, 1799, the university of his native town 
 to study law, but devoted the most of his time to philosophy, 
 physics and mathematics. It <s^as especially the study of Kant's 
 jphilogophy^ with its categorical imperative and its 9lUe3 SSiffen 
 ift iittftt)crf, that drove Kleist almost to the point of complete 
 despair. While a student at Frankfurt an der Oder he became 
 engaged to Wilhelmine von Zenge, the daughter of a general. 
 She was born August 26, 1780, and died April 25, 1852. In 
 the summer of 1800 he made a mysterious journey to Wiirzburg 
 in the company of his friend Brockes. No one knows why he 
 went; many have imagined this and that. In 1801 he started 
 with his sister Ulrike to Paris, where they arrived July 10, and 
 from which place they departed, thoroughly displeased, in No- 
 vember of the same year. He went then to Switzerland to 
 become a farmer after a fashion; it is possible that he thought 
 he might, in this way, become an undisturbed poet. In Bern he 
 met Heinrich Zschokke, Heinrich Gessner and Ludwig Wieland. 
 After illness and other misfortunes, including the failure of his 
 agricultural scheme, he returned to Germany in 1802; went to 
 Weimar, where he met Wieland, who encouraged him with much 
 praise ; that he met at the same time Goethe and Schiller is 
 extremely probable. In 1802 he broke his engagement with 
 
 [in]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Wilhelmine von Zenge. During the last nine years of his life 
 he led an unsteady and wandering existence. In 1803 we find 
 him the guest of Wieland at Ossmannstedt; from there he went 
 to Leipzig and associated with Fouque, Lilienstern and Ernst 
 von Pfuel ; with Pfuel he went to Dresden, then to Switzerland, 
 then to Upper Italy, then to Paris by way of Geneva and Lyon, 
 where he burned his "Guiskard" and, in his impossible condi- 
 tion, broke with Pfuel. It is said, and there seems little reason 
 to doubt it, that he then planned to enter the French army and 
 meet death on the battle field. But this double scheme could 
 not be realized. He then returned to Germany and we find him 
 in the region of Mainz and Wiesbaden, planning to become a 
 joiner. After disappearing for a while, he reappeared at Potsdam 
 in 1804, and secured, on the recommendation of Stein, a poor 
 position in Konigsberg, where he was for a while in 1805- 
 06, one of his most productive periods. The battle of Jena 
 brought another change in his life; he started to Dresden, was 
 captured on the way by the French and imprisoned at Joux. 
 Liberated through the instrumentality of his sister, he went in 
 July, 1807, to Dresden, where he published with Adam Miiller 
 (1808-09) Phobus, a journal with a pretentious title and a 
 short life. It is said that the thought of assassinating Napoleon 
 now came to him, but the evidence is not convincing. On 
 April 29, 1809, he left Dresden, went to Prag on some sort of 
 political business, disappeared from sight again and finally showed 
 up, as it were, at Frankfurt an der Oder, and came from there 
 to Berlin. The death of Queen Luise (July 19, 1810) deprived 
 him of his last hope ; the pension that she had given him had 
 already been disturbed. He took his own life after having taken 
 that of Frau Henriette Vogel in accordance, as it seems, with a 
 previous promise, at Wannsee near Berlin, November 21, 1811. 
 He lies buried by her side on the spot where the tragedy occurred. 
 Kleist, like Heine, Jean Paul, Holderlin and not many others, 
 not only deserves but has to be given a place in German litera- 
 ture by himself. When the life of a man is unique, his poetry 
 
 [112]
 
 THE SIDE LIGHTS 
 
 will be so also, and Kleist's was unique-. He was a man of 
 tremendous ambition ; it requires courage to try to pluck the 
 laurels from the brow of such a contemporary as Goethe. He 
 possessed real genius, considerable talent, and great intellectual 
 gifts. He hated the commonplace always, he was instinctively 
 a patriot, and yet he lived and wrote in the days of Germany's 
 greatest degradation. It is said that he resembled Torquato 
 Tasso ; if so, it is well to call to mind Goethe's drama of like 
 name. Great and alone, he was secretive, problematic and 
 pathologic, eccentric, personal and subjective. The social back- 
 ground of Germany from 1795 to 1811 explains his works as 
 well and fully as the background ever can explain the works of 
 a German poet. The one real genius of the Romantic School 
 between 1798 and 1826, 'next to Schiller and Grillparzer Ger- 
 many's greatest dramatist, by all odds the one great dramatist of 
 Romanticism, Classic in form but Romantic in content by reason 
 of his extravagance, starting the straight line that can be drawn 
 from him to Hebbel and from Hebbel to Ibsen, he nevertheless 
 died without having seen a single one of his plays performed. 
 He bore somewhat the same relation to the group at Dresden 
 that Tieck bore to that of Berlin-Jena and Arnim to that of 
 Heidelberg. Though he enjoyed but eleven years of poetic 
 activity (1800-11), he can now be read in many editions and 
 can be studied from many biographies and critical monographs. 
 Tieck wrote for sixty-four years (1789-1853) and has not been 
 treated nearly so generously. And this is true, despite the fact 
 that with Kleist everything went wrong ; he lost, as time went 
 on, health, love, money and recognition. 
 
 But it was not this that caused his tragic end. KJeist-was- 
 an uncompromising idealist; All of his works might have 
 been cattetrTTnzeitgemasse Betrachtungen." Though he loved 
 beauty, he could not sacrifice truth to.it. He could not treat 
 the trivial, that he would have considered blasphemy. Nor could 
 he treat the unreal, that would have made him a Romanticist as 
 popularly understood. He could not derive inner help from the
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 flippant souls around him, that would have made him scorn him- 
 self. He lived alone and wrote for a generation that would not 
 hear him. Tired of rebuff, he voluntarily departed from a world 
 that he felt was unkind to, and unappreciative of, the promising 
 children of his wonderful but very odd mind. 
 
 BIBLIOGRAPHY 
 
 ijbeinrid) Don $leift3 ge[ammelte dEjriften. Edited by Ludwig Tieck, 
 3 volumes, Berlin, 1826. Contains introduction, Volume i, pages i-lxvi. 
 Tieck's work is valuable because pioneer; it has, of course, been super- 
 seded from the point of view of plain usefulness. 
 
 einrtd) con leift3 politifdje <Sd;riften unb anbere 9?ad)tr.age su jei= 
 nen SBerfen. Edited with an introduction by Rudolf Kopke, Berlin, 
 1862. 1 68 pp. 
 
 iQeinrid) Don $leift f amtlidje SBerf e. Edited by Eduard Grisebach, 2 vol- 
 umes in i, Leipzig (Reclam), 1883. 842 pages. The best cheap- edition. 
 
 einrid) von $letft3 famtlidje SBerte. Edited by Theophil Zolling, 
 Berlin, 1885. KUrschner's D. N. L., Volumes 149-150. 
 
 . 0. $letft> famtlitfje SBerfe. Edited by Franz Muncker, 4 volumes 
 with biographical introduction, Stuttgart (Cotta), 1893. 
 
 iQeinrttf) von $letft3 ajJeifterroerfe tntt rtauterungen. Edited by 
 Eugen Wolff, 4 volumes, Minden i. W., 1898-1903. 
 
 einrid; von Kleift^ fdmtltcfje SBerfe. Edited by Karl Siegen, 4 vol- 
 umes in i, Leipzig, 1900. 
 
 ioeinrid) von 5Heift3 fcimtlirfje SBerle. Edited by Bruno Jagow, with a 
 biographical introduction, 2 volumes in i, Leipzig, 1903. 
 
 einrid) von $leift 2Serfe. %m SSerein ntit eorg 2Kinbe=^3ouet unb 
 9lein[)0lb tetg. Edited by Erich Schmidt, Leipzig and Wien, 5 vol- 
 umes, no year (1905). Possibly the best edition. 
 
 einrid) von $leift3 famtlidje SBerfe. Edited by Fritz Baader, Stutt- 
 gart, 1907. One volume, 401 (large) pages; cheap edition, not so good 
 as Reclam. 
 
 ^einrid) von $Ieift. anttlidje SSerle unb 33riefe. Edited by Wilhelm 
 Herzog, Leipzig, 1908-1911. Contains an evaluating introduction and 
 copious notes. The edition is good also because of the excellent type 
 and print. 
 
 <0einrtd) Don $leift jamUidje 9Berfe. Edited by Arthur Eloesser, 5 
 volumes, Leipzig, 1909-1910.
 
 THE SIDE LIGHTS 
 
 Speinrid) con $leift. SBerfe auf runb ber empelfd)en 2Ui3gabe. 
 Edited by Hermann Gilow, Willy Manthey, Wilhelm Waetzoldt, Berlin 
 (2d ed.), 1909. The " Goldene Klassiker-Bibliothek " edition, and good. 
 
 Jpeinrid) con Ieift (Srja'blungen. Edited by Erich Schmidt, Leipzig, 
 1908. 290 pp. 
 
 ipeinrid) Don ftletftS rjafylungen. Berlin, 1910. The artistic Cas- 
 sirer edition. Three small volumes without commentary. 
 
 ipeinridj von $leift3 Seben unb Sriefe, mit einem 2lnb,ange. Edited 
 by Eduard von Billow, Berlin, 1848. 286 pp. 
 
 Speinrid) oon $Ieift3 Sriefe an feme djtoefter lllrife. Edited by S. 
 Rahmer, Berlin, 1905. 228 pp. 
 
 !ipeinrid) von ^leift. By Adolf Wilbrandt, Nb'rdlingen, 1863. 422 pages. 
 A valuable biography because of its author and its date. 
 
 2)a3 Seben <peinrid)3 von illeift. By Otto Brahm, Berlin, 1911. 450 
 pages. New edition. 
 
 Speinrtd) von $letft. <Sein Seben unb fetne SBerfe. By Wilhelm Her- 
 zog, Miinchen, 1911. 694 pages. Contains (pages 676-681) an excellent 
 bibliography. 
 
 $leift3 Seben unb SBerfe. By Heinrich Meyer-Benfey, Gottingen, 2 
 volumes, 1911. The biographies of Wilbrandt, Brahm, Herzog and 
 Meyer-Benfey are the best in German. 
 
 Henri de Kleist. Sa vie et ses ceuvres. By Raymond Bonafous, 
 Paris, 1894. 424 pages. This was Bonafous's doctor's dissertation be- 
 fore the faculty of letters at Paris. He has done some other work on 
 Kleist. 
 
 SpeinridE) von $letft al Sftenjdj unb Sidjter. By Hermann Conrad, 
 Berlin, 1896. 40 pp. 
 
 Stt ^letft'^roblem. By S. Rahmer, Berlin, 1903. 182 pages, gdj 
 faf) mid) gejttmngen, mit ber neurologtfd)=pft)a)iatnid)en 33etrad)tung audj 
 rein Itterarijd^e Jorfdjungen ju oerbinben. 
 
 einrid) on ^leift^ ,,2Jhitn>ilIe be^ immelg /y , eine literarfitftorifd^e 
 Unterfudjung. By Paul Hoffmann, in Eitphorion, Volume 14 (1907), 
 pages 565 to 577. The monographs and articles on Kleist's individual 
 works are many in number. 
 
 fpetnridj oon $leift. By Laurenz Kiesgen, Leipzig, 1901. 126 pages. 
 This is Number 6 in the " Dichterbiographien." 
 
 Jpeinrid) con tfleift. <Setn Seben unb feine SBerfe. By Hubert Bad- 
 stiiber, Wien, 1902. 68 pp. 
 
 <S. >. 6atel, ein Se^rer loetnrid) oon tfletfR By Hermann Gilow, in 
 Euphorion, Volume 14 (1907), pages 287-308.
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 d)iller.[d)e infliiffe bei <>einrtcfj on ftletft. By Wilhelm Holzgrafe, 
 Cuxhaven, 1902. 32 (large) pp. 
 
 etnrici) con $leift unb bag beutfcfje Sweater. By Walter Kiihn, Miin- 
 chen, 1912. 148 pp. Gives the stage history of Kleist's dramas. 
 
 SReue $unbe ju ^einricf) oon iUeift. By Reinhold Steig, Berlin, 1902. 
 
 i35 PP- 
 
 chiller unb $letft. By Emil Mauerhof, Zurich, 1898. 170 pp. 
 
 2)ie Soee im 3)rama bei oetfye, driller, riUparjer, $leift. By 
 Michael Lex, Miinchen, 1904. 314 pp. 
 
 <Qeinricf) von $leift. Sarftellung beg ^roblentg. By Hanna Hell- 
 mann, Heidelberg, 1911. 80 pp. 
 
 ijbeinricb, oon ^letft. Sine pathograp&tfrf)=pf9cf)ologtfd[)e tubie. By 
 Isidor Sadger, Wiesbaden, 1910. 192 pp. 
 
 $Ietft=tubten. By Spiridion Wukadinovic, Stuttgart, 1904. 192 pp. 
 
 !>einnd) Bon ^leift in feinen 33riefen. By Roderich Markentin, Hei- 
 delberg, 1900. 47 pp. Gives an idea of Kleist's titanic but fruitless 
 attempt to win fame. 
 
 Kleist and Hebbel. A Comparative Study. By Henrietta K. Becker, 
 Chicago, 1904. 71 pp. 
 
 S)ramaturgie beg djaufpielg. By Heinrich Bulthaupt, Oldenburg 
 and Leipzig, 1906. Lessing, Goethe, Schiller, Kleist (pages 481 to 555). 
 A good work for the intellectually timid. 
 
 2Kimifd)e tubien ju einrtdj con $letft. By Ottokar Fischer, in 
 Euphorion, Volume 15 (1908), pages 485 to 510, 716 to 725; and Vol- 
 ume 16, pages 62 to 92, 412 to 425, 747 to 772. A valuable study of an 
 important phase of Kleist's dramas. 
 
 S)er reimlofe fiinffufjtge ^antbug bet einnd) oon $leift. By Heinrich 
 Fiiser, Miinster i. W., 1911. 136 pp. 
 
 $)ie ntroicfelung ber nooelltftijcfjen ^ompofitiongted)nif 5?Ietftg big jur 
 SKeifterfd^aft. By Kurt Giinther, Leipzig, 1911. 90 pages. Kleist's short 
 stories constitute an exceedingly important part of his work, making 
 this study indispensable. 
 
 2)ie nooeUiftifdje unft einrtdjg Don ^leift. By H. Davidts, Berlin, 
 1913. 151 pp. 
 
 iQeinrid) Don ^leift. By Franz Servaes, Leipzig, 1902. Contains good 
 illustrations. 160 (quarto) pp. 
 
 $letftg Serliner ^ampfe. By Reinhold Steig, Berlin, 1901. A valu- 
 able documentary book, but heavy reading. 708 pp. 
 
 SQeinricf) oon $leift alg 2Renfd) unb 3Md)ter. By S. Rahmer, Berlin, 
 !99- 453 PP- 
 
 [116]
 
 THE SIDE LIGHTS 
 
 <QetnridE) won leift. Seine pradje unb fetn til. By Georg Minde- 
 Pouet, Weimar, 1897. 310 pages. A valuable study. 
 
 $leift unb bie SHomantif. By Ernst Kayka, Berlin, 1906. 210 pages. 
 A valuable study in that it tries to prove that Kleist was not a Romanticist. 
 
 <>eirtrid) Don illeiftS Sleije nad) SBiirjburg. By Max Morris, Berlin, 
 1899. 50 pp. 
 
 READING LIST 
 (Pagination after Herzog's edition) 
 
 1803. 3)ie tJfanuK 6 djroffenftein, tragedy, 182 pages. Kleist's first 
 work and one that he later disliked. The first form was called 
 " Die Familie Thierrez," the second " Die Familie Ghonorez." 
 First performed under Karl Immermann's management at 
 DUsseldorf, February 12, 1837. 
 
 1803. Robert Ut3!arb, dramatic fragment, 29 pages. Written in 1802- 
 03, destroyed, written again from memory in 1807, published 
 in Phobus in 1808. jollte md)t eringereS bebeuten, ulS 
 eine Uberbietung alleS beffen, roa3 bie beutfdjen ^laffifer on 
 Sejfing bi3 chiller im Srama erreicfjt fatten. First performed 
 in 1901 in Wien between Goethe's "Satyros" and Werner's 
 " Der vierundzwanzigste Februar," and in Berlin, under Paul 
 Lindau's management, with Goethe's " Satyros" and " Elpenor." 
 
 1807. 2lmp^itrnon, comedy after Moliere, 129 pages. First performed 
 
 in Berlin in 1898. 
 
 1808. ^Bentfyefilea, tragedy, 179 pages. Performed in Berlin, under 
 
 Mosenthal, or rather according to his stage version, April 25, 
 1876. It was possibly performed earlier elsewhere. 
 
 1808. 2)er jerbrodjene $rug, comedy, 159 pages. First performed at 
 Weimar under Goethe's management, March 2, 1808. 
 
 1808. 35ie ioertnann3fd)[acf)t, drama, 161 pages. In 1858 Heinrich von 
 Treitschke said that the drama should be performed. It was 
 performed about 1860 in the version of Feodor Wehl. 
 
 1810. 35a $atfjd)en Don Sbeilbronn, historical drama, 178 pages. First 
 performed March 17, 1810, at the Theater an der Wien. Kleist's 
 most popular drama. 
 
 1810. ^prinj 'griebrtcfj oon ioom&urg, drama, 128 pages. First performed 
 under Schreyvogel's management, October 3, 1821. Kleist's 
 last and ripest drama. If Romanticism allows love to prevail x 
 over duty, then this drama is most Romantic.
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 1811. 9loel(en. Appeared in book form in Berlin, but some of the 
 stories were written and published separately, several appearing 
 in magazines, previous to 1811. They were as follows: 
 X. 3JZtc^ael $of)l&aa3, 142 pp. 
 \( Sie 9Karquife won D., 65 pp. 
 ^ >ag rb&eben in SfiiU, 21 pp. 
 V S)ie SSerlobung auf @t. Sonringo, 52 pp. 
 Sag 23ettelroei& con Socarno, 3 pp. 
 Set ginbling, 23 pp. 
 
 Sie heilige Gadlte, ober bie eroalt ber Sftufif, 17 pp. 
 Set 3tt>eifatnpf, 47 pp. 
 
 1811. ebicfjte, 63 pp. Some of Kleist's best known poems are Dbe 
 auf ben SBiebereinjug beg $5mg3 im SBinter 1809; 2ln bie $b= 
 nigin on ^reu^en (1810); ermania an ifire ^inber (1809); 
 $riegs>Iieb ber Seutfd^en (1809); Sag lete Sieb, published in 
 1818. It is not customary to think of Kleist as a lyric poet; 
 his poems are either eulogies or anathemas in verse, they were 
 not written to be sung. 
 
 KARL THEODOR KORNER 
 
 Born September 23, 1 79 1 , at Dresden, the son of C. G. Korner, 
 Schiller's great and good friend. Carefully trained at home as a 
 youth, he studied (1808-1810) under A. G. Werner at Freiberg. 
 Entered the University of Leipzig in 1 8 1 o to study law, was soon 
 dismissed. Came in 1811 to the University of Berlin to study 
 philosophy and history. Went then to Wien, where he associ- 
 ated with Friedrich Schlegel and Wilhelm von Humboldt and 
 was made poet of the Court Theatre in 1812. Became engaged 
 to the actress Toni Adamberger. Followed then the call of Fried- 
 rich Wilhelm III and enlisted as a volunteer, March 19, 1813, 
 at Breslau, joining Llitzow's famous company. Seriously wounded 
 at Kitzen on June 7, 1813. Mortally wounded at Gadebusch. 
 Chivalric as a man, of great promise as a poet, of undaunted 
 courage as a soldier, he reaped the rich reward of the poet- 
 martyr. A man of wonderful productivity. Within fifteen 
 months he finished 6 tragedies, 5 comedies, the librettos of 
 
 [118]
 
 THE SIDE LIGHTS 
 
 several operas, a number of poems. Schiller was his dramatic 
 model, also Kotzebue and Z. Werner. His " Rosamunde," 
 "Toni" (after Kleist's " Verlobung ") and "Zriny" are still 
 performed in Leipzig and Dresden on the anniversaries of 
 his birth and death. His poems have been set to music by 
 K. M. v. Weber, Himmel and Schubert. He died at Gadebusch, 
 August 26, 1813. 
 
 BIBLIOGRAPHY 
 
 3)<x3 rab bei SBobbelin; ober fteobor Corner unb bie Siifcoroer. 
 By Friedrich Brasch, Schwerin, 1861. 300 pp. 
 
 Xfjeobor Corner, ein Seben vtnb feine Sicfytungen. By Adolph Ko- 
 hut, Berlin, 1890. 319 pp. 
 
 Sfjeobor Corner }iim 23. September 1891. By Rudolf Brockhaus, 
 Leipzig, 1891. 197 (quarto) pp. Contains many valuable Korneriana. 
 
 djillerg influf; auf Sheobor Corner. By G. E. Reinhard, 1899. 
 140 pp. 
 
 b,eobor Corner iinb bie einen. By W. Emil Peschel and Eugen 
 Wildenow, Leipzig, 1898. Two handsomely and artistically illustrated 
 volumes. 
 
 Xb/eobor Corner in 2Recflenburg. By Fr. Latendorf, Schwerin, 1890. 
 36 (large) pp. 
 
 $5rner3 SSerfe. Two volumes, Stuttgart, 1848. 
 
 $orner fammtliclje SBerfe. Edited by Hermann Fischer, 4 volumes, 
 Stuttgart (Cotta), no year. Most convenient place to read Kb'rner. 
 
 E)eobor $orner3 jdmmtlidje 2Ber!e. Edited by Karl Streckfuss, with 
 a good biographical sketch by C. A. Tiedge (pp. xxx-lxvii), Berlin, 1861. 
 One volume, 837 closely printed pages. 
 
 Sbeobor $drnen> Xob, ober ba efea^t bei abebufd). By Johann 
 Nepomuk Adolph von Schaden, no place, 1817. This work is a drama, 
 on Kbrner's death, in one act. Such poetizations of poets are common 
 in German literature ; there are over 200 such instances. Goethe, 
 Schiller, Lenz, Kotzebue, W. Schlegel, Novalis, Z. Werner, E. T. A. 
 Hoffmann, Grillparzer, Immermann, Tieck, Hauff, Alexis, Fouque, 
 Waiblinger, Gutzkow, Eichendorff, Raupach, Bettina, Laube, Halm, 
 Griin and Grabbe are the main Romanticists who wrote such works. 
 
 Sffeobor Corner. By Adolf Calmberg, Leipzig (Reclam), no year. 
 A drama in four acts on Korner and his contemporaries. Like the 
 preceding.
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 READING LIST 
 
 1812. Qrint), tragedy in 5 acts, no pp. 
 
 1812. Jtofcununbe, tragedy in 5 acts, 100 pp. 
 
 1812. Zoni, drama in 3 acts, 50 pp. 
 
 1813. >er grime 2)omino, comedy in Alexandrines in i act, 25 pp. 
 1813. er ^adOtnwcfyter, farce in i act, 25 pp. 
 
 1813. S)er better au3 Sremen, play in i act, 25 pp. 
 
 1813. Seter unb djraert, collection of patriotic poems, about 50 pp. 
 
 NIKOLAUS FRANZ NIEMBSCH, EDLER VON STREHLENAU 
 (NIKOLAUS LENAU) 
 
 Born August 13, 1802, at Csatad near Temesvar in Hungary. 
 Of remote Slavonic ancestry, Magyar by birth and early training, 
 German in temperament. " Niembsch " means, it is said, " der 
 Deutsche." Father, dissipated, died in 1807. Mother married 
 (1811) Karl Vogel and moved to Pest. Studied (1811-1816) at 
 the gymnasium of the Piarists in Pest, went then to Tokaj, studied 
 (1821-1831) at the universities of Wien, Pressburg, Altenburg, 
 Heidelberg, this and that without ever getting a firm hold on 
 any one subject. Went (1831) to Schwaben, kindly received by 
 G. Schwab, J. Kerner, K. Mayer. Came to the United States, 
 landed at Baltimore (October 8, 1832). Came with great expec- 
 tations, thoroughly disappointed : landscapes were too wild for 
 him, the American always " had a cigar in his mouth and a plan 
 in his head." Returned to Germany in June, 1833. Went to 
 Schwaben and spent the remainder of his sane days oscillating 
 between Wien and Stuttgart. Fell in love in succession with 
 Charlotte Gmelin, Sofie Lowenthal, Caroline Unger, and Marie 
 Behrends to whom he became engaged. Never married. Be- 
 came insane in 1844 in Stuttgart, was placed in the asylum in 
 Winnenthal (October 22, 1844), removed (1847) to the asylum 
 at Oberdobling near Vienna, where he ended his days in com- 
 plete mental darkness. The greatest lyric writer of Austria, 
 skilled in music, it has been said that his poems remind one
 
 THE SIDE LIGHTS 
 
 of Chopin, unsettled, visionary, reflective, subjective, sensitive, 
 irritable, artistic. His lyrics have a strong epic strain. Irregular 
 as a poet ; some of his poems are felt, others made. Given to 
 florid language and exaggerations. A profound student of nature ; 
 studied nature more than man. Has been compared, by Ana- 
 stasius Griin, to Holty and Byron. He lived Romanticism. 
 One of the most talked of men in his day in Germany. Pre- 
 ferred broad subjects. His " Don Juan " gave Richard Strauss 
 the theme for his tone poem of like name. He said : SDZcinc 
 fiimmtlicrjcn chriften ftnb mctn jammtttd)c3 Seben. Died 
 August 22, 1850. 
 
 BIBLIOGRAPHY 
 
 enait3 iteben. By Anton X. Schurz, 2 volumes, Stuttgart, 1855. 
 Contains many letters. 
 
 Senou in <Sd)roa&en. By Emma Niendorf, Leipzig, 1855. 327 pp. 
 
 $ur SMograpftie Senaug. By L. A. Frankl, Wien, 1885. 144 pp. 
 
 DJicoldllS Senail. By Theodor Opitz, Leipzig, 1850. 51 pp. Critical. 
 
 enau3 ^rauengeftalten. By A. W. Ernst, Stuttgart, 1902. 410 pp. 
 
 Senau al3 9Jaturbid^ter. By Theodor Gesky, Leipzig, 1902. 58 pp. 
 
 Treatment of Nature in the Works of Nikolaus Lenau. By Camillo 
 von Klenze, Chicago, 1903. 83 (large) pp. 
 
 Lenau and Young Germany in America. By Thomas Stockham Baker, 
 Philadelphia, 87 (large) pp. Bibliography for Lenau, pages 28 to 30. 
 
 8enau3 famtUdje SBerfe. Edited by Anastasius Griin, Stuttgart ' 
 (Cotta), no year. The best place to read Lenau. Volume i contains 
 (pp. 1-90) an excellent biographical sketch. 
 
 READING LIST 
 
 1836. 5 au ft> tragic poem, 100 pp. 
 
 1837. aoonarola, narrative poem, 120 pp. 
 1842. 2)ie 2Hbigenfer, narrative poem, 100 pp. 
 
 1844. 2)on %UQ,n, dramatic poem (incomplete), 32 pp. 
 
 1844. ebtd)te, about 500, dating back to 1827. Though Lenau's lyrics 
 have not generally found favor with composers, his poem en- 
 titled SBitte, beginning 2Beil' cmf mir, bu bunfleS 2luge, has 
 been set to music 1 16 times. The composition by Robert Franz 
 is possibly the best. 
 
 [121]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 EDUARD FRIEDRICH MORIKE 
 
 Born September 8, 1804, at Ludwigsburg. Father a physician, 
 mother a daughter of a preacher. Remotely related to Luther. 
 Entered the Latin school of Ludwigsburg in 181 1. Father died 
 in 1817 leaving family under economic pressure. Entered then 
 the gymnasium illustre in Stuttgart ; a weak student. Confirmed 
 in 1818. Attended the Seminary of Urach from 1818 to 1822. 
 Formed here a lifelong friendship with Wilhelm Hartlaub. 
 Wilhelm Waiblinger also became well acquainted with him ; the 
 friendship was broken in 1825. Attended from 1822 to 1826 
 the theological seminary at Tubingen. Associated here with 
 Fr. Th. Vischer and D. Fr. Strauss. A wandering and dis- 
 satisfied preacher from 1827 to 1843. Held vicarial positions 
 at Oberboihingen, Mohringen, Pflummern, Plattenhardt, Owen, 
 Eltingen, Ochsenwang, Weilheim, Oethlingen, Cleversulzbach. 
 Retired from the ministry in 1843. Became engaged to Luise 
 Rau in 1829, broke the engagement in 1833. Mother died in 
 1841. Travelled for his health and was a frequent guest at the 
 Kerner House in Weinsberg, where he met Uhland, Karl Mayer, 
 Strauss and Hermann Kurz. Moved to Schwabisch-Hall in 1 843, 
 to Mergentheim in 1844. Met here Gretchen von Speeth, whom 
 he married November 25, 1851. Went then to Stuttgart and be- 
 came teacher of literature at the atf)arinenfttft. His marriage 
 was not happy ; his wife was a Catholic, he a Protestant. Sepa- 
 rated in 1873 ; reconciled shortly before his death. Received 
 a number of honors late in life: doctorate and professorship 
 from Tubingen, membership in Bavarian and Swabian orders, 
 and a pension. Intimately associated with Moritz von Schwind, 
 Th. Storm, Paul Heyse, Hebbel. Retired from his position in 
 Stuttgart in 1866. Lived then temporarily in Lorch, Niirtingen, 
 Fellbach and Bebenhausen. His life was simple in the extreme. 
 Never physically strong. Translated, edited, drew. Gentle, 
 dreamy, artistic, calm and retiring. One of Germany's greatest 
 lyric writers. His songs have been set to music by Hugo Wolf, 
 
 [ 122]
 
 THE SIDE LIGHTS 
 
 Schumann, Brahms, Franz, Bruch, Eyken, Herzogenberg, Max 
 Reger, Draseke, D'Albert, Kahn, Weingartner and Silcher. It 
 is, however, Hugo Wolf with whose compositions we associate 
 the name of Morike, just as we associate Schubert with Goethe, 
 Schumann with Heine. Influenced by Calderon, Ossian, Shake- 
 speare, Goethe, Novalis, J. Kerner, E. T. A. Hoffmann and Jean 
 Paul, he has at the same time been compared to many poets ; 
 he began to write lyrics when quite young. His poems are not 
 confessions, they are the outpourings of his heart and soul, not 
 of his brain in reflection. As a novelist, we know him now 
 especially by his picture of Mozart, one of the most delightful 
 bits of literature written in the German language, and his longer 
 Siinftlerroman, " Maler Nolten," a work begun early and never 
 finished. Of this novel it has been said : ^n Mintage unb Som> 
 position beriifjrte fid) SKortfe ntit oetfye, in toff unb <Sttl 
 mit bcr Stomantif, in fetnem d)arafteriftifd)en efjalt aber ttiar 
 SRaler 9Mten be S5td)ter Dotted Gngentum. Though not 
 formally connected with the Romantic movement, he was one 
 the most Romantic of poets. His withdrawal from the world 
 was not a pose, he wanted to be alone with his grief and his joy. 
 His kindly attitude is shown by his championing the cause of 
 the mystic beauty, Clara Maria Meyer, so long as it was prudent. 
 He died at Stuttgart, June 4, 1875. 
 
 BIBLIOGRAPHY 
 
 2JZ6rtfe 2Cerfe. Edited by August Leffson, 4 parts in z volumes, 
 Berlin (Bong), no year (recent). ^Contains good general and special 
 introductions. 
 
 buarb 3JZ6rife^ Seben unb SBerfe. By Karl Fischer, Berlin, 1901. 
 241 (large) pp. Illustrated. 
 
 buarb 3JJ6rife. By Walther Eggert-Windegg, Stuttgart, 1904. 
 105 pp. 
 
 dbuarb 2K6rife in @d)rod6ijc^=aU unb 2Hergentf)etm (1843-1847) nad) 
 neuen 2>ofumenten bargeftellt. By Walther Eggert-Windegg. In Eu- 
 phorion, Volume 14, pages 595-611 and 764-778.
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 3K5ri!e unb oetfie ; eine nterarifdje tubie. By Heinrich Ilgenstein, 
 Berlin, 1905. 143 pp. The second edition. 
 
 buurb 2ftori!e al3 elegenfjeitibitfjter.. By Rudolf Krauss, Stuttgart, 
 1895. IJ 8 PP- 
 
 2)eutf(f)e tteraturgefd)id[)te. By Alfred Biese, Miinchen, 1912. Vol- 
 ume 2, pages 649-677. An excellent study of Morike. 
 
 efammelte cfjnften x>on buarb 2J{orife. Four volumes, Leipzig, 
 1897-1902. Vol. i contains the 6th edition of the first half of " Maler 
 Nolten," Vol. 2 the 5th edition of the second half, Vol. 3 the 6th edition 
 of his novelettes, Vol. 4 the i6th edition of his poems. 
 
 2)u 6ift Drplib mein Sartb. 2lu3geroaf)lte ebid)te unb (Srjafjlungen. 
 Edited by Will Vesper, Dusseldorf, no year (recent). 296 pp. Illustrated. 
 
 buarb 3Worife. 3n>ei ftagmentarifdfjc ^3rofabirf)tungen aus> betn 3lafys 
 Ia^. Edited by Harry Maync. In Enphorion, Volume 9, pages 699-707 ; 
 and Volume 10, pages 180-193. 
 
 buarb 2ftortfe. @ein Seben unb Std^ten. By Harry Maync, Stutt- 
 gart, 1913. 443 pp. 
 
 READING LIST 
 
 1832. SJJalet 9Zolten, novel, 650 pages. Revised from 1854 to 1875. 
 Completed by Julius Klaiber in 1876. >e3 reicfyen 2ieberfom= 
 nterS le^te 3tofe, erbliif)enb tm gebeimften 2al con cfyroaben. 
 Theodor Mommsen. 
 
 1836. er @d)a^, short story, no pp. 
 
 1838. ebtdjte. Morike first began to publish poems in the Morgenblatt of 
 
 1828. This edition contained 143 poems, that of 1848 contained 
 187, that of 1856 contained 200, that of 1867 contained 226. 
 
 1839. Sucie elmerotf), short story, 30 pp. 
 
 1852. 3)a3 tuttgarter SQii^elmannlein, fairy tale, 141 pp. 
 1856. 2JJojart auf ber 9Jeife nadfj $rag, short story, 105 pp. 
 
 WILHELM MULLER 
 
 Born October 7, 1794, at Dessau; son of a master-tailor. 
 Attended the gymnasium of Dessau, entered in 1812 the Uni- 
 versity of Berlin, studied under F. A. Wolf, Boeckh, and Solger. 
 Entered the army as a volunteer in 1813, returned to Berlin in 
 1814 and took up the study of Old German literature. Fell in 
 
 [124]
 
 THE SIDE LIGHTS 
 
 love with Luise Hensel. Started in 1817 on a journey to Egypt, 
 but got no farther than Rome. Returned to Berlin in 1819, be- 
 came a teacher of ancient languages at the gymnasium of Des- 
 sau in 1820, later librarian at the ducal library. Married in 1821 
 a granddaughter of Basedow. Travelled Weimar, Dresden, 
 Wiirttemberg. Father of Max M tiller. Personally acquainted 
 with Arnim, Brentano, the Grimms, Fouque, Tieck, Loeben, 
 Malsburg, Goethe, Schwab, Uhland and Kemer. Like Holder- 
 lin, Waiblinger, Schwab, Chamisso, Luise Brachmann and King 
 Ludwig of Bavaria, he was a great admirer of Greece. His 
 songs are pure, fresh, human, clear, melodic, German. Often 
 set to music, especially by Franz Schubert. The traditional 
 classification of his songs is 90?iil(erlteber, 2Btnterlieber, 8cinb= 
 lic|e Steber, afellieber, rtccf)en(ieber. Influenced by Goethe, 
 Uhland, Eichendorff and the German $olflieb. Concerned 
 himself with English literature. Editor of some importance, and 
 wrote on historical subjects and the " Nibelungenlied." He wrote 
 300 epigrams. Died October i, 1827. 
 
 BIBLIOGRAPHY 
 
 33ermtfcf)te djriften con JBilfjelm 2JZiilIer. Edited with biographical 
 introduction by Gustav Schwab, Leipzig, 1830. Five (small) volumes. 
 
 Wilhelm Miiller and the German Volkslied. By Philip Schuyler 
 Allen, Chicago, 1901. 159 pp. 
 
 SBUfielm SWiiller. <Sein 2eben unb Sidjten. By Bruno Hake, Berlin, 
 1908. 59 pp. (Teildruck.) 
 
 Xte $funftan[d)cuwng JBilfjelm 2J?iilIer. By Alloys Joseph Becker, 
 Leipzig, 1908. 89 pp. 
 
 READING LIST 
 
 1827. ebidjte Don 2Bilf)elm 2JZulIer. Complete critical edition, edited 
 with introduction and notes by James Taft Hatfield, Berlin, 
 1906. 444 pages of poems. Best place to read Miiller's poems.
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 JOHANN NEPOMUK EDUARD AMBROSIUS NESTROY 
 
 Born December 7, 1801, at Wien. Came of good parentage 
 and was well educated till his twentieth year, when he went on 
 the stage. He played and wrote plays the rest of his life. Acted 
 and sang in Amsterdam, Briinn and Graz. Engaged at the 
 Theater an der Wien from 1831 to 1845. He went then to the 
 Leopoldstadtertheater, which he himself conducted from 1854 to 
 1860. Achieved great success as a comedian and writer of 
 comedies, farces and parodies. His success proved the undoing 
 of his contemporary and fellow-patriot Raimund. His unwritten 
 motto was, " Everything is admissible that is not found out." 
 By incorporating this idea in his plays, by laughing at every- 
 thing, even crime, he lowered the ethical standard of Wien. 
 Twice married, first unhappily and then illegally. His plays 
 typical of the Viennese spirit. Had no connection with the 
 Romantic movement; parodied in a negative way Raimund's 
 positive, popular, optimistic Romanticism. Wrote 67 pieces. 
 Died at Graz, May 25, 1862. 
 
 BIBLIOGRAPHY 
 
 9teftrot)<3 2Berfe. Edited by Otto Rommel, two volumes in one, Ber- 
 lin (Bong), no year (recent). The best edition. Biographical introduc- 
 tion, pages i to Ixxxvii. Contains separate introductions to the individual 
 works. 
 
 2lu3 JJeftron. Sine Heine rinnerungsigabe. By L. Rosner, Wien, no 
 year. 58 pp. Contains a number of Nestroy's sayings. 
 
 READING LIST 
 
 1833. er &ofe eift SuntpacitxxgabunbuS ober ba3 lieberltd)e 5Hee6latt, 
 fairy extravaganza with songs, 40 pp. 
 
 1841. 3)d3 -JRdbl au3 ber SSorftabt, farce in three acts, 70 pp. 
 
 1842. (Sinen !3ur. if ill er fid) madjen, farce with song in four acts, 71 pp. 
 1848. greifjeit in $riif)roinfel, farce with song in two parts, (i) S)ie 3ie> 
 
 t)olution, (2) >ie Steaftion, 67 pp. 
 
 [126]
 
 THE SIDE LIGHTS 
 
 KARL AUGUST GEORG MAX, GRAF VON 
 PLATEN-HALLERMUNDE 
 
 Born October 24, 1796, at Ansbach. Father a Prussian 
 forester, mother daughter of a court marshal at Ansbach. 
 Family belonged to the poor nobility. Entered the cadet corps 
 at Miinchen in September, 1806, became a page in 1810 and as 
 such acquired a good general education, especially in languages. 
 Became a lieutenant in the private regiment of King Maximilian 
 in 1814, and after Napoleon's flight from Elba in 1815 he fol- 
 lowed his regiment to the field, but saw no actual fighting. 
 Visited Switzerland in 1816 and 1817. Entered the University 
 of Wiirzburg in 1817 to study natural sciences, the University 
 of Erlangen in 1818, where he became an enthusiastic disciple of 
 Schelling. Remained in Erlangen until 1826, made journeys to 
 various parts of Germany and Italy, met at various times Jakob 
 Grimm, Goethe, Uhland, Riickert. Lived most of the time from 
 1826 till his death in Italy. Pensioned by the Bavarian king and 
 made a member of the Bavarian Academy of Sciences. Of a 
 noble nature, had only one brief love affair, awkward in his 
 habits, paid little attention to titles, an opponent after 1826 of 
 Romanticism ; the author of some stirring ballads, the Winkelried 
 of poetry, he can never become popular because of the cold 
 dignity and severe polish of his verses. Skilled in the employ- 
 ment of Oriental verse and strophe forms, like Riickert. At- 
 tacked Immermann and was attacked by Heine. Kept a diary 
 from 1813 till a few days before his death. Made a mistake in 
 trying to satirize modern conditions in classical language. Died 
 at Syracuse, December 5, 1835. 
 
 BIBLIOGRAPHY 
 
 2luguft raf mm platens famtlidje 2Berfe. Critically edited by Max 
 Koch and Erich Petzet, 12 volumes in 4, Leipzig (Hesse), no year. 
 Contains biographical introduction, notes, pictures of Platen, facsimiles 
 and special introductions.
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 famttirfje 2Berfe. Edited by Karl Goedeke, 4 volumes, 
 Stuttgart (Cotta), no year. 
 
 platens bramatifc^er 9Jatf)las. Edited by Erich Petzet, Berlin, 1902. 
 Introduction, pages i-xcvii ; Jiacfylafc, pages 1-189. 
 
 3luguft raf o. platen. @in 33ilb feineg geiftigen @ntnnc!elungggan=> 
 geg unb feineg bicfyterifcfyen tfjaffeng. By Rudolf Schlosser, MUnchen, 
 1910. A monumental work. Volume I covers the period from 1796 to 
 1826 and consists of 765 large pages. Volume II (1913) consists of 572 
 pages, including index. 
 
 platen gorfcfyungen. By Albert Fries, Berlin, 1903. 126 pp. 
 
 platens 2itteratur=$omobien. By Oskar Greulich, Luzern, 1901. 
 132 pp. 
 
 Patent romantifcfje omobien, if)re $ompo[ttion, DueUen unb SBor= 
 bilber. By Carl Heinze, Marburg, 1897. 67 pp. 
 
 Patent tellung in ber ntroicfelung ber beutfcfjen 9totionaHitteratur. 
 By Johannes Marbach, Weimar, 1856. In Weimarisches Jahrbuch fur 
 deutsche Sprache, Litteratur iind Kunst, Volume 4, pages 4364. 
 
 2)eutjd)e Sf)araltere. By Rich. M. Meyer, Berlin, 1897. Platen, pages 
 128-138. 
 
 tubten ju ^lateng Sallaben. By H. E. K. Stockhausen, Berlin, 
 1899. 62 pp. 
 
 platen in feinem 3Serf)dltnig ju oet^e. By Rudolf linger, Berlin, 
 1903. 190 pp. 
 
 efammelte 2luffafce. By Franz Kern, Berlin, 1895. Platen, pages 
 164-185. 
 
 tubien jit rof platens ajelen. By Hubert Tschersig, Leipzig, 
 1907. 47 pp. 
 
 ^Platens 3iac^bilbungen au3 bem Siroan beg afi^. By Friedrich 
 Veit, Berlin, 1908. 224 pp. 
 
 Patent politifd^e 2lnfa^auungen in ityrer. (SntroidEelung. By Heinrich 
 Renck, MUnchen, 1907. 52 pp. 
 
 2>ie Sagebiicljer. be rafen 21. n. platen, aug ber ^anbfa^rift beg 
 2)idE)terg. Edited by G. v. Laubmann and L. v. Scheffler, Stuttgart. Two 
 volumes, 1896 and 1900. One of the most important diaries written in 
 German. 
 
 READING LIST 
 
 1823. 35er gltiferne ^cmtoffel, heroic comedy in 5 acts, 75 pp. 
 1824... 2)er @cf)a beg Slljampfinit, comedy in 5 acts, 65 pp. 
 1826. 2)ie DerljangnigDolle abel, comedy in 5 acts, 85 pp. 
 1829. 2)er romantifdje Debipng, comedy in 5 acts, 85 pp. 
 
 [128]
 
 THE SIDE LIGHTS 
 
 1835. ebtcf)te. Platen began to publish poems as early as 1817. He 
 tried many different forms successfully. He wrote odes, bal- 
 lads, romances, epic poems, poetic epigrams, Persian ghazals, 
 and so on. His poems have been set to music rarely; Lowe, 
 Brahms and Kahn are the only composers of any importance 
 who have written music for his rigid verses. 
 
 FERDINAND RAIMUND 
 
 Born June i, 1790, at Mariahilf, a suburb of Wien. Poorly 
 educated. Placed as an apprentice in a candy and cake store 
 that supplied the Burgtheater with refreshments ; in this way 
 "introduced" to the theatre. Became an actor in 1808 and 
 spent his life playing and writing plays. Engaged in 1813 at 
 the Josef stadtertheater in Vienna, 1817 at the Leopoldstadter- 
 theater. Played guest roles in the leading theatres of Miinchen, 
 Hamburg and Berlin in 1830, 1832, 1835, 1836, with great suc- 
 cess. Always wanted to become a tragedian and to write trage- 
 dies; spent his life playing comic roles and writing comedies. 
 Frequently employed allegory. Married unhappily in 1820. 
 Had no personal connection with the Romantic movement. 
 Pictured the better side of people in his plays. The opposite 
 of Nestroy in some ways, of whose success he was extremely 
 jealous. Has been called the <2d)iller ber Sofalftiicfe. Took his 
 life at Pottenstein, September 5, 1836. 
 
 BIBLIOGRAPHY 
 
 ^erbtnanb 9taimunb fammtlidfje SBerfe. Edited by Carl Glossy and 
 August Sauer, Wien, 1881. Three volumes. 
 
 efammelte Sieben unb Stuff a|e. By August Sauer, Wien, 1903. 
 400 pp. Raimund, pages 231-274. 
 
 3m Sflf^unbert riUparjer^. By Adam Miiller-Guttenbrunn, Wien, 
 1893. 233 pp. Raimund, pages 97-116. 
 
 9iaimunb 3Berfe. One volume in 3 parts, edited with biographical 
 introduction and special introductions to the separate works by Rudolf 
 Fiirst, Berlin, no year (recent). 
 
 [I2 9 ]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 READING LIST 
 
 1824. Set iamant be3 eifterfonigS, dramatic extravaganza, no pp. 
 
 1826. 2)er Sailer a!3 SJMUionar, Romantic fairy drama, 100 pp. 
 
 1828. 2>er SHpenfonig unb ber 3Wenfrf)enfeinb, Romantic fairy drama, 
 
 240 pp. 
 1834. Set SSerfrfjroenber, fairy drama, 155 pp. (His best work.) 
 
 JOHANN MICHAEL FRIEDRICH RUCKERT 
 
 Born May 16, 1788, at Schweinfurt am Main ; his father was 
 a lawyer. He spent a happy childhood at Oberlauringen from 
 1792 to 1802. Studied at the gymnasium of Schweinfurt from 
 1802 to 1805. Entered the University of Wtirzburg in 1805 
 to study law, but soon took up philology. Studied then at 
 Heidelberg, Gottingen and Jena ; from Jena he received the 
 privilegium legendi on March 30, 1811. He left Jena after two 
 semesters and became a professor at the gymnasium of Hanau ; 
 left here at the end of the first year and went to Wiirzburg. Ill 
 health prevented his participation in the campaigns against 
 Napoleon in 1812 and 1813. Editor of the Cotta Morgenblatt 
 in Stuttgart from 1815 to 1817. Went on a journey then through 
 Switzerland ; went to Rome, associated with the Romantic artists 
 then living there. In 1818 he went to Vienna, where he studied 
 Arabic, Turkish and Persian under Hammer-Purgstall. Returned 
 home and married (Dec. 26, 1821) Luise Wiethaus- Fischer. His 
 domestic life was extremely happy. At the suggestion of King 
 Ludwig of Bavaria he was appointed professor extraordinary of 
 Oriental languages at the University of Erlangen in 1826, where 
 he remained until 1841, when Friedrich Wilhelm IV called him 
 to the University of Berlin in a similar capacity. Berlin had but 
 little attraction for him as a place in which to live. He lectured 
 during the winter semesters and lived at Koburg in the sum- 
 -mer. In 1848 he left Berlin entirely and retired to Koburg. 
 His seventy-fifth birthday was solemnly celebrated throughout 
 
 [130]
 
 THE SIDE LIGHTS 
 
 Germany. Only a scholar and lyric writer ; as a lyric poet, he is 
 quantitatively Germany's greatest. No other German ever wrote 
 so many poems on such a wide range of topics. He wrote too 
 much and filed too little, so that, though some of his poems are 
 the most beautiful in the German language, others are ragged. 
 He poetized anything, and, like Herder, looked upon poetry as 
 a universal affair. Though he poetized the life of the child and 
 the home, he has never become a popular poet; yet his lyrics 
 have found favor with Robert and Clara Schumann, Schubert, 
 Radecke and Brahms. He wrote much on events of the day. 
 The War of Liberation inspired nothing superior to his ef)ar= 
 nifdjte Sonette. A foe of sentimentality and bombast, he was 
 nevertheless a friend of Jean Paul, as he was also of Fouque 
 and G. Schwab, and had great influence on Platen. He used 
 more forms in his lyrics than did Tieck or the Schlegels or 
 Eichendorff or Uhland ; he was wiser than Novalis or Holderlin. 
 The two things that connect him most immediately with Roman- 
 ticism are the verse and strophe forms he made popular, or in- 
 troduced, and the number of languages he knew. In this respect, 
 he was the visible embodiment of the aims and ideals of the 
 older Romanticists. He used the sonnet, terza rima, Ottawa 
 rima, ritornello, siciltana, tenzone, ghazal, rubai, sloka, makamah, 
 and other odd forms. As to his linguistic knowledge, Fr. Kummer 
 says: r ttwr nidjt nur be riednfdjen, Sateinifcfyen, ber 
 mobernen unb f(at>ifd)en @prad)en SKeifter, fonbern er fjatte 
 fid) aud) be ^Serfifdjen berart bemadjttgt, baft er perfifd) btd)ten 
 fonnte ; er fang bie Sieber ber 9traber nad) unb beroaltigte ba 
 @anfrit, bie fjeilige (prad)e ber ^nber, bci5u befyerrfdite er 
 nodi) ba urbifd)e, 9lrmenifd)e, 9lfg^anifd)e, bie <Sprad>e ber 
 3enbaPefta, ba SDMaifdje, iirfifdje unb optifd)e, bie 33erber= 
 fprad)e, ba3 5ttbanifd)e, 8ittauifd)e unb ginnifdje, enblid) ba 
 S^rifc^e, G^atbaifd)e unb ebraifd)e. Yet with all this he was a 
 genuine German of Franconian blood. One can most reasonably 
 say that with his death Romanticism as a movement was over. 
 He died at Koburg, January 31, 1866. 
 
 [131]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 BIBLIOGRAPHY 
 
 $riebrtcf) 9tucf ertg eben unb 2)idv)tungen. By Conrad Beyer, Koburg, 
 
 1866. 302 pp. 
 
 $riebridE) Stiidert. in 33iograpf)ifdje3 Senfmal. By Conrad Beyer, 
 Frankfurt am Main, 1868. 471 pp. 
 
 . griebritf) SJiidert unb feine SBerfe. By A. R. K. Fortlage, Frankfurt 
 am Main, 1867. 182 pp. 
 
 SDidjter, ^atriardf) unb fitter. 2Ba&,rl)eit ju 9tiidEert >id)tung. By 
 Karl Kiihner, Frankfurt am Main, 1869. 208 pp. 
 
 ^riebridj StiicEert. in beutfdjer Sifter. By Paul Mobius, Leipzig, 
 
 1867. 16 pp. 
 
 $riebrttf) 31ucfert in rlangen. By Friedrich Reuter, Altona, 1888. 
 
 63 pp- 
 
 griebriti) StiicEert unb jeine Sebeutung al ^ugenbbid^ter. By Eugen 
 Herford, Thorn, 1893. Pages 33 to 52. (In a ^rogramm.) 
 
 ^riebrid) S^iidfert al^ Sgrifer. By J. E. Braun, Siegen, 1844. 116 pp. 
 
 griebrid) 3iiidertg ebanlenlijril nad) ifjrem p^ilofop^ifdjen 3nf)alte 
 bargeftellt. By L. G. Voigt, Annaberg, 1897. no pp. 
 
 3u 3ii'tdEert SSergf unft. By Ernst Symons, Berlin, 1876. 31 (quarto) pp. 
 
 9ieue 9Jlittf)eiIungen iifier griebrid) Stiidfert. By Conrad Beyer, Leip- 
 zig. 1873. S3 2 PP- 
 
 5Riid ! ert=3 l lad)lefe. Published by Leopold Hirschberg, ^Weimar, 1911. 
 Two volumes in the series of the " Gesellschaft der Bibliophilen," well 
 printed and annotated. 
 
 rlduterungen ju ^riebrid) 3lMert ebid)ten in 2lu^n>a^l. By Georg 
 Funk, Leipzig, 1907. 220 pp. 
 
 3lucfert=<Stubien. By Robert Boxberger, Gotha, 1878. 315 pp. 
 
 ^riebrid^ 3Juclert SBerle. Edited by Ludwig Laistner, 6 volumes, 
 Stuttgart (Cotta), no year (1895). The most convenient place to read 
 Riickert. 
 
 j^riebrid) 3tiicfert poetifd)e SCBerfe. Twelve volumes in 10 parts, Frank- 
 furt am Main, 1882. Uncritical but fairly complete. Contains Riickert's 
 dramatic poems. Impressive as a collection of poems by one poet. 
 
 READING LIST 
 
 1813. $unf SDtarlein, popular poems for children, 14 pp. 
 
 1814. 2)eutfd)e ebidjte Don ^reimunb 3?aimar (Riickert's pseudonym), 
 
 includes the " Geharnischte Sonette," about 100 pp. 
 1834. Siebe^frii^Ung, about 300 pp. 
 
 [132]
 
 THE SIDE LIGHTS 
 
 1837. 2Jtafatnen beg jQariri, about 300 pp. 
 
 1839. 2Beisf)eit beg SBrafymcmen, about 600 pp., Cotta, Volumes 5 and 6. 
 Riickert wrote also dramas entitled " Napoleon," " Saul und 
 David," " Herodes der Grosse," " Heinrich IV " and " Christo- 
 fero Colombo." But these are only dramatic " poems." All of 
 his works are poems. He wrote poems for over 50 years. 
 
 GOTTLOB FERDINAND MAXIMILIAN GOTTFRIED 
 SCHENK VON SCHENKENDORF 
 
 Born December n, 1783, at Tilsit. Father a military official, 
 mother daughter of a preacher. Entered the University of 
 Konigsberg in 1798, left, however, soon after and studied 
 under a country vicar; returned to Konigsberg in 1804, then 
 studied farming at Waldau and returned to Konigsberg after 
 passing his state examination in 1806. Associated with Frau von 
 Kriidener, who had some influence on him by way of increasing 
 his mystic tendencies, and Jung-Stilling. Moved to Karlsruhe, 
 where he married in 1812. Was present at the battle of Leipzig, 
 could not take active part, however, since he had previously lost 
 the use of his right hand in a pistol duel. Was made government 
 councillor at Coblenz in 1815. Published (1807) at Konigsberg 
 with Ferdinand von Schrotter 2)ie 58efta, on which Fichte, 
 Arnim and J. D. Gries also worked. Resembles Arndt and 
 Korner, but is deeper, truer, more poetic, more fanciful than 
 they. Strove always for a united Germany. One people, one 
 empire, one language, one God was his slogan. Connected 
 with Romanticism by his mediaeval visions, his mysticism, his 
 amalgamation of religion and patriotism. Died at Coblenz, 
 December n, 1817. 
 
 BIBLIOGRAPHY 
 
 3Jtor. con djenfenborfg Se&en, 2)enfcn unb Sicfjten. By E. A. Hagen, 
 Berlin, 1863. 251 pp. 
 
 Gin Seitrag ju einer SMograpfyie 2JJar Don cfjenfenborfg. By Alex- 
 ander Drescher, Mainz, 1888. 35 (large) pp. 
 
 [133]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 9teue SBettrage gu 2Jtar. con @d&enfenborf Se&en, SDenfen unb Sid&ten. 
 By Paul Czygan, in Euphorion, 1906, pages 787-804; 1907, pages 
 84-101, 338-349, 577-5 8 7- 
 
 $u 'SHai con djenfenborfg ebtdjten. By Robert Sprenger, in 
 Zeitschrift fur deutsche Philologie, 1904, pages 236-244. 
 
 ajlaj oon <Sdjenfenborf3 jantmtlid^e ebid^te. First complete edition, 
 Berlin, 1837. 394 pp. 
 
 READING LIST 
 
 1817. ebttfjte oon 2JJar. oon rfjenlenborf. Halle, no year. 232 pp. 
 Contains a brief biographical sketch and scanty notes. Poems 
 are carefully divided into four chronological periods : Konigs- 
 berg, 1806-12 ; Karlsruhe, 1813 ; Karlsruhe, Aachen, 1814-15; 
 Coblenz, 1815-17. Contains also a number of poems on 
 Schenkendorf by Arndt, Fouque, Friedlander, and Eberhard 
 von Groote. Of Schenkendorf's poems, the following ten are 
 the best known : 2ftutterfpratf)e ; in artner ge&t im arten ; 
 Set anbtoirt oon "pajjener; 3 fltngt ein fjeller lang; ^icei* 
 ^eit, bte id^ meine; 3" oem railben ^rtegegtanje ; ^laget md)t, 
 ba^ id9 gefallen; 3Benn alle untreu roerben; 2Cie mir beine 
 Reuben roinlen ; S bie 5 erne tnod^t' id) jief)en. 
 
 ERNST KONRAD FRIEDRICH SCHULZE 
 
 Born March 22, 1789, at Celle in Hannover. Entered the 
 University of Gottingen in 1806 to study theology, but soon 
 turned to philology and found a worthy patron in Bouterwek. 
 Fell in love with Cacilie Tychsen, after whom he titled his epic. 
 She died in 1812, and he became a volunteer (1813) in a 
 Hannoverian regiment and fought against Davoust in Hamburg. 
 Returned to Gottingen, made a tour along the Rhine in 1816. 
 Taking his cue from' Novalis's " Ofterdingen," Schulze repre- 
 sented a sort of compromise between Wieland and the Romanti- 
 cists ; he called himself an opponent of the false Romanticists. 
 He was the favorite poet of women from 1815 to 1840. His 
 poetry is smooth and rhythmical in form without having sub- 
 stantial and interesting content. He died at Celle, June 26, 1817. 
 
 [134]
 
 THE SIDE LIGHTS 
 
 BIBLIOGRAPHY 
 
 dmmtlic^e poetise SBerfe Don rnft djulje. Edited by F. Bouter- 
 wek, Leipzig, 1822. Four volumes in 2 parts. Biographical introduction 
 in Volume i, pages i to xviii. 
 
 rnft djuIjeS Sejcwfcerte SRofe. By Adalbert Silbermann, Berlin, 
 1902. 50 pp. 
 
 READING LIST 
 
 1818. Gdctlie, romantic epic in 20 cantos, 724 pp. 
 1818. 2)ie feejauberte 9fofe, romantic poem in 3 cantos (prize poem), 
 84 pp. 
 
 GUSTAV BENJAMIN SCHWAB 
 
 Born June 19, 1792, at Stuttgart, son of a professor at the 
 Karlsschule. Studied (1809-1814) philosophy, philology and 
 theology at the University of Tubingen. Travelled (1815-1817) 
 through Germany and met practically all the men of letters 
 of his time. Married in 1818. Professor at the gymnasium of 
 Stuttgart from 1820 to 1837. Became then a pastor at Goma- 
 ringen near Tubingen. Visited Switzerland and Scandinavia. 
 Received various titles, among others doctor of theology from 
 Tubingen. A disciple of Uhland and one of Uhland's greatest 
 admirers. An uncommonly active man : preacher, teacher, poet, 
 translator, investigator, critic, editor. A lyric writer of mediocre 
 ability ; more rhetorical than fanciful. Helped other poets, 
 especially Wilhelm Miiller and Hauff. His best work was done 
 with Chamisso as editor of the Deutscher Musenalmanach 
 (1833-1838). His " Schillers Leben" (1840) has been super- 
 seded without being forgotten. His collection of " Deutsche 
 Lieder und Gedichte von A. v. Haller bis auf die neueste Zeit " 
 (1840) is still instructive. His anthology of " Deutsche Prosa 
 von Mosheim bis auf unsere Tage" (1843) i g s ^ a useful 
 manual. His " Deutsche Volksbiicher " (1847), in which he re- 
 tells the fifteen most important old German stories, " Genoveva," 
 " Heymons Kinder," etc., is still readable. Died at Stuttgart, 
 November 4, 1850. 
 
 [135]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 BIBLIOGRAPHY 
 
 uftao <Scf)tt)a6. @etn ^eben unb SBtrfen. By Karl Klupfel, Leipzig, 
 1858. 399 pp. Contains a complete list of Schwab's writings, literary 
 and scientific, and an excellent index of names. Indispensable for a 
 study of Schwab. 
 
 3ur rinnerung an uftao tfjroab. (1792-1892). Stuttgart, 1892. 
 J2 (quarto) pp. Contains poems, addresses and so on. 
 
 READING LIST 
 
 1850. QhtftciD @cf)n)a&3 ebtdjte. Edited by Gotthold Klee, Giitersloh, 
 1882. 452 pp. Biographical introduction, pages i to 57. The 
 best place to read Schwab's poems. Some of his best known 
 poems are 2)er better unb ber Sobenfee; SHeb eine3 abjief)en= 
 ben 33urfd)en; 2ln ber Quelle. 
 
 ALBERT (ADALBERT) STIFTER 
 
 Born October 23, 1805, at Oberplan in the Bohemian Forest. 
 Father, a weaver, fond of reading, died in 1817. Entered the 
 gymnasium of Kremsmiinster in 1818, the University of Wien 
 in 1826. Studied law, art, philosophy and natural sciences and 
 supported himself by giving private lessons. Passed in 1830 the 
 written examination for teaching but was too timid to attempt 
 the oral test. Married (1837) Amalie Mohaupt. Famous from 
 1840 on as a narrator. Moved to Linz in 1848, became inspector 
 of schools in 1849. Received the medal for art and science in 
 1850 and was made a member of the Franz Joseph Order in 
 1854. Became a sort of recluse in his later years. His marriage 
 was childless but happy. The war of 1866 disturbed him greatly. 
 Related to Romanticism by his detailed description of nature 
 and his Catholicism. The poet par excellence of the Bohemian 
 Forest. Learned from Jean Paul and E. T. A. Hoffmann, and was 
 admired and studied by Storm, Raabe, Saar, Ebner-Eschenbach 
 and Nietzsche. Died at Linz, January 28, 1868. 
 
 [136]
 
 THE SIDE LIGHTS 
 
 BIBLIOGRAPHY 
 
 Stbalbert tifter; ein SBUb be3 2>idE)ter3. By Immanuel Weitbrecht, 
 Leipzig, 1887. 21 pp. 
 
 3roei Sifter DfterreidjS, 5 ran S riHparser, SHbalbert tifter. By 
 Emil Kuh, Pest, 1872. 516 pp. 
 
 tubien ju 2lbalbert tifterS 9>iot>enented)nif. By Ernst Bertram, 
 Dortmund, 1907. 160 pp. Contains bibliography of 21 titles. 
 
 3ur fprad&lidjen Zefynit ber Dtooellen Slbalbert tifterS. By Ernst 
 Bertram, Bonn, 1907. 66 pp. 
 
 in Seitrag ju Slbalbert tifterS til. By Franz HUller, 1909. In 
 Euphorion, Volume 16, pages 136-147 and 460-471. 
 
 Slbalbert tifterS augerodf)Ite 2Berfe. Edited by Rudolf Furst, 6 vol- 
 umes in 2, Leipzig (Hesse), no year. Biographical introduction in Vol- 
 ume i, pages 1-lv. The best abridged edition; contains his main works, 
 except " Der Nachsommer " (1857). 
 
 tubien oon 3lbalbert lifter. Edited by Stifter, numerous excellent 
 illustrations by Franz Hein und Fr. Kallmorgen, Leipzig, 1905 (jd ed.), 
 3 (large) volumes. Contains 13 of Stifter's stories. 
 
 2lbttlbert tifter. By Alois Raimund Hein, Leipzig (Reclam), no year 
 (1912). 119 pp. Volume 16 in the series of " Dichterbiographien." 
 Contains a picture of Stifter and a good index of names and themes. 
 
 READING LIST 
 
 \ 1840. a3 Jpeibeborf, narrative, 53 pp. 
 1844. 2)er SOBalbfteig, narrative, 58 pp. 
 
 1844. 2lu3 bem alten 2Bien. 2lit3 bem Sanrifdjen SBalbc, poetized remi- 
 niscences in prose, 175 pp. 
 1847. Set SBalbganger, story in prose, 82 pp. 
 
 WILHELM FRIEDRICH WAIBLINGER 
 
 Born November 21, 1804, at Heilbronn, son of a provincial 
 governor. Entered (1819) the gymnasium of Stuttgart, where 
 Schwab was his teacher; the University of Tubingen (1821), 
 where he became acquainted with Holderlin. Morike could 
 not endure him because of his sophomoric tendencies. His jour- 
 neys to Italy did not bring him the desired betterment from the 
 
 [137]
 
 J 
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 point of view of literary restraint. Personally acquainted with 
 Dannecker, Haug, the Boisserees, Ludwig Bauer and Matthisson. 
 Influenced Morike, was influenced by Holderlin and imitated 
 Byron. Lived a wild sort of life, was very vain, is now possibly 
 less read than any other Romanticist. He died in Rome, 
 anuary 17, 1830. 
 
 BIBLIOGRAPHY 
 
 SBiHjdm 2Baifclinger3 gefamntelte SBerfe. Edited by H. v. Canitz, 
 9 volumes in 3, Hamburg, 1839-1840. Waiblinger's life is found in 
 Volume i, pages i to 171. Hebbel reviewed this edition. Morike 
 brought out a revised edition of his poems in 1844, Eduard Grisebach 
 has also published selections from his works, and " Die Briten in Rom " 
 can be had in a Reclam edition. 
 
 SBUfyelm SBatbltnger. @ein Seben vtnb fcine SBerfe. By Karl Frey, 
 Aarau, 1904. 153 pp. 
 
 Seitrtige jur ttter.aturgefdE)trf)te <Scf)roaben3. By Hermann Fischer, 
 Tubingen, 1891. Volume i, pages 148-179. 
 
 READING LIST 
 
 1826. )ret Xage in ber Unterroelt, satire in prose on the Romanticists, 
 
 75 PP- 
 
 1829. 2lnna Sullen, 6nigin von nglanb, tragedy in 5 acts, 178 pp. 
 
 1830. ebtd^te, dating back, 298 pp. Volume 7 of his complete works. 
 
 Very few of his poems are now read. It is difficult to secure a 
 copy of his novel " Phaeton " (1823), which was strongly influ- 
 enced by Holderlin. He also wrote " Friedrich Holderlins 
 Leben, Dichtung und Wahnsinn," " Wanderungen in Italien," 
 " Das Marchen von der blauen Grotte." 
 
 [138]
 
 SECTION IX 
 
 THE WRITERS OF YOUNG GERMANY 
 
 From I766_to 1866 intellectuality was fm fhp rrpnf of 
 the wave in Germany. During such an age it frequently 
 happens that men of thought and reason, men of imagi- 
 nation and fancy, become dissatisfied with the world as it 
 is^because it does not correspond to the particular ideals 
 which they themsplv^g hr* vp gpt up. And when this hap- 
 pens these same men, or their younger brothers, fre- 
 quently become, in course of time, dissatisfied with the 
 ideals that have been set up because there is no world for 
 their ideals to correspond to. It was partly the first situa- 
 tion that gave rise to German Romanticism ; it was largely 
 the second that gave rise to the movement known as 
 "Young Germany." By 1830 Romanticism as a move- 
 ment had about stagnated, while its immediate and im- 
 patient and refractory heirs, the poets of Young Germany, 
 were just beginning their campaign. 
 
 The -Romanticists had sought their ideals not in the 
 world about them, but in their own imagination. In a 
 number of instances the sun gave way to the moon, day to 
 night, sgf'ng to hearing, reason to romance. Politics 
 tired before the fairy tale, history was supplanted by legend, 
 dreams and premonitions as well as the tricks and pranks 
 of sprites and fairies were memorialized. Chivalry, monas- 
 ticism and exaggeration characterized the age. A reaction 
 
 [139]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 was inevitable ; and it came with all its pent-up energy 
 about 1830 and lasted till about 1840 or 1848. 
 
 In broad outline, the following events ushered in the 
 new movement: the French revolution of July, 1830, 
 which removed the Bourbon house forever from France ; 
 the unsuccessful attempt on the part of the more important 
 German states to secure constitutions ; the successful 
 scheming on the part of Metternich to prevent them from 
 securing constitutions; the establishment (June 13, 1815) 
 of the German 33urfd)en)c&aft with political aims and ideals 
 that were as vague as they were harmless, but which 
 seemed to the timid politicians of the time to be directed 
 against the government ; the Wartburg Celebration (Oct. 
 18, 1817); the murder of Kotzebue (March 23, 1819); 
 the Resolutions of Karlsbad (1819); the Ultimata of 
 Wien (1820); Hegel's lectures at Berlin (1818-1831); 
 the teachings of D. F. Strauss, F. C. Baur, L. Feuerbach, 
 Bruno Bauer, Dahlmann, Ranke, Paul Pfizer ; the death 
 of Goethe (March 22, 1832) ; the Celebration at Hambach 
 (May 27, 1832) ; the literature of Lord Byron ; the open- 
 ing of the first German railroad (Dec. 7, 1835). These 
 events and the far-reaching incidents connected with them 
 brought about the oppositional literature of Young Germany. 
 
 Though very German in name and purpose, the idea 
 was an imitation of Giovine Italia and Jeune France. In 
 a letter to Cotta (1833), Gutzkow spoke of a Jeune Alle- 
 magne, and in 1834 Ludolf Wienbarg dedicated his 
 " Asthetische Feldziige " expressly to 2)cm jungen 5)eiitfct)= 
 lanb, unb mcljt bcm altcn. On December 10, 1835, the Aus- 
 trian ambassador, Count Miinch-Bellinghausen, ordered 
 the suppression of the literature of this abominable coterie. 
 
 [ HO]
 
 THE WRITERS OF YOUNG GERMANY 
 
 He picked out for special condemnation Gutzkow's "Wally" 
 and Wienbarg's " Feldziige." He included in the union 
 Heine, Gutzkow, Wienbarg, Mundt and Laube. These 
 men, however, never formed any sort of school ; they were 
 contemporaries ; they were thoroughly dissatisfied with the 
 existing order of things ; they saw that the ruled had more 
 brains than the rulers ; they used their pens in the service 
 of a righteous freedom that their swords had already won. 
 As to what Young Germany stood for and against, 
 Alfred Biese has the following highly apposite paragraph : 
 
 5lIIcn crjd)icn bafjcr bte SBelt mefjr obcr tocntger tine ^>ant= 
 let: fd)al, f(ad) unb unerfpricfjtidj. 2>te tiefe Un5ufriebenfjcit 
 nut bent $Befte()cnbcn in <Staat unb fttrdje, ba Stebaugeln nut 
 ber 9teDotution unb bem Umfturj aEer SBertjaltntffe, ber o= 
 ntopolttt3mu3, ber in granfreid), in ber ^Sotittf unb Siteratur 
 biefe3 SanbeS, ba %bzal fieljt unb ncbenfjer fiir Sorb S3t)ron 
 unb S3uttt)er f^roarmt, enbltcl) aud) ba3 (Suangelium ber (Sman= 
 5ipation be3 5tci|(J)e r ba ja jd)on 5U 33egtnn ber romantt|d)cn 
 Gpod^e aufgetaud)t loar, nun aber mtt ticrftarftcr (Sinbringlid)= 
 fett h)teber auflebte, ba ift e ungefa^r, tt>a ber 2tteratur 
 be /jungen Seutfdjlanby" ben 3 n f) a it gtbt. 2)a gormtbeat 
 ber neuen Si^ule abcr tturbe ber tni^ige unb tronifdje Jon, ttiie 
 ifjn etne mctfter^aft fjanbfjabte, etne etftretd)igfcit f bic fid^ 
 nur aHju^auftg auf Soften ber 2Safjrf)eit breit mad^te. . . . 
 Sfjre eigcntlid^e Itterartjdje SSelt ift bie ^reffe. 
 
 BIBLIOGRAPHY 
 
 Sag junge 2)eutfd^Ianb. By Johannes Proelss, Stuttgart, 1892. 804 pp. 
 Rich in content, but has no index. 
 
 Young Germany. By Georg Brandes, New York, 1905. 411 pp. 
 This is Volume 6 in Brandes's " Main Currents in Nineteenth Century 
 Literature." It is about the best volume in the series ; the author was 
 very much in sympathy with his subject. It is a brilliant book though
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 not so sound as those by Proelss and Houben. It was translated by 
 Mary Morison. In addition to general topics, it treats Borne, Heine, 
 Goethe, Immermann, Hegel, Gutzkow, Laube, Mundt, Menzel, Rahel, 
 Bettina, Charlotte Stieglitz and Friedrich Wilhelm IV. 
 
 2jitngbeutftf)er. (Sturm unb 3)rang. (Srlefomfje unb tubien. By H. H. 
 Houben, Leipzig, 1911. 704 pp. This is a most scholarly book. In 
 addition to general topics, it treats Menzel, Borne, Heine, Wienbarg, 
 Laube, Mundt, Gutzkow, Varnhagen von Ense, Gustav Schlesier, Gustav 
 Kiihne and Alexander Jung. By the widest stretch of the imagination, 
 the last three cannot be considered of " literary " importance, and 
 Heine, who was in Paris during the entire time, has been placed in our 
 treatment among the regular Romanticists. Georg Biichner is added to 
 the list below for evident reasons. The student who reads these three 
 works will be sufficiently informed. 
 
 KARL AUGUST VARNHAGEN VON ENSE 
 
 Born February 21, 1785, at Diisseldorf ; died October 10, 
 1858, at Berlin. Studied medicine, philosophy and history at 
 Berlin, Halle and Tubingen. A soldier and politician. Had 
 trouble with the government. Married Rahel Levin. Coeditor 
 with Chamisso of Der griine Almanack. Wrote some poems, 
 but was primarily a writer in prose. Was one of the first critics 
 to emphasize the importance of Goethe. A querulous and loqua- 
 cious but not untalented person. 
 
 1843. 3>enfnwrbigfeiten beg eigenen Se6en (2d ed.) 1012 pp. 
 
 LOEW BARUCH (LuowiG BORNE) 
 
 Born May 6, 1786, at Frankfurt am Main; died Feb- 
 ruary 13, 1837, at Paris. Studied at Berlin, Halle, Heidel- 
 berg and Giessen. Became a Christian and changed his name 
 in 1817. Had trouble with the government. Lived from 
 1830 on in Paris. Edited Die Zeitschwingen, Die Waage and 
 La Balance. 
 
 [142]
 
 THE WRITERS OF YOUNG GERMANY 
 
 liber Subroig 33ornc. By Heinrich Heine, Hamburg, 1840. 132 pp. 
 Subnrig Some: ein &eben unb fein SBtrfen nadj ben Quellen bar= 
 geftellt. By Michael Holzmann, Berlin, 1888. 402 pp. 
 
 1825. JDenfrebe cwf %ean ^Saul, 15 pp. 
 1830-1833. SBriefe au $ari3, 717 pp. 
 
 WOLFGANG MENZEL 
 
 Born June 21, 1798, at Waldenburg in Silesia; died at Stutt- 
 gart, April 23, 1873. Associated with Otto Ludwig Jahn, 
 studied philosophy and history at Jena and Bonn. Connected 
 with the Europaische Blatter, Cotta's Literaturblatt and Deut- 
 sche Vierteljahrsschrift, Notorious because of his attacks on 
 Goethe. He was not a consistent member of Young Germany. 
 
 1836. Seutfc^c Siteratur, 597 pp. 
 
 LUDOLF CHRISTIAN WIENBARG 
 
 Born December 25, 1802, at Altona; died at the same place, 
 January 2, 1872. Studied theology, philosophy and philology 
 at Kiel, Bonn and Marburg. Became (1834) privatdozent in 
 aesthetics at Kiel, where he delivered the lectures afterwards 
 published under the general title " Asthetische Feldziige." 
 This book was dedicated as follows : ir, jimge 5)eut|d)Ianb, 
 ttjibme id) bicfe 9teben, nicht bent alten. It was this dedication 
 that gave the movement its name. Coeditor with Gutzkow of 
 the Deutsche Revue. 
 
 Subolf 9Bienborg al3 jungbeutfdjer Sftfjetifer unb $imftfritifer. By 
 Victor Schweizer, Leipzig, 1896. 92 pp. 
 
 HEINRICH LAUBE 
 
 Born September 18, 1806, at Sprottau in Silesia; died at 
 Wien, August i, 1884. Studied theology and philosophy at 
 Halle and Breslau. Made a member of the National Parliament 
 
 [143]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 in 1848, retired in 1849. Had trouble with the government. 
 Edited the Zeitung fur die elegante Welt. Director of the 
 ^pofburgt^cotcr in Wien (1849-67). Connected with other 
 theatres in Wien and Leipzig. Important as a creative writer. 
 
 1837. 2)a3 junge uropa: S)ie ^Soeten (1833), Ste $rieger (1837), S)ie 
 
 23iirger (1837), 605 pp. 
 1844. truenfee, tragedy, 229 pp. 
 1846. ottfdfjeb unb ellert, comedy, 223 pp. 
 1846. ie ^arBfdjiUer, drama, 206 pp. (Schiller is the hero.) 
 1856. raf (Sffer., tragedy, 186 pp. 
 
 THEODOR MUNDT 
 
 Born September 19, 1808, at Potsdam; died at Berlin, No- 
 vember 30, 1 86 1. Connected with Blatter fur literarische 
 Unterhaltung, Literarischer Zodiakus, Dioskuren fur Kunst 
 und Wissenschaft, Der Freihafen and Der Pilot. Professor of 
 general literature and history at Breslau and then at Berlin. 
 Had trouble with the government. 
 
 Sfyeobor 2Jlunbt unb feine Sestefjungen sum ^iungen Seutfdfjlanb. By 
 Otto Draeger, Marburg, 1908. 58 pp. 
 
 Xljeobor 2JZunbt al3 Siterarljiftortter. By W. Prinz, 1912. 78 pp. 
 
 1832. 2ftabelon, ober bte Slomantiler in ^ari, novelette, 246 pp. 
 
 1844. ie efc^id^te ber efellfd^aft in ifyren neueren (Sntroidtelungen unb 
 
 ^roblemen, 435 pp. 
 
 1845. &i e 3 feee *> et; @<^onf)ett unb beg j?unftn)erlg im 2tcf)te unferer Qeit. 
 
 390 pp. 
 
 KARL FERDINAND GUTZKOW 
 
 Born March 17, 1811, in Berlin; died December 16, 1878, 
 at Sachsenhausen. Studied medicine, philosophy and economics 
 at Berlin, Heidelberg and Munich. Had trouble with the 
 government. Wrote for Menzel's Literaturblatt and Cotta's 
 Morgenblatt. Edited the literary supplement of Duller's Phonix. 
 
 [ J 44]
 
 THE WRITERS OF YOUNG GERMANY 
 
 Edited his own Telegraph fiir Deutsehland and Unterhaltungen 
 am hauslichen Herd. An impetuous and flamboyant person. 
 Important as a creative writer. 
 
 Gutzkow et la jeune Allemagne. By J. Dresch, Paris, 1904. 483 pp. 
 
 5larl ufcfon> tellung jur SRomanti!. By Bernhard Rieffert, Leip- 
 zig, 1908. 54 pp. 
 
 ufcforoS unb 2au6e3 Siteraturbramen. By Paul Weiglin, Berlin, 
 1910. 173 ff. 
 
 1835. SOBaQt) bie 3roetflerin, novel, 327 pp. 
 1844. 3Pf un & djroett, comedy in 5 acts, 70 pp. 
 1844. 2>a3 Urbilb be3 Sartiiffe, comedy in 5 acts, 76 pp. 
 1846. Uriel 3lcofta, tragedy in 5 acts, 62 pp. 
 
 1849. er ^'ontgSleutnont, comedy in 4 acts, 85 pp. (Goethe is the 
 hero.) 
 
 GEORG BUCHNER 
 
 Bom October 17, 1813, at Goddelau near Darmstadt; died 
 at Zurich, February 19, 1837. Studied science at Strassburg. 
 Had trouble with the government. Edited the Hessische Land- 
 boten. Became privatdozent in literature at Zurich. 
 
 eorg 93iirf)ner Sratna W 35anton Xob^. By Hans Landsberg, Ber- 
 lin, 1900. 38 pp. 
 
 eorg 33ii(^ner fammtlid^e SBerfe. Edited by Karl Emil Franzos, 
 Frankfurt am Main, 1879. 47 - PP- Introduction of 180 pp. 
 
 1835. 2)anton^ Xob, drama, 3 acts in prose, 97 pp. 
 
 [H5]
 
 PART TWO
 
 SECTION I 
 THE BACKGROUND 
 
 Poets, like plants, have been divided into many classes. 
 From one point of view, however, there are only two kinds 
 of writers : those who write for all time, and those who 
 write for their own time. The former are by far the greater, 
 though it may take them longer to secure recognition ; it 
 may take them longer to realize on their assets. To under- 
 stand the poetry 'of those who write for all time, it is neces- 
 sary to know something about the intellectual, the spiritual, 
 undercurrent of their day. It is customary, for example, to 
 divide Philosophy into three periods: Ancient (6256.0.- 
 476 A.D.), Mediaeval (476-1453), Modern (from 1453 on). 
 The first period was objective, the second traditional, the 
 third subjective. A representative poet of the first period 
 was Sophocles, of the second Dante, of the third Goethe. 
 To appreciate the poetry of any one of these, acquaintance 
 with the intellectual trend of the age is helpful if not indis- 
 pensable. To understand, for example, Dante's " Divina 
 Commedia " one must know something about the Ptolemaic 
 conception of the universe of Dante's day, whereas it is 
 questionable whether familiarity with the way in which 
 people lived in Italy during the first eighteen years of the 
 fourteenth century would essentially aid in an appreciation 
 of that divine work by the "first man in Italy." But to 
 understand the poetry of those who write for their own
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 time, the poetry of the lesser poets, familiarity with the 
 more profound thought of the age, while it will help, is not 
 so essential as an understanding of the way in which men 
 then lived, as an insight into the condition of their Church 
 and School and State and Home. The Romanticists, with 
 some delightful exceptions, were minor poets. They were 
 inspired, or rather moved, by their time and wrote, in a 
 sense, for their time. That is to say, not possessing Dantean 
 genius, they were unable to rise above their time and wrote, 
 therefore, for their time. They did this, however, in various 
 ways. They considered the happenings of their day beneath 
 their poetic dignity and left them out of consideration. 
 Holderlin had little respect for a German theme. Or they 
 memorialized their deedless epoch in unmerciful satire, the 
 shortest-lived of all kinds of literature. Heine became a 
 poet without a statue because of the lampoonings he gave 
 the country that produced him. Or they humiliated their 
 age by comparing it with other lands that knew glory and 
 with other times that abounded in fame. The German 
 Romanticists, at least according to Heine and many other 
 unoriginal souls who have followed his lead, set out to 
 revive Hohenstaufen Germany. 
 
 Seventy-five years of civic background, from the death of 
 Frederick the Great to the death of Frederick William IV, 
 are therefore important in the study of German Roman- 
 ticism. That the situation as here portrayed concerns 
 primarily Prussia will surprise no one acquainted with 
 German history. Many of the Romanticists were, to be 
 sure, born out of Prussia, and but little of their literature, 
 aside from that of Kleist, had to do with what might be 
 called Prussian themes. But from the national and civic 
 
 [ISO]
 
 THE BACKGROUND 
 
 standpoint Prussia was the centre of things then as it is 
 now. As early as 1756 Frederick the Great said : " If the 
 independence of Germany is to perish, Prussia shall perish 
 with it. I shall protect the German princes even against 
 their own wish, and so long as there is a Prussian alive, no 
 one shall say that Germ>rja^ has no one to defend her." 
 And as late as 1 899 an eminent authority, Theobald Ziegler, 
 said in connection with Frederick William IV and the 
 hereditary imperial crown: " Back of it arose that perplex- 
 ing question that has never been answered, that problem 
 that has never been solved : Shall Prussia be absorbed by 
 Germany or Germany by Prussia ? ' ' Prussia is Hohenzollern 
 Germany, and German Romanticism closed with the year 
 1866, the year in which the .Hapsburgs relinquished all 
 claims to leadership in Hohenzollern territory and five years 
 before the establishment of the present German Empire. 
 
 Frederick the Great became king of Prussia on May 31, 
 1740, and died at Sans Souci August 17, 1786, having 
 reigned forty-six years. The Seven Years' War closed in 
 1763, so that the first twenty-three years of his reign were 
 largely taken up with wars of acquisition, while the last 
 twenty-three were largely concerned with constructive poli- 
 cies during an era of peace. By. his conquests in Silesia 
 and Austria, he vastly increased the area and population 
 of Prussia, which, at the beginning of his reign, had a 
 population of about two and a half million inhabitants, a 
 yearly income of about five and a half million dollars, and 
 an army of eighty-three thousand men. 
 
 Frederick the Great was the absolute monarch of En- 
 lightenment, that movement begun in 1740 and made 
 possible by the political growth of Prussia, by Lessing, by
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 the rise of Pietism, by Wolff's interpretation of Leibnitz 
 and by the arrival (1750) of Voltaire in Berlin. By de- 
 stroying the absolutism connected with the name of the 
 Holy Roman Empire and the House of Hapsburg, "Old 
 Fritz " did for political Europe what Voltaire did for ec- 
 clesiastical Europe. He inspired patriotism and self-respect 
 not only in Prussia but also in Bavaria, Swabia, Saxony 
 and Brunswick. He was enlightened and undertook to 
 enlighten his subjects, who, though poor, were made equal 
 before the law. Indeed every man tried to enlighten his 
 inferior. Secret societies, such as the Illuminati (1776 
 
 U786), were established for this purpose. So far-reaching 
 ere the reforms of Frederick the Great that Kant referred 
 the eighteenth century as the century of Frederick the 
 reat, not of Rationalism. 
 
 Germany has produced five superlatively great men : 
 Luther, Frederick the Great, Kant, Goethe, Bismarck. To 
 attempt to decide which of these was the greatest would 
 be folly. Suffice it to say that had Frederick the Great 
 succeeded himself as king of Prussia, the map of Europe 
 would not have suffered such fatal wrenchings, and sys- 
 tematic German Romanticism might never have been. 
 
 But he was succeeded by Frederick William II, his 
 exact opposite. Handsome, of more than common men- 
 tality, devoted to the arts, a patron of Mozart and Beetho- 
 ven, a confessed polygamist, lacking military tastes, he 
 possessed a temperament ill-fitted to carry out the policies 
 of his illustrious predecessor or to recall the days of Charle- 
 magne and Barbarossa. Moreover, he fell, early in life, 
 under the sentimental, mystic influence of Johann Christoph 
 Wollner, whom Frederick the Great had described as a
 
 THE BACKGROUND 
 
 "treacherous and intriguing priest," and became a Rosi- 
 crucian. He passed religious edicts compelling Evangelical 
 ministers to teach only what was included in the official book 
 of the Order, commanding them to protect the Christian 
 religion against the doctrines of Enlightenment, and plac- 
 ing education under the supervision of the orthodox clergy. 
 Obscurantism rendered invalid his economic reforms, the 
 army degenerated, the monarchy declined. 
 
 Is it any wonder, then, that Goethe, and indeed even 
 Schiller, like Lessing before them, became so indifferent 
 to patriotism, and that the Romanticists went to other 
 times and other lands for subjects worthy of poetic treat- 
 'ment ? There were then in Germany about three hundred^ 
 independent sovereignties and about fifteen hundred im- 
 perial knights with too much power. The bishops spent 
 their time and money in drinking, the lords were poor, the 
 condition of the subjects indescribable. The only institu- 
 tions that aimed at unity were the 9?etcf)3tag at Regensburg, 
 the $ammergerid)t at Speyer and elsewhere, and the 9?etcf)3= 
 fyofrat at Wien. Universal schism, worship of etiquette and 
 lack of patriotism rendered even these practically worthless. 
 
 The following are the most important events that took 
 place shortly before and during the reign of this king who 
 drank liquid gold to cure himself of his ills and entrusted 
 his affairs of state to a religious quack : the birth of 
 Napoleon on August 15, 1769, at Ajaccio on the island 
 of Corsica; the French Revolution (1789-1792, or 1795, 
 or 1799, or 1804), which gave the Germans exotic hope 
 that feudalism might come to an end at home ; the Dutch 
 campaign of 1787, which was successful as an issue without 
 being profitable as a policy ; the treaty of Reichenbach
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 (July 27, 1790), by which Frederick William II and Leo- 
 pold II of Austria agreed to discontinue campaigns con- 
 ducted solely for the purpose of conquest ; the dismissal 
 of Hertzenberg, marking the close, on the part of Prussia, 
 of the anti- Austrian tradition of Frederick the Great ; the 
 acquisition of territory by Prussia through the second and 
 third partitions of Poland ; the treaty of Basel (April 5, 
 1795), according to which Prussia ceded to France her 
 possessions on the left bank of the Rhine, an act which, 
 at that time, when patriotism was at its ebb, stirred the 
 cockles of nobody's national heart, Hardenberg even 
 approving of it, and Kant being moved by it to write his 
 treatise on perpetual peace. In short, at the end of the 
 reign of Frederick the Great's successor, Prussia was hu- 
 miliated and isolated and decimated, and Austria was alone 
 and unsuccessfully continuing the struggle against France, 
 until finally obliged to sign the treaty of Campo Formio 
 (October 1 7, 1 797), by which France secured still larger pos- 
 sessions in German-speaking Europe. Frederick William II 
 died November 16, 1 797. During the period (i 786-1 797), 
 Goethe was writing some of his best works, Matthisson's 
 poems were widely read, Schiller was in his second, his 
 aesthetic, stage, Jean Paul was turning out work after work, 
 Tieck was still a Rationalist and " Wilhelm Meister " 
 (1796), the magna charta of Romanticism, was published. 
 Neither from the social nor from the civic standpoint was 
 there much in Germany to be proud of, while literature 
 was abundant but chaotic. 
 
 The reign (1797-1840) of Frederick William III was 
 nearly coeval with Romanticism as a movement. The year 
 he succeeded to the throne Holderlin began his " Hyperion " 
 
 [154]
 
 THE BACKGROUND 
 
 with its fearfully depreciative remarks about the Germans, 
 A. W. Schlegel began his translation of Shakespeare, 
 Friedrich Schlegel was writing on the Greeks and Romans 
 and Lessing, Tieck finished his " Volksmarchen " and 
 "Der gestiefelte Kater " with its onslaught against the 
 realism and naturalism of the Berlin, the German, stage, 
 Wackenroder was throwing off his " Herzensergiessungen," 
 Schelling was philosophizing on nature, and the need of 
 an official organ of Romanticism was becoming daily more 
 imperative. The king's good Queen Louisa died (July 19, 
 1810) heart-broken from national grief in the same .year 
 that Romanticism reaped but a blighted harvest, Kleist's 
 " Kathchen von Heilbronn " and Arnim's " Dolores." 
 The king himself died (1840) in the year that Tieck, now 
 a Realist, finished his "Accorombona," Heine his diatribe 
 against Borne, Hoffmann von Fallersleben his " unpolitical 
 songs " and Geibel his gentle poems. 
 
 Frederick William III, pious, honest, well-meaning, 
 was nevertheless distrustful of others and personally ineffi- 
 cient. About a score of events loom large in his reign 
 and fewer than five of them added glory to his realm. 
 After the peace of Campo Formio, Austria formed an 
 alliance with England and Russia against France. The 
 allies were successful until Napoleon returned from Egypt 
 and took command. Then disaster after disaster followed, 
 until they were obliged to sign the treaty of Luneville 
 (Feb. 9, 1801), by which Austria made large concessions 
 to France, including the German lands on the left bank 
 of the Rhine. Then came the indemnity congress at 
 Ratisbon (1802-1803), by which France gained the Rhine 
 boundary, and of fifty-two imperial cities forty-six lost their 
 
 [155]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 independence, Lubeck, Hamburg, Bremen,Frankfurt,Nurn- 
 berg and Augsburg alone remaining free. At the battle of 
 Jena (Oct. 1 4, 1 806) the Germans were completely defeated ; 
 the 9Ji)etnbunb had been established (July 12, 1806) with 
 Napoleon as its protector, the Holy Roman Empire of the 
 German Nation had been dissolved (Aug. 6, 1 806) and the 
 treaty of Tilsit was concluded (July 79, 1807), by which 
 Prussia lost all of her territory west of the Elbe, a large 
 part of what had been acquired by the second and third par- 
 titions of Poland as well as Bayreuth and East Friesland. 
 Frederick William III lost in all over one half of his 
 possessions. These lost lands were formed into the King- 
 dom of Westphalia for Jerome Bonaparte and the Duchy 
 of Warsaw for the king of Saxony. A more complete 
 national humiliation is well-nigh unthinkable. 
 
 Humiliation is, however, frequently good for the soul. 
 Just as Holderlin and Jean Paul, in literature, bridged over 
 the otherwise existing gap between the, humanistic, objective, 
 collective, analytic and cosmopolitan eighteenth century on 
 the one hand, and the romantic, subjective, individualistic, 
 synthetic and national nineteenth century on the other, so 
 did Johann Gottlieb Fichte, in philosophy, draw the line 
 build the bridge between Kant's eighteenth-century 
 " thing-in-itself " and the Romanticists' nineteenth-century 
 ego. And in 1808 Fichte delivered those powerful 9tcben 
 an bie beutfc^e Nation, assuring the German people, as 
 individuals, that their condition was not static, that it was 
 not beyond their control, but that they could rethink it, 
 make it all over, make it dynamic, make it whatever they 
 wished to make it. And to judge from the outcome of 1 8 1 3 
 and 1815, the German people must have taken courage.
 
 THE BACKGROUND 
 
 But what of the poets ? It is difficult to explain them 
 from their time. In the same year that Fichte delivered 
 his 9?ebcn, Goethe published the first part of " Faust," 
 Germany's greatest dramatic poem, a work, by way of 
 digression, which, barring a few mortal leaps into the abyss 
 of philosophic verbiage, is one of the most realistic works 
 ever written in the German language. But the Romanti- 
 cists, the minor poets, were, with the exception of Kleist, 
 then writing and collecting folk songs and fairy tales, 
 studying and translating foreign languages and doing a 
 number of other things poles removed from the events 
 ,of the day. If there be any connection between national 
 and literary prosperity, it is difficult to explain any Ger- 
 man poet of 1808 from the background, be he Classicist 
 or Romanticist or Philistine. 
 
 But when a country sinks so low that its enemy can shoot 
 a bookseller as Napoleon did Palm (Aug. 26, 1 806) 
 for selling a book entitled " Germany in the Depths of 
 her Humiliation," a reaction is sure to follow. Prussia at 
 once began to revive. Stein, who had been ungraciously 
 dismissed (Jan. 4, 1807) from the ministry, followed the 
 call of his king and resumed the leadership in the wgck- > 
 of reform (September, 1807). Frederick William III 
 returned (Dec. 23, 1809) from his hiding in Konigsberg 
 to Berlin. Tfre. University of Berlin, one of the great mon- 
 uments of Romanticism, was established in 1810. And 
 
 
 then came a turn in the affairs of Napoleon. When his 
 son by a second marriage was born (March 20, 1811) he 
 stood at the height of his power. He commanded from 
 the Pyrenees to the Elbe and the Baltic, and as far east as 
 Warsaw. But he wanted no limitations at all ; he undertook 
 
 i
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 the Russian campaign that broke his power forever. All 
 sorts of complications now began to arise. And then came 
 the battle of Leipzig (Oct. 16-19, J 8i 3), Napoleon suffered 
 a terrible defeat, the Stfyeinbiinb was dissolved, Germany 
 was free as far as the Rhine. 
 
 But complete reform was to be the work of decades, 
 not of days. A nation can be built up only with free 
 citizens, and previous to November n, 1810, two thirds 
 of the population of Prussia had consisted of unfree sub- 
 jects. And this was only one of the many things that 
 prevented the victory at Leipzig from immediately regener- 
 ating Germany. Napoleon had been defeated once, but not 
 completely overthrown. Far from it. Wonderful to relate, 
 the first peace of Paris gave France all of Alsace, and a 
 million more inhabitants than she had had in 1789. 
 Prussia could not even obtain payment for the contribu- 
 tions that had been wrung from her during the campaigns 
 of 1808 on. And it was only with extreme difficulty that 
 she had been able to get back such works of art as the 
 Brandenburg gate. And, worst of all, Napoleon was made 
 sovereign prince of the island of Elba, allowed to retain 
 his title of emperor and to surround himself with a retinue 
 of officers and a standing army. 
 
 Then came the Congress of Wien, which met to redraft 
 the map of Europe. Every European potentate, except the 
 Sultan of Turkey, was represented. It was a long, bril- 
 liantly entertained, wine-drinking, resultless affair. Some 
 things were, however, started. Russia was to get the 
 Polish provinces, which had always been a burden to 
 Prussia ; Prussia was to get Protestant Saxony, whose 
 king had been consistently loyal to Napoleon, as well as 
 
 [158]
 
 THE BACKGROUND 
 
 Danzig, Thorn, Aachen, Koln, Coblenz and other territory 
 on the left bank of the Rhine, thus bringing her boundaries 
 up to almost what they had been in 1806. But the congress 
 was brought to an abrupt close : Napoleon landed (March I , 
 1815) at Cannes. The French flocked to his flag only to 
 be mowed down at Waterloo (June 18, 1815). Napoleon 
 was then banished to the island of St. Helena, where he 
 died March 5, 1821. 
 
 After Napoleon's banishment the Congress of Wien 
 resumed its deliberations. The reconstruction of Germany 
 was solved in a very unsatisfactory fashion. The mutual 
 relation of Austria and Prussia remained a vexed question, 
 one that was not to be solved until 1866. Metternich in 
 Austria and Wilhelm von Humboldt in Prussia advanced 
 opposing plans. Finally the 2)eutfcE)er 93unb was formed. 
 Thirty-eight states joined it (June 8,1815), Hesse-Homburg 
 came in in 1817. On September 26, 1815, the Holy Al- 
 liance was agreed upon at Paris. All Europeap states, except 
 England and Turkey, joined the Alliance. The Christian 
 religion was to weld all Europe into one great Christian 
 nation. And on November 20, 1815, Austria, Prussia, 
 Russia and England entered into an agreement according 
 to which they were to preserve peace throughout Europe 
 and hold regular conferences to discuss and further the 
 general welfare. The plan sounded well ; in actuality it was 
 simply a confirmation of Metternich 's conservative policy 
 and was destined to check the political development of 
 Germany for half a century. The 23iinbe3tag was to have 
 its seat at Frankfurt. The first meeting was held on 
 November 5, 1816. But the Frankfurt Diet was peculiarly 
 arranged. For example, a combination of the small states, 
 
 [159]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 representing about one sixth of the population, could out- 
 vote the larger ones, representing the remaining five sixths 
 of the population. Moreover, the Diet had no army and 
 no funds. Nobody was satisfied. The internal affairs of 
 Germany were worse than before. But the very weakness 
 of the Confederation conduced to the glory of Prussia and 
 brought about her future supremacy. 
 
 With one exception the remaining events of the reign 
 of Frederick William III were of minor importance. The 
 SSartburgfeft (Oct. 18, 1817) was in many respects a very 
 sensible celebration. A few side acts of exuberancy, how- 
 ever, served to strengthen the policy of oppressive con- 
 servatism. The assassination of Kotzebue (March 23, 1819) 
 strengthened it still more. At a ministerial conference at 
 Karlsbad (August, 1 8 19) under Metternich's leadership, and 
 with the participation of Prussia, the freedom of the press 
 was attacked and the universities were put under gov- 
 ernmental surveillance. At various conferences held in 
 Wien (1819-1820) the granting of state constitutions was 
 opposed, but representative government was being every- 
 where discussed. The most important event was the estab- 
 lishment (Jan. i, 1834) of the Prussian-German 3o[hjcrem, 
 which embraced 18 states with 23,000,000 inhabitants. 
 Homburg, Baden, Nassau joined in 1835, Frankfurt in 
 1836, Waldeck in 1838. It was Germany's first lesson in 
 the virtue of cooperation. The French revolution of July, 
 1830, again brought the granting of constitutions to the 
 fore. All told, the battles of Leipzig and Waterloo and the 
 establishment of the Customs Union were the three most 
 important events in the reign of Frederick William III. 
 He died June 7, 1840. 
 
 [160]
 
 THE BACKGROUND 
 
 And how did the Germans live during the forty-three 
 years of his reign ? Nationally, the first half of it was spent 
 fighting Napoleon, the second in dillydallying over reforms 
 the enactment of which should have been easy and rapid 
 after Napoleon's downfall. To see how the Germans hated 
 Napoleon, one should read Kleist ; to see how they stood 
 in awe of him, one should, strange to relate, read Goethe. 
 
 In 1 800 Germany was poor, desperately so. There were 
 about 25,000,000 inhabitants, one third of whom lived in 
 the cities and towns, two thirds in the country. There were 
 no large cities, and the small ones were angular, irregular, 
 dirty and poorly lighted. The farmers were obliged to live 
 with patriarchal frugality, the other subjects mechanics, 
 tradesmen and officials had to be extremely economical. 
 There was no such thing as the division of labor, and the 
 system of guilds and tithes and taxes was so arranged that 
 social and industrial progress was impossible. There was 
 no coal heat, no steam power. Travel was difficult. In 
 going from Berlin to the Harz Mountains, one's baggage 
 had to be examined fourteen times. To receive the mail 
 was an event. And in 1806 things became infinitely worse. 
 The best blood of the country had been shed on the field 
 of battle. In 1815, when France began to pay indemnity, 
 there was a slight relief. The State began to build high- 
 ways and the mail was to be measurably improved ; it was 
 to take only three days and three nights to get a letter be- 
 tween Hamburg and Frankfurt. But the currency system 
 was in bad condition, and the system of tolls and taxes 
 with other countries, England for example, stood in need 
 of immediate revision if there was to be any such thing 
 as state and interstate commerce. Is it any wonder that 
 
 [161]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 the poets turned to their own egos for themes ? Is it any 
 wonder that we have so little action in the early epics of 
 Tieck and Novalis and Holderlin and Richter ? 
 
 But since the beginning of the eighteenth century, no 
 civilized country has stood still for a quarter of a century, 
 and between 1815 and 1840 some things of moment 
 happened in Germany. The )ambad)cr $eft of 1832 and 
 the gran!furter ^Siitjd) of 1833 were both reasonable at- 
 tempts to secure a constitution ; both failed and both 
 aggravated an already grievous situation. The press was 
 watched more carefully than ever, the censorship of books 
 passed beyond the line of all reason. About 1800 politi- 
 cally suspicious persons were taken to task and some were 
 imprisoned. Some got off rather easily, Heinrich Laube 
 for example ; others fared much worse, Fritz Reuter for 
 example. In 1837 the seven famous professors of Got- 
 tingen resigned, preferring to give up their post of duty, 
 their life-work, rather than go contrary to their conception 
 of civic justice. It was a jtime of .domestic politics, and 
 the literature reflected and visualized it. It is well known 
 that Schiller and Goethe banished political and religious 
 discussions from the Horen. It is also well known that 
 between 1806 and 1826 the poets forsook the world. 
 But from 1830 on they tried to bring politics and religion 
 into literature. 
 
 The two social events, however, of greatest importance 
 in the reign of Frederick William III were the building 
 of railroads and the emancipation of the Jews. In 1833 
 Friedrich List (he took his own life, Nov. 30, 1846, out of 
 economic despair) planned a system of railroads for Ger- 
 many. The first line was built in 1835 between Niirnberg 
 
 [162]
 
 THE BACKGROUND 
 
 and Furth, the second in 1837 between Dresden and 
 Leipzig. The influence can scarcely be imagined. The 
 German nation, if it is possible to speak of a nation in 
 this connection, took on a new lease of life. People were 
 inspired by rapid transit. Poets Chamisso, Prince Piick- 
 ler, Countess Hahn-Hahn, Gutzkow, Lenau, Laube, Heine 
 began to travel and to write pictures of travel. And 
 from the standpoint of literature, the shawm retired be- 
 fore, because drowned out by, the toot of the whistle, the 
 knight gave way to the engineer, the minstrel to the 
 trainman and people began to live in a new era. 
 
 The emancipation of the Jews was also of incalculable 
 significance. This is not the place to recount the outrages 
 that the European Jews had suffered from the edict of 
 Kaiser Matthias of 1617 on. The interested student can 
 read Gratz's " Geschichte des Judentums " and become 
 acquainted with all the details of these atrociously inhuman 
 practices. Suffice it to say that the Jews had been so com- 
 pletely segregated from other human beings that men like 
 Borne and Heine had to learn to write and speak the Ger- 
 man language. And now that they were emancipated, they 
 came to the front, not so much by reason of their creative 
 as because of their imitative ability, in great numbers and 
 with great rapidity. The generation between 1820 and 
 1840 saw the ascendency of Heine, Borne, Rahel, Fanny 
 Lewald, Beck, Hartmann, Auerbach, Kompert, Meyerbeer, 
 Mendelssohn, Bendemann, Neander and others. They 
 lived by preference in the large cities and fought, naturally, 
 against those institutions that had oppressed them the 
 Church and the Nobility. They did much to change social 
 conditions during the reign of Frederick William III. 
 
 [163]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Forty-three years is a long time for one man to reign, 
 even if he be uncommonly efficient, and Frederick 
 William III was not. It is for this reason that Frederick 
 William IV, the " Romanticist on the throne of the 
 Caesars," was hailed as the savior of his country. It is 
 entirely possible that no European monarch ever ascended 
 the throne under more auspicious circumstances, or left it 
 with greater disappointment on the part of his subjects. 
 Delbruck had inspired him with a love of art, Ancillon 
 had given him a liking for the picturesque, Rauch had 
 grounded him in the principles of sculpture, Schinkel had 
 told him about architecture, Savigny had taught him the 
 theories of law, Bunsen had acquainted him with the an- 
 tique, and various other distinguished masters had helped 
 to make him the gifted prince that he was. He was an 
 idealist in an age of imminent realism. He abhorred the 
 sovereignty of the people, he believed in a patriarchal 
 monarchy, he felt that though advice was to be given by the 
 traditional estates, and that though religion was to cement 
 his provinces together, authority was to be vested solely in 
 himself. He lived in a dreamland of his own making, out 
 of touch with reality. His mind, always somewhat aberrant, 
 gave way completely in 1857, and on October/, 1858, Prince 
 William, afterwards Emperor William I, was formally de- 
 clared regent. Such was the ruler of Prussia when the 
 all-absorbing question was the drafting of a constitution 
 and the enactment of the same. 
 
 It is not without significance that Frederick William IV 
 ascended the throne the same year that Becker wrote "Der 
 deutsche Rhein " and Schneckenburger " Die Wacht am 
 Rhein " and one year before Fallersleben's " Deutschland, 
 
 [164]
 
 THE BACKGROUND 
 
 Deutschland iiber alles." He held conferences (1840, 
 1845) with Austria for the reform of the Confederation, 
 but met with no success. He declared (April n, 1847) 
 unequivocally against granting a constitution. The an- 
 nouncement of the establishment of the French Republic 
 (February 24, 1848), however, made the desire on the 
 part of the German states for constitutions irresistible. 
 Frederick William IV finally issued (March 18, 1848) 
 two patents, calling together the united Diet, promising 
 a written constitution and making other concessions. 
 The Berlin revolution (March 18, 1848) followed. The 
 Frankfurt Parliament, convened for the drawing up of a 
 constitution for all Germany, sat for thirteen months, be- 
 came intermittently riotous, and finally adjourned having 
 accomplished nothing. But the king showed himself to be 
 a man of his word. He gave (January 31, 1850) a consti- 
 tution of his own making, and a very good one. But this 
 did not settle the matter. No decision could be reached as 
 to the position of Austria. Frederick William IV would 
 not accept a crown from the Frankfurt Parliament ; he 
 would have only the one that he felt could be legitimately 
 bestowed by the ancient and honorable House of Haps- 
 burg. But he could as little secure this one as he would 
 have been able to live and rule efficiently under an im- 
 perial constitution. On the contrary, by the Convention of 
 Olmiitz (Nov. 29, 1850) Prussia was prostrated at the feet 
 of Austria. German unity, indeed German greatness, was 
 nowhere in sight. Frederick William IV died January 2, 
 1 86 1, five years before Prussian-German supremacy was 
 established by the war with Austria, and ten years before 
 the establishment of the German Empire.
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 The political conditions under Frederick William IV 
 were, then, highly unsatisfactory; the decade from 1850 
 to 1860 was dark beyond expression. In 1852 Hannibal 
 Fischer sold the German navy at auction, while German 
 merchants abroad had to appeal to foreign consuls ; there 
 were no German consuls. And, to cap the climax, it looked 
 in 1852 as though the tried and tested Customs Union 
 would be dissolved. But it only seemed so ; it was the 
 political darkness before the break of a new day. 
 
 The social conditions were much brighter. The rail- 
 road, telegraph and mail systems had been vastly improved 
 and expanded, and, coincident with the exploitation of new 
 mines of valuable ores, capitalists began to develop and 
 invest German capital. Capitalism is the saving word of 
 this era. Karl Marx's " Das Kapital " appeared in 1867. 
 Industries flourished, there began to be a rich and a poor 
 class, and the people took courage. Those who were poor 
 wanted to become rich, they no longer looked upon pov- 
 erty as a natural concomitant of life ; those who were rich 
 wanted to become richer, they no longer looked upon com- 
 parative wealth as the highest good of human existence. 
 And back of it all, back of that which is political and that 
 which is social, came Bismarck and Emperor William I, 
 with whose appearance Romanticism became history and 
 before whose appearance one can find only a depressingly 
 small number of events of which poets could be proud and 
 by which they could be inspired. One searches almost in 
 vain for such happenings as made glorious Periclean or 
 Augustan or Hohenstaufen or Elizabethan days. 
 
 And yet a survey of this period brings up a question 
 which, in view of the fact that literature is an artistic 
 
 [166]
 
 THE BACKGROUND 
 
 visualization and faithful reflection of life, is of basic im- 
 portance but impossible of a definitive answer : Is there 
 any immediate connection between national, civic and social 
 prosperity on the one hand and literary prosperity on the 
 other ? One can find positive and negative arguments that 
 are equally strong. In 1588, for example, the Spanish 
 Armada went down in the Strait of Dover before Lord 
 Howard's English fleet, and literature went up all over 
 England. But it went up all over Spain too, for were 
 not those the illustrious days of Lope de Vega, Calderon 
 and Cervantes ? A great national event, be it fortunate or 
 disastrous, seems to give a great poet something great to 
 talk over and write up ; but if he be only almost great, the 
 acquisition of a new planet will not enable him to live in 
 the starry realm of inspiration. Would our own Civil War 
 have influenced Edgar Allan Poe one way or the other ? 
 The Franco-Prussian War of 1870-71 neither depressed 
 poets in France nor inspired them in Germany. When 
 David Masson wrote his encyclopaedic life of John Milton 
 and connected his hero with all the events of his day, he 
 wrote a long life of a great poet, but whether the inclusion 
 of all that extraneous material helps to a better apprecia- 
 tion of Milton's poetry is a question to be answered by 
 the select few who have read Masson. And if, during the 
 period of German Romanticism there had been only that 
 interminable list of Philistine writers, then it would be 
 easy to say that they had nothing to inspire them and their 
 works are therefore weak. But there were at the same 
 time the Classicists, who were great not only despite the 
 deedless age in which they lived but because of it to a cer- 
 tain extent. It was the very lack of idealism and freedom 
 
 [167]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 that kept these two motifs uppermost in Schiller's mind, 
 while it was his God-given genius that enabled him to 
 perpetuate them in literature. 
 
 And then there were the Romanticists, subjective, indi- 
 vidualistic, searching after a blue flower when ordinary 
 flowers were trampled down by Napoleon's soldiers and 
 human blood, shed on the field of battle, took the place of 
 water at their roots. What did they do ? Kleist, hardly a 
 Romanticist and almost a great genius, kept pounding 
 away, in verse and prose, at Napoleon. The background 
 of the time explains Kleist fairly well. But the others 
 disported themselves in an Orplid or a Vaduz or an 
 Arcadia or a Utopia of their own making, and when tired 
 of this they betook themselves to the real lands of long 
 ago and visualized the glories they could so abundantly 
 conjure up. The political and social events of Germany 
 from 1786 to 1 86 1 explain some of the Romantic literature 
 written during these years. They do not, however, vindi- 
 cate all that they explain, for Goethe's criticism of Tieck's 
 " Sternbald " fits the case in many instances. Of " Stern- 
 bald " Goethe said : (3 ift unglaiiblicf) tote leer ba3 artige 
 efcifj ift. And the pretty vessel was empty not because, 
 as has been said, the age was empty, but because those 
 particular cells in Tieck's brain, which in Goethe's brain 
 contained the germs of genius, were not full. To make, 
 then, an ultra-self-evident remark : Had the Romanticists 
 been different and greater, their works would have been 
 different and greater. 
 
 Let us take, by way of exemplification, two poems, each 
 written by a gifted poet. In 1831 Anastasius Grim, a poet 
 of considerable worth, wrote a poem entitled " Salonszene." 
 
 [168]
 
 THE BACKGROUND 
 
 It is a graphic, if ironical, picture of Metternich, that 
 Austrian reactionary who held Germany in leash from 
 1815 to 1848, that diplomatic politician who could see no 
 difference between an observation and an objection, the 
 man to whom comment was criticism and an idea the 
 embryo pf anarchy. This poem grew out of the age en- 
 tirely. To appreciate it one must be familiar with Metter- 
 nich's time. The poem was written for his time and was 
 a great poem, at first. It has now only historical signifi- 
 cance. On the other hand, Lenau, a poet of incalculable 
 ability, wrote in 1832 a short poem beginning "Weil' auf 
 mir, du dunkles Auge." It has been set to music, accord- 
 ing to the most recent report, one hundred and sixteen 
 times. There is not a shimmer of connection between it 
 and the politics of 1832. It is a wonderful little lyric. 
 Such instances as these could be multiplied indefinitely. 
 When the background wholly explains a poem we may be 
 reasonably sure that it is of local application, of ephemeral 
 appeal and subordinate merit. 
 
 All told, the economic interpretation of Romantic litera- 
 ture is a rather hopeless, thankless task. Good poetry is a 
 matter of genius, not of talent. The latter can be acquired, 
 the former must be innate. It is therefore impossible to 
 explain poetry of the highest order by studying the back- 
 ground, for it is impossible to explain genius. The genius, 
 be he teacher or preacher or poet or what not, rises above 
 and complacently smiles at his surroundings. And the 
 Romanticists, though they were not consistently great, had, 
 each and all, sporadic moments of real inspiration during 
 which they produced works of unfading charm and un- 
 deniable power. But to appreciate these, a knowledge of 
 
 [169]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 either the social background or the philosophic undercur- 
 rent is not indispensable. To understand Eichendorffs 
 lyrics, it is not necessary to read Schelling's philoso- 
 phy of nature or Freytag's " Bilder aus der deutschen 
 Vergangenheit " or Riehl's " Kulturstudien aus drei Jahr- 
 hunderten." To appreciate Kleist's " Kohlhaas," familiar- 
 ity with Saxony's cringing attitude toward Napoleon is 
 helpful. But " Kohlhaas " is not poetry of the highest 
 order. Eduard Morike, as a lyric writer, ranks close to 
 Goethe, and in " Maler Nolten " he gave the world a 
 superb novel, and in " Mozart auf der Reise nach Prag " 
 a short story of consummate artistry and melodious charm. 
 But Morike's works have nothing whatsoever to do with the 
 sociology of his age ; he had nothing to do with the world 
 about him. On this account, Karl Gutzkow, who wrote 
 nothing but Stenbengjdjrtften, laughed heartily at Morike. 
 The background explains Gutzkow, whose works, aside 
 from " Uriel Acosta," are now dead ; Morike's are still 
 read. And so on ; the background explains sometimes, 
 sometimes it does not. Suffice it to say that the student 
 with an intelligent interest in the literature of the Roman- 
 tic period will do best to read the literature, and the lit- 
 erature on the literature, first. And then, if he has any 
 unmortgaged time, he can spend it with profit on the civic 
 and social conditions of Germany from 1766 to 1866 ; for 
 it is not only the study of literature that is worth while, 
 political economy is also a branch of human knowledge. 
 But let the serious student of German Romanticism ever 
 reflect on this question : How can the study of the social 
 and political background be of great benefit in this matter 
 when we are assured that the Romanticists fled, during the 
 
 [
 
 THE BACKGROUND 
 
 time covered by the first four acts of the drama, from 
 the realities about them ? Their lives explain, to be sure, 
 their works ; but the political background hardly explains 
 their lives. 
 
 BIBLIOGRAPHY 
 
 A History of Modern Europe (1792-1878). By C. A. Fyffe, New 
 York, 1896. 1088 pp. This is a very detailed account of the subject. 
 The book is well outlined, and the student can easily select the chapters 
 of momentary or thematic interest. Chapters viii, xiv, xv, xvii, xxi, xxii, 
 xxv, have the least bearing on the subject. 
 
 A Political History of Europe since 1814. By Charles Seignobos, 
 translated by S. M. Macvane, New York, 1900. 88 1 pp. Chapters i, 
 xii, xiii, xiv, xv, xvi, xxv, are of most interest for the subject. 
 
 Seutjdje efd)icf)te big sum ^ahre 1888. By \Vilhelm Miiller, Stutt- 
 gart, 1888. 383 pp. Pages 225 to 336 concern especially the age of 
 Romanticism. 
 
 jDeutfdje eftfjidjte im neunje&nten 3>af)rf)unbert. By Heinrich von 
 Treitschke, Leipzig, 1879-1882. Volume I, 790 pages; Volume II, 638 
 pages. Though written with more or less bias, Treitschke's work is in- 
 valuable ; it contains a good deal of discussion of the literature of the 
 period and its economic worth. 
 
 Silber au3 ber beutfd^en SBergangenhett. By Gustav Freytag, 1859- 
 1862. Read Volume 4, " Aus neuer Zeit." Contains an excellent account 
 of how the Germans then lived. 
 
 2)ie burgerlidje efellfdjaft. By W. H. Riehl, Stuttgart, 1856 (fourth 
 edition). 384 pp. Throws light on the social situation. 
 
 GulturgefdOidfjtlidje ^oneUen. By W. H. Riehl, 1856 on. All of Riehl's 
 " Culturgeschichtliche " works are valuable in the study of the back- 
 ground of German literature during the periods in question. His " Kul- 
 turstudien aus drei Jahrhunderten " (1862) is different from, but to be 
 ranked with, the studies of Freytag. 
 
 2)ic geiftigen unb fojialen Stromungen 2)eutfdjlanb im neun.je&nten 
 Satyrljunbett. By Theobald Ziegler, Berlin, 1911 (Ungekiirzte Volks- 
 ausgabe). 704 pp. A work that cannot be too highly praised, unless it 
 be that it becomes, at times, somewhat recapitulatory and therefore not 
 definitive by reason of the great number of topics it attempts to treat.
 
 SECTION II 
 
 SOME DEFINITIONS 
 
 Neither romanticism in general nor systematic German 
 Romanticism in particular has ever been satisfactorily de- 
 fined, for the simple reason that to do so would necessitate 
 the use of a term more embracing than the thing defined, 
 and such does not exist. Indeed no one has ever satis- 
 factorily defined a definition. Throughout different ages 
 there have been totally different conceptions of the nature 
 of a definition ; there was first the Aristotelian, then the 
 Kantian, now the Modern, which may be abundant, acci- 
 dental, adequate, analytical, causal, conceptional, con- 
 structive, descriptive, diagnostic, essential, genetic, nominal, 
 normal, real, pragmatistic, synthetical, or typical. It is pre- 
 cisely this fact, coupled with the comprehensiveness of the 
 Romantic movement, that explains the striking divergence 
 among the definitions of German Romanticism below listed. 
 The number could be vastly increased, but these cover the 
 ground. More would not make the matter any clearer, for, 
 to quote Otway, German Romanticism is " like wit, much 
 talked of, not to be defined." And indeed if it could be 
 defined in a single sentence, or by a single catch phrase, 
 then the compiling of a loquacious syllabus on it were the 
 extreme of folly. 
 
 The difficulty incident to the defining of Romanticism 
 might be illustrated as follows : The three greatest 
 
 [172]
 
 SOME DEFINITIONS 
 
 movements of modern times were the Renaissance (1453- 
 1 690), the Reformation (1517-1552), and the French Revo- 
 lution (1789-1804). The first was intellectual, the second 
 religious, the third social. The first concerned the mind, 
 the second the soul, the third the body. Looked at in one 
 way, each was a romantic movement pure and simple. The 
 Renaissance placed a new man in a new uniyprsp it rpvivpH 
 the literatures ofthe_East. and it introduced subjectivism. 
 The Reformation preached justification by faith, it nour- 
 ished individualism ; it made each man's life a sort of !3cf) ; 
 2c5ciL TheFrench Revolution also created, so to speak, 
 individualism ; it made man aware of his importance, it 
 taugnt mm tnat his position and condition are not static 
 butdyriamic. All of this sounds romantic ; Galileo, Luther 
 and Danton look like romanticists. But to each of these 
 movements there was another side. The Renaissance intro- 
 duced naturaligm, or the love of earthly life, and its advocates 
 worshipped tradition as much as did Gottsched and Gellert 
 in their way ; the Reformation worked havoc with the 
 adoration of the Virgin and the Saints, the supremacy of 
 the Pope and the doctrine of transubstantiation ; the French 
 Revolution was a realistic, bourgeois affair. All of this is 
 wholly unromantic. To make a long story short, it is im- 
 possible to reconcile the teachings of Rome, Wittenberg 
 and Paris with those of Berlin, Jena and Heidelberg. 
 When men like Werner and Brentano, even Protestant 
 Novalis, were heralding the glorious virtues of Catholicism, 
 they were preaching doctrines that were fundamentally 
 opposed to at least one of the most essential tenets of 
 Romanticism as popularly understood. Nor did Romanti- 
 cism accomplish its best results by way of reviving the 
 
 [173]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 languages that took on a new lease of life after the fall 
 of Constantinople. And the French Revolution with its 
 dethronement of romantic sovereigns was essentially a 
 Philistine event. German Romanticism abounds in contra- 
 dictions and does not admit of a concise definition. 
 
 The situation is, however, not hopeless ; it is about as 
 follows : Literature has to be studied (i) from the stand- 
 point of form, (2) from the standpoint of content. As 
 to form, no one can boast of advanced intelligence on 
 the ground that he has noticed that all pure literature is 
 lyric or epic or dramatic. The core of the lyric is emo- 
 tion,, of the epic narration, of the drama action. That 
 these three gradually merge one into the other, that it is 
 impossible to say where the one stops and the other begins, 
 that there are many dramatic poems and epical dramas and 
 lyrical epics, these facts, too, are perfectly apparent to 
 anyone who can read literature with ease and acumen and 
 who has read it with care and discrimination. But however 
 vague these dividing lines may be, there are just three 
 forms and there is not a fourth. One may, to be sure, 
 write a newspaper editorial or a report to a public-service 
 commission in language so perfect that the production can 
 be called "literature," but this is speaking loosely. This 
 outline has to do only with literature in the narrower sense, 
 with the creative writings of acknowledged poets, where 
 fancy and imagination, and not simply good taste, logical 
 reasoning, and acquaintance with the subject discussed, 
 determine the nature of the ultimate product. 
 
 And from the standpoint of content, there are just 
 three ways of looking at a subject, there are just three 
 sorts of poets : Rationalists, Realists, Romanticists. The 
 
 [174]
 
 SOME DEFINITIONS 
 
 Rationalist reasons out his problem. He does not tell us 
 so much what his characters do, he does not tell us how 
 they live and love and hate, how they toil and strive to 
 meet the difficulties of everyday life. He tells us rather 
 why they do all of these things ; he explains their con- 
 duct ; he makes things clear. He adds up the plus and 
 minus features of their existence, takes a careful invoice 
 of the situation and then says that it came out, or must 
 come out, thus and so. He says all he has in mind ; 
 there is precious little between his lines. He spends his 
 time on the determined or determinable phases of life. 
 He uses no symbolism, he takes no risks, he expresses 
 himself on nothing until he has thought it over. When 
 Saladin asked Nathan which was the best of the three 
 religions, Nathan at once intimated that he must suspend 
 judgment until he had had an opportunity " sich zu be- 
 denken." And after he had told his 9ftard)en, Saladin, 
 Orientalist that he was, wanted the thought carried fur- 
 ther ; but Nathan replied that he was through, that the 
 story could have but one ending, and that this was per- 
 fectly clear to anyone who had thought it over. That is 
 the way a Rationalist uses the most common Romantic 
 conceit. Strictly speaking, Rationalism is the lowest type 
 of pure literature, for in it imagination or creative fancy 
 plays at most only the role of a voiceless supernumerary. 
 Rationalism is shallow and apt to be pedantic ; but it is 
 the most reliable type of literature. To say that Lessing 
 was an extreme Rationalist is to pay Rationalism an ex- 
 treme compliment. 
 
 The Realist (the Naturalist is only a Realist of another 
 shade ; the term is of no use), on the contrary, gives us 
 
 [175]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 pictures of real life. He leads us straight into the factory, 
 the mine, the street, the home, the chapel, the saloon, the 
 salon, and shows us, in detail and without reserve, the things 
 that are happening there. He does not concern himself 
 about the reason of it all, he attempts to picture, to photo- 
 graph, what he sees in such strong colors that the man 
 who reads will be convinced that the good of which he has 
 just heard should be encouraged, or the evil it is gener- 
 ally this should be corrected. In " Glaube und Heimat " 
 Karl Schonherr does not reason about the relative merit 
 of creeds, he shows how Catholics and Protestants live 
 and how vicious intolerance can become. Realism is one 
 of the most pronounced tendencies in the literature of to- 
 day. It is more effective than Rationalism, for the demon- 
 stration is more effective than the discussion. To say that 
 Goethe was a Realist of a high order is to pay Realism a 
 high compliment. 
 
 Butjvith the Roroaatkist-all this is different. He-may 
 introduce Rationalism by way of contrast or satirically, as 
 Tieck did in " Kaiser Oktavianus." He may introduce 
 Realism by way of emphasis or humorously, as Arnhn did 
 in ' Ganzgott und Halbgott." But such introductions are 
 with him a matter of effective and expedient distribution 
 of light and shade ; they are by no means the main thing. 
 The Romanticist doesnrtj-eason out his problem definitely 
 and with logical clarity. Having a good deal of respect for 
 Kis^jeadgr, he treats- his problem ideally. Also, Jie deals 
 with_the_suggesdye jmd apjDrehended_phjy>es jrf life^ and 
 he does this^_a11pgrrira11y and symbolically. Symbolism 
 and Romanticism are as nearly synonymous as " begin " 
 and^ r commence." The" two figures of speech that the 
 
 [176]
 
 SOME DEFINITIONS 
 
 Romanticist uses most frequently are metaphor first and 
 simile . second. When Tieck said, Stebe bcnft in fiifjen 
 Xonen, he employed a Romantic trope that is interesting 
 by way of contrast with the last strophe of Heine's 
 " Abenddunkel." When Friedrich Schlegel, or some one 
 else, said that architecture is frozen music, he made a re- 
 mark that would not be appreciated, even if understood, 
 by a man who understands only Rationalism and Realism. 
 The Rationalist thinks, the Realist observes, the Romanticist 
 Imagines. Unrestrained Rationalism is apt to become dry. 
 The same sort of Realism is apt to become blatant. The 
 same sort of Romanticism is sure to become untrue. That 
 the three gradually merge one into the other does not need 
 to be stated. That there is some romanticism in all good 
 literature is equally obvious. To say that "Taugenichts r " 
 " Schlemihl," " Undine," the second part of " Faust," are 
 Ronrantic, is to pay Romanticism a profound compliment. 
 'To say that Tieck, from 1797 to 1821, was the archtype 
 of a Romanticist is to temper our enthusiasm. 
 
 Thirty-one "definitions" of German Romanticism, 
 about equally divided between poets and scholars, follow. 
 Three hundred would not make the matter any clearer. 
 With but one exception that of Herbert Ferris all are 
 from indisputable authorities. 
 
 German Romanticism is eelenfultur. Wernaer. 
 
 25er eift ber gefammten ontifen $itnft unb ^Boefte ift plaftifcfj, fo rote 
 ber mobernen pittoresl. A. W. Schlegel. 
 
 German Romanticism was an attempt to create a harmony of intellect 
 and heart, of life and art, on the basis of individualism. Robertson. 
 
 2lber roa3 ift ba3 3tomantifti)e anber3 al3 ein efinen nacf) bent Un- 
 enblidjen, ba3 unauf&altfam forttretbt unb jebe felbfterbaute Sdjranfe 
 fofort roieber herunterretfet ? Steff ens. 
 
 [177]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Romanticism a most awkward and inadequate name for a literary, 
 artistic, and philosophical movement of a highly composite character 
 and most diversified ramifications. Francke. 
 
 >enn eg nrirb bod) immer ber roefentlidje Gharalter beg Momantifdjen 
 bleiben, bafj bie 2lbgefdjloffenb,eit fefylt, unb bafj immer nod) auf ein 3Bei= 
 tereg, auf ein ^ortfdireiten gebeutet roirb. Carus. 
 
 2)er egenfafc jroifdjen $laffijigmug vtnb 9iomantil ift ein lontrarer; 
 eg ift heute ein etd)teg, bie (Bnnt&efe btefer fontriiren egenfiifce 511 coU= 
 jieljen. Serjenige, bcr biefe rmtfyefe in feinem Seben, roenn avtdj oom 
 Ilaffijiftifdjen tanbpunlt aug, juerft faft ganj mobern, uolljogen fyat, ift 
 oet^e geroefen. Lamprecht. 
 
 2Ba^ a6er roar bie romantifctye @d)ule in eutfd^lanb ? <Sie roar nid^t^ 
 anber aB[bie SBiebererroechmg ber ^jSoefie beg 2Rittelalter ? roie fie fid^ 
 in beffen Siebcrn, S3ilb= unb 33auroerlen, in unftunb SeBen manifeftiert 
 hatte. Siefe ^oefte atcr mar auo bent (Sfjriftentum. ()en)orgcgangen, fie 
 roar eine ^Saffiongblume, bie bem SBlute (S^rifti entfproffen. Heine. 
 
 2)ag GIaffifcf)e nenne id) bas efunbc^ unb bag Slomantifcfye bag 
 .Uranfe. Unb ba finb bie Stft&clungcn claffifd; roie ber Corner, benn beibe 
 finb gefunb unb tudjtig. Sag meifte -Keuere ift nidjt romantifd), roeil eg 
 neu, fonbern roeil eg fcfjroatf), Iranflid) unb Irani ift, unb bag 2Ute ift 
 nid)t claffifd), roeil eg alt, fonbern roeil eg ftarl, frifdj, fro^ unb gefunb 
 ift. Goethe. 
 
 >ie 9iomantil ging bem fiifsen, oolfgtiimlicljen Xone einer d;almei 
 nad), roie fie^inber ober&irten blafen, fe^te fie felbft an benJHunb, gab 
 fid) ber roilben, freien 3fatur f)in, ftolj, einmal bie ultur abftreifen ju 
 lonnen, unb ging babei unnerfeheng i^rer gebilbeten eifteglriifte t>er= 
 luftig, Big fie fd)lie^lid) nitfjtg anberg mefjr lonnte alg auf ber dEjalmei 
 Blafen. Huch. 
 
 Sie 3tomantil ift ein ^roteft gegen Ileinlidje ^ntereffen, liimmerlidje 
 3Koral, fpief(biirgerlidje ^eale, fentimentale Sebengauffaffungen ; fie ift 
 ein ampf gegen alle biejenigen, bie eng in 3Sorurteilen gebunben bleiben 
 unb babei fid; mit ftodjtrabenben S^ebengarten unb erborgten S^^len 
 roid^tig madjen. >ie Slomantiler roollen bie Seutfdjen tiefer fefyen, gro= 
 ^er benlen, roahrer fii^len le^ren. Segb.alb fud;en fie alleg Seben in 
 ^jJoefie ju taudjen. Joachimi. 
 
 25ie 9lomantiler finb t)on aug aug gnrielitfjtnaturen. 2Bo bie S8er= 
 ftanbegbenler ober S^ationaliften nadj ben ^orberungen ber ngiene_Sidjt 
 unb Sufi DerJangen, ba erfefynen bie efufjlgbenler ober 3rrationaliften 
 bag albbunlel, ben Siimmerf d;ein, bag 2lbenb= ober gru^rot. SBafirenb 
 
 [178]
 
 SOME DEFINITIONS 
 
 bie ^omantiferjDa* S JUI in il)r V VI) Ijinemoeuten, laffen bje filaffifer um= 
 gefel)rt bag eigene 2>dj im 21U aufgefjeru pinoja lofdjt fein %d) oollig 
 aug; j^toid) cfjlegel fiefot in feinem 2>d) bag Centrum". Stein. 
 
 Ser runbbegriff berdijule, roelc6,er id) aua) angebore, ift: barman 
 ju einem ^unftroerf nidfjt mit bem blofjen SBerftanbe, fonbern mit bent 
 Ginflang aller feiner rafte, ^antafie unb efiibl mitgerecfjnet, treten 
 mufj, roenn man e^ feegreifen roill, ba man oon bem Iau6engfa|e au3= 
 ge^t: alle^, raa^ einmal entftanb, mu^te nad^ efe^en ent|"tef)en, unb ba^ 
 man eine unenblic^e SKannigfaltigfeit ber SCege, bie bag fiinftlerifdje Ser? 
 mogen einfc^Iagen f ann, jugiebt. Immermann. 
 
 2)ie Xongeber unter un finb, roa^ %ean ^Baul roeiblic^e enie^ nennt. 
 S)a fe^It e^ roeber an Gmpftinglidjfeit nocf) Siebe fiir bag @d)5ne, abet 
 an ^raft e 3x1 geftalten unb au^er fic^ fyinjvtftellen. . . . 2tUe grofeen 
 2JZeifter alter ^eiten con fyafefpeare unb SKilton big oet^e roaren me^r 
 ober roeniger plaftijc^. . . . Sie gormloftgfeit, roeld^e ein ^auptingrebienj 
 ber fogenannten Jiomantif ift, roar oon je^er ein Qeifyen eineg jc^roacgen, 
 fra'nfelnben eifteg, ber jici) felbft unb feinen toff }u be^errfa^en niajt 
 oermag. Grillparzer. 
 
 g roar in 25eutfcf)lanb com G^arafter beg Jiomantifc^en fo oiel bie 
 Stebe geroefen, unb com 6alberon fo oiel fiir bie allegorifdf)e tyoefie be= 
 geiftert, Derfudjte ii) eg, in biefem rounberfamen 2J?ar6^en jugleidj meine 
 2lnficf)t ber romantifc^en ^jSoefie allegorifc^, Inrifcfj unb bramatifd^ nieber^ 
 julegen. (Read ^rolog ju D!tauian, " Schriften," Volume i, pages 1-36. 
 Characters are laube, Siebe, Sapferfeit, djerj, Slomanje, ^Silgertn, 
 Siebenber, fitter, >irtenmtibdE)en, Qmei ^eifenbe, ^iifter, S^or Don ^rie= 
 gern, 6f)or con djtifern unb d^dferinnen.) Tieck. 
 
 2lHe Umroaljungen in ber beutfc^en Siteratur . . . finb oon jungen 
 SJJenfcgen auggegangen. . . . Sie Stomantif ift me^r alg alleg anbre bie 
 Sidjtung eineg neuen Sugenbgefdjted^teg, bag juerft neben ben ^laffifern, 
 balb barauf gegen fie roirft unb ftimpft. Gg fud^t mit feinem guten 3u- 
 genbrecb/t neuen 3"^It unb neue unftformen, ganj fo roie eg einft bie 
 illaf filer getan, alg fie nod? bie tiirmer unb Srdnger b^iefien. . . . 3u= 
 genb fte^t auf bem Sanner ber 3iomantif gefcfyrieben, unb nur alg eine 
 Sebengtiufjerung ber 3 u 9^nb ift bie romantifdje Sid^tung menfdjlia) ju 
 begreifen. Eduard Engel. 
 
 After frosty Konigsberg and sunny Weimar the long debauch of 
 Romanticism. It is dead and gone and we may to-day speak plain truth 
 about it without offence. Not that this <?// podrida was devoid of good 
 elements But what of the neo-mediaeval dE)toa'rmerei and rdumerei,
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 with its sham-chivalry and sham-mysticism, its play-erotics and play- 
 aesthetics, its maudlin rhetoric and stage machinery of doom curses, 
 devil's elixirs, poisoned daggers, clanking chains, castles by the sea, 
 ... its Undines, mandrakes, Doppelganger, and death-horses, its pseudo- 
 oriental cult of resignation, its muling and puking, yearning and postur- 
 ing ? Herbert Ferris. 
 
 5- djlegel braudjt irgenbroo ben Slugbruc! : ,,2Benn bie neuere ^oefie 
 iiberfyaupt UnDerganglidjeg fjeroorbringen farm pp". Sag Hang mir an= 
 fangg rounberlid), bod) fyat ber Stugbrud" runb. 2)ie griedjifdje ^poefie 
 befriebigt lein 3Beltbebiirfnig meb,r; fie bauert aber fort, roeil fie in fidj 
 tjollenbet ift, roeil fie in fid) collenbet roerben lonnte. 2)ie romanti= 
 fdje ^poefie fdjliefjt bie SBollenbung aug, 3) ar ft el lung beg Siomantifdjen 
 im eigentlidjften (griecfjifcfjen) inn ift nicf)t moglicf^. lonnte alfo bie 
 SBelt fief) nocfj einmal dnbern, hb'rte fie auf, SBeIt=33eburfni^ ju fein, 
 fo ftiivjte bag 3" un ^ ament i^er pftenj jufammen unb fie hatte augge= 
 lebt. Hebbel. 
 
 3$ Batte eine (Smpfinbung, alS raenn mir nor mir felber elelte, ba^ 
 icf; ^ter fo ruljig unb gliidlicfj fii^e. . . . Sabeijfam id; aber nadE)f)er auf 
 bie 3i> ee / bi e f e mpfinbung in eine Dbe ju bringen, unb iiberfjaupt eine 
 gattj eigene 2lrt uon Dben einsufiifyren. . . . @ie fallen ben ecfjten, tt)ab= 
 ren 2lu3brutf) ber Seibenfdjaft barftellen . . . unb basu bienen, SRenftfjen 
 ^enfcijenfiersen fennen ju (e^ren, SWenfcfjen 3Kenfrf>en ju erllaren unb au 
 entbeclen, unb 2Uenfcf)en tor 2Jienfcb,en ju oerteibtgen. . . . 2)ie ^ritif ift 
 nicf)t bag ebelfte 33eftreben, unb nicb,t bag [>ocf)fte 35erbienft beg 3Wenfcf>en. 
 . . . 9Jur cf^affen bringt ung ber ott^eit nciber; unb ber $iinftler, ber 
 Sicfjter ift djopfer. g lebe bie 5hinft ! ie allein erfjebt ung itber bie 
 rbe, unb madjt ung unferg ^immelg roiirbig. Wackenroder. 
 
 Sie beutfrfje SJomantif ift alter alg bie franjoftfc^e. Severe ift bireft 
 aug bent SBiberfprurf) gegen bie 9iet)olution entftanben. Sic beutfcfje 
 3lomantif befingt fd)on tnit gri^ tolberg bie SBaffentaten ber 2lfjnen, 
 fie begeiftert iHopftod 1 ju feinen je^t ungenieparen Sarbieten, fie beg(ei= 
 tet Berber auf ben $orfd(junggreifen, bie er bei alien 9Zationen narf) bem 
 urraiic^ftgen SSolfglieb unternimmt, fie fteigt mit ofc non 33erlid)ingen 
 ftolj ju Kofi, ja fie fattelt bem greifen SBielanb nod) ben npogr^pf;en 
 jum ^Ritt ing alte SOBunberlanb. >ie beutfd)e SJomantif ift aug ber neu 
 erroadjten Siebe sum oerlorenen SSaterlanbe entftanben, beffen monbbe= 
 gla'nste d;loffer unb 93urgen aug ber 9lad)t ber 3eiten jauberifd) empor= 
 taudjten ; ein 3Sallen in bie Xraumroelt fernliegenber 3af)tl)unberte rear eg, 
 aug ber oft fein better $fab mef)v in bie egenroart juriidfii^rte. Born.
 
 SOME DEFINITIONS 
 
 The etymology of romance is familiar. The various dialects which 
 sprang from the corruption of the Latin were called by the common 
 name of romans. The name was then applied to any piece of literature 
 composed in this vernacular instead of in the ancient classical Latin. 
 And as the favorite kind of writing in Provei^al, Old French, and 
 Spanish was the tale of chivalrous adventure, that was called par excel- 
 lence, a roman, romans, or romance. TKePadjective romantic is much 
 later, implying, as it does, a certain degree of critical attention to the 
 species of fiction which it describes in order to a generalizing of its 
 peculiarities. It first came into general use in the latter half of the 
 seventeenth century and the early years of the eighteenth century; and 
 naturally, in a period which considered itself classical, was marked from 
 birth with that shade of disapproval which has been noticed in popular 
 usage. Beers. 
 
 Les romantiques sont trop souvent victimes des definitions qu'on a 
 donnees du romantisme. Trop souvent on cherche dans leur vie ou 
 dans leur oeuvre ce qui peut confirmer 1'idee qu'on se fait de leur doc- 
 trine, alors que 1'etude impartiale des faits devrait, au contraire, corriger 
 ce que les definitions ont de trop rigide et de trop absolu. On dit et 
 Ton repete que le romantisme a ete essentiellement une reaction contre 
 le classicisme. Or c'est la loi meme de-revolution litteraire qu'une ecole 
 nouvelle se constitue en opposition avec celle qui 1'a precedee. Le clas- 
 sicisme n'a pas echappe a cette loi, pas plus en Allemagne qu'en France. 
 Le romantisme la confirme a son tour. Pour etre autorise a lui en faire 
 un grief particulier, il faudrait etablir qu'il n'a su que prendre en tout, 
 de propos delibere, le contrepied du classicisme. L'ceuvre et le carac- 
 tere de Frederic Schlegel ont souvent ete invoques a 1'appui de cette 
 these. Rouge. 
 
 This vagueness has adhered to the word ever since, more espe- 
 cially, perhaps, in the usage of German writers, who are prone to label as 
 " romantic " any poetic, literary, religious, philosophic, artistic, scien- 
 tific, musical or political tendency that can be shown to have been fa- 
 voured by one or more members of the so-called Romantic School. But 
 really there never was a school, except in the very loosest sense of the 
 word. There was simply a coterie of friends who were very differently 
 endowed, and were driving at very different things. For five or six years 
 they continued in close personal relations, oscillating between Jena and 
 Berlin. . . . Then they separated. ... In the immediate circle of the 
 Schlegels there was a deal of talk about the principles of romantic art ; 
 about irony, and subjectivity and universality, that is, completeness of
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 self-revelation ; about the autocracy of the creative artist, and other such 
 matters. There is no evidence that the lingo ever influenced a man of 
 genius, but it gave a sort of sanction to authorial caprice and literary 
 amorphousness. Calvin Thomas. 
 
 ~35ag 2lhnen beg llnenblidjen in ben 2lnfdauungen ift bag 3lomantifd)e. 
 3)ie riedjen, in einem fdjonen, genufjreidjen rbenftridje raobnenb, von 
 Dfatur better, umbrdngt con einem gldnjenben, tbatenoollen Seben, metjr 
 dufjerlid) alg innerlid) lebenb, . . . lannten ober ndbrten nidjt jene bdm= 
 mernbe ef>nfud)t nadj bem Unenblidjen. . . . 2)er otjn beg -Korbeng, 
 ben feme minber gtdnjenbe ttmgebungen nid)t fo fyinreifcen modjten, ftieg 
 in fid) fjtnab. 2Benn er tiefer in fein 2>nnereg fdjaute, alg ber riedje, fo 
 fat) er eben barum nidjt fo flat, etne 9?atur lag balb in ben SBoIfen. 
 . . . Sie ^omantif ift ntd)t blo^ ein pftantaftifdjer 2Ba^n beg 3WitteIalterg ; 
 fie ift fyolje, eroige ^oefie, bie im 33ilbe barftellt, nw3 SBorte biirftig ober 
 nimmer auSfpredjen, fie ift bag Sud) coll feltfamer 3<uiberbilber, bie ung 
 im SBerfe&r er^alten mit ber bunflen eifterroelt. @ie ift ber fdiimmernbe 
 3tegenbogen, bie 33rMe ber otter, roorauf, nad} ber 6bba, fie ju ben 
 @terblid)en tjinab unb bie Slugerraa^lten 511 i^nen emporftetgen. . . . 9lm, 
 fo lafjt ung diroarmer ^eien unb glaitbig eingefjen in bag grofje roman= 
 tifd;e 2Bunberreid), rao bag ottlidje in taufenb cerftarten eftalten um= 
 t)erroanbelt. Uhland. ^ 
 
 Sag Waive ift eine $inblid)feit, TOO fie nid)t me^r erroartet rcirb. . . . 
 anj anberg cerfid It egfidj mit bem fentimentalifdjen !Did)ter. 2)iefer re= 
 fleltiert iiber benjStnbrudl, ben bie egenftdnbe auf ifm mad;en. . . . 
 er S)id)ter ift entraeberUlatur, ober er roirb fie fudjen, jeneg mad;t ben 
 naioen, biefeg ben fentimentatifcfjen S5id;ter. . . . 2)ie Sid)ter finb iiber= 
 all, fdjon itjrem Segriffe nad;, bie Seroaljrer ber 3tatur. . . . <Sie roer= 
 ben alfo entroeber 3iatur fein, ober fie raerben bie oerlorene fudjen. . . . 
 2lUe 2)id;ter . . . raerben p ben nainen ober ju ben fenttmentalifdjen 
 get)5ren. . . . SDer Sidjter einer naioen . . . ^ugenbroelt ... ift ftreng 
 unb fprobe. . . . r fte^t ^inter feinem SDBerle ; er ift bag 2Berf, unb bag 
 2BerI ift er. . . . <So jeigt fid) j. 33. omer unter ben Stlten unb @^afe= 
 fpeare unter ben 3?eueren, jroei &od)ft oerfd)iebene 3laturen, aber gerabe in 
 biefem Gfjaralterjuge oollig eing. . . . SDer fentimentalifd^e Sidjter fiat eg 
 . . . tmmer mit jroei ftreitenben SBorfteQungen unb mpfinbungen, mit ber 
 SBirflid)feit atg renje unb mit f einer ^bee atg bem Unenbtidjen ju t^un 
 3lun entfteht bie ^vaqe, ob er meljr bei ber SBirftic&ieit, ob er me^r bei bem 
 Sbeale oerroeilen ob er jene atg einen egenftanb ber 2lbneiaung, ob er 
 biefeg alg einen egenftanb ber 3uneigung augfii^ren railt. eine 35ar= 
 fteUung roirb alfo entroeber fatirifd), ober . . . elegifdj fein. Schiller. 
 
 [182]
 
 SOME DEFINITIONS 
 
 25er_3nf)alt ber 3lomanitf roar roejentlicfiJatfyolifdb, bag benfroiirbige 
 3eidjen eineg faft beroufctfag fjeroorbrecfienben eimroef)3 beg ^Broteftan= 
 ttsmug nad) ber ftirctye.. 'Safyer aud) bie auf ben erften SItcf befrembenbe 
 rfdjeinung, bap bief* moberne SRomantif gerabe im fatfjolifdjen <2iiben 
 nur roenig 2(nflang gefunben, roeit eben b,ier bie ^5oefie ber Religion, bie 
 fie b,eraufbefd)rooren roollte, roenigfteng im SBolfe norf) fortlebte; man 
 erftaunte ober ladjelte iiber foldje lururiofe 2lnftrengungen fiir Gtroa3, bag 
 fic^ ja con felbft cerftanb. %m norblic^en Seutfcfjlanb bagegen, roelajem 
 bie Siomantifer angefyorten, roaren biefe faft of)ne 2lu3naf)tne proteftantifc^ 
 gefc^ult unb in ber aufcerfircf)licf)en SBifjenfc^aft itnb Seben^geroofinfjeit 
 aufgeroadjfen. ie mufetcn bafjer gleic^fam fidj felbft erft in^ fatdolifc^e 
 2>biom itberfe^en, ba^ nic^t ifjre 3flutterfpracf)e roar ; fie fatten bort frii^= 
 Heitig fc^on com Saume ber Grfenntni^ genafc^t unb jene fat^olifdje lln= 
 befangenfjeit unb Unfc^ulb oerloren, bie, roeil fie e ganj ift, faum roeifi, 
 bafj fie fat^olifc^ fei; e^ fefjlte i^nen mit^in ber natiirlic^e SBoben einer 
 latljolifc^en efinnung, bie allein nermogenb roar, i^re Uberjeugungen 
 jur lebenbigen poetifc^en (Srfcfjeinung 311 bringen. Safjer ifjre unficb,ere 
 altung, biefer gemacfyte, fprung^afte, forcierte ^at^oliji^mug, ber, ftet3 
 unbefriebtgt, immer iiber fid) felbft f)inaugge^t. Eichendorff. 
 
 25a Seben ift etroa^, roie ^r&e'V Zone itnb ^raft. 2)er 3tomantifer 
 ftubiert ba^ Seben, rote ber 2JJaler, 2J?ufi!er unb aWed^anifer ^-arbe, Son 
 unb ^raft. orgfaltigeg tubium beg Sebeng madbjt_ben^gtpmantifer t 
 roie forgftiltigeg tubium t>on ^arbe, @ef^ainm f ton wnb ^raft ben 
 3KaIer, 9JJufifer unb 3Wec^aniIer. 
 
 2)er Ionian ift collig al S^omanje ju betradjten. 
 
 2 ic .ftunft, auf cine angeneljme 2Irt 311 befremben, einen (^egcnftanb fremb 
 ^u madien imb b<x^ befannt unb an^te^enb, bajLift bie tQinanTTfdje ^Soeiif. " 
 
 3f{omantif, 2lbfolutifierung, Uninerfalifierung, Jllafftfifation beg inbi= 
 mbueUen 2JZomentg, ber inbioibuellen Situation ufro. ift bag eigentlirfje 
 SBefen ^eg JHomimttftereng. 
 
 2)er 3ioman ift gleid>fam bie freie efd^idjte, gleitf;fam bie yjlgtfyoloQie 
 
 ift romantifdjer atg roag man geroo^nlidj 2DeIt unb c^idEfal 
 nennt. 2Bir leben in einem (im gro^enunb fleinen) 3toman. S3etrad;tung 
 ber Segebenb.eiten um ung f>er. 
 
 3)ag OTarclb.en ift gleidjfam ber ^anon berJSoefie. SlQeg ^Soetifd^ 
 
 @in 3JZa'rcf)en ift rote ein Xraumbilb, oljne 3"fa"nten^ang. (Sin @n= 
 f emble rounberbarer 2)inge unb 33egebenb,eiten, j.33. eine mufifalifcfje ^^an 
 tafie, bie fjarmonifdjen^olgen einer 2(olg^arfe, bie Siatur felbft. Novalis. 
 
 [183]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 rcir bod) lieber bag efufyl, roarum eg 3. 33. fogar eine egenb 
 romantifd) nennt. (Sine Statue fdjliefjt burd; ifyre enge unb fdjarfe Urn* 
 fdjreibung jebeg 9{omantifd)e aug; bie 2Jialerei nafjert fidj fcfyon burclj 
 Sftenfcb/ensSruppierungen ifym mefyr unb erreicb,t eg ob,ne3JZenfd)en in &anb= 
 fcfjaften, 5. 33. in (Haube. (Sin fyoUanbifdjer arten erfdjeint nur alg ber 
 SBiberruf jei>e3 31mnantifd)en, aber cut englifdjer, ber fidE) in bie unbe= 
 ftimtnte ^anbfcfjaft augbeljnt, fann ung mit einer rontantifdjen egenb 
 itmjpielen, b. 1). mit bent intergrunbe einer ing djone frei gelafjenen 
 ^Sfjantafie. . . . 3Ber ift nun biiMutter biefer_3toumntii ? Slllerbingg 
 nirf)t in jebem Sanbe unb Safyrljunberte bie d3rift(idi^3ieliaion^ aber iebe 
 anbere ftef)t mit biefer otteg=2JJutter in 93erroanbtfd;)aft. Qmei romanti= 
 fd^e attungen ofyne f)riftentum, einanber in 2lugbilbung nrie in ^lima 
 fremb, finb bie inbifdEje, unb bie ber (Sbba. Sie altnorbifd^e mefjr ang 
 rfjabene grenjenbe fanb im djattenreid^e i^rer f limatifd^en oerfinfterten 
 d^auernatur, in if)ren 31ad^ten unb auf ifjren ebirgen jum efpenfter= 
 orlug eine grenjenlofe eifterroelt, raorin bie enge innenroelt jerflo^ unb 
 t>erfanf ; ba^in ge^ort Dffian. . . . 2)ie inbifd^e SRomantif beroegt fid) in 
 einer allbelebenben Religion, rceld;e t>on ber innenroelt burd) 33ergei= 
 fterung bie djranlen roegbradg. . . . 9Bir gelangen nun jur djriftlidjen 
 3lomanti{. . . . 2)er 3littergeift ber ofjne^in ^iebe unb 3fieligion, Dame 
 unb Notre-Dame, nebeneinanber auf feine ^atjnen ftidte unb bie Rwute 
 ji'tge, toelcfye man jroeiteng ju 33atern ber 3tomantif madjte, finb Sinber 
 ber drjriftlidjen. Jean Paul. 
 
 2)ie romantifdje ^Soefie ift eine progreffice Unioerfalpoefie. S^re 93e= 
 ftimmung ift nidjt blo^, alle getrcnnte attungen ber ^oefie roieber ju 
 oereinigen, unb bie ^jjoefie "nut ber ^pfyilofopfyie unb 3i^etorif in 33eriif)= 
 rung ju fe^en. @ie roill, unb foil aud) ^Joefie unb v }kofa, enialitat unb 
 iiritil, ^unftpoefie unb 9laturpoefie balb tnifdjen, balb t>erfd;me[jen r tie 
 ^Poefte (ebenbig unb gefellig, unb bag Seben unb bie efellfdjaft poetifd) 
 madden, ben 2Bi poetifieren, unb bie $ormen ^er 5?unft mit gebiegenem 
 93ilbunggftoff jeber 2lrt augfitllen unb fattigen, unb burdj bie djraingen 
 beg Swmorg befeelen. @ie umfa^t alleg, rcag nur poetiftt) ift, oom gro^= 
 ten roieber me^re qfteme in fid) ent^altenben nfteme ber 5hmft, big ju 
 bem eufjer, bent u$ f ben bag bid)tenbe .^inb aug^aud)t in lunftlofem 
 efang. . . . @ie ift ber ^6d)ften unb ber allfeitigften S3ilbung fa'^ig. . . . 
 35ic romantifd)e ^Soefie ift unter ben Mnften roag ber 3Bi^ ber ^3^10= 
 fopf)ie, unb bie efellfd^aft, Umgang, ffreunbftfjaft "i> Siebe im Seben 
 ift. 2lnbre 25id;tarten finb fertig, unb lonnen nun oollftanbig jergliebert 
 raerben. 2)ie romantifdje Sidjtart ift nod) im SCerben ; ja, bag ift if)t 
 eigenttid)eg SBefen, bafe fie eipigjntrroerben, nie ooUenbetJein I ann. @ic 
 
 [184]
 
 SOME DEFINITIONS 
 
 fann bitrdj feine Sfjeorie erfd)5pft roerben, unb nur eine bioinatorifdje 
 $ritif biirfte eg roagen, iljr ^beal d)arafterifieren ju roollen. ie allein 
 ift unenblitf), roie fie allein frei ift, unb bag alg ib,r erftegefe$ anerfennt, 
 bafe b"|FSilIfuf)r beg Sidjterg fein efefc iiber fidj leibe. Sie romantifd)e 
 2>id)tart ift bie einjige, bie mefjr alg 2lrt, unb gleidjfam bie id)tfunft 
 felbft ift : benn in einem geroiffen inne ift ober foil alle ^Boefie romantifd) 
 fein. Friedrich Schlegel. 
 
 2Bag ift 3Jomantif ? 2JZan erinncrt fic^ melleidjt, . . . ba id) anfang^ 
 mit eintgen bid en Srrtunmn unb Uberfd)d^ungen . . . auf biefe mobernc 
 SBelt Io3gegangen bin. . . . ^dj nerftanb ben p^ilojop^ifd;en ^Sefftmi^mu^ 
 beg neunjeljnten Sa^^unberts, roie al^ 06 er bag ijmptom von fjofjerer 
 ^raft bes ebanfeng, Don oerroegenerer Xapferfeit, von ftegreidjerer -uUe 
 beg i?e6en3 fei. . . . Sn^Sleidjen beutete id; mir bie beittfdje 3)Jufif jured^t 
 jum Slugbrucf einer btonijfifdjen SWiidjtigfeit ber beutjdjen eele. . . . 
 2JJan ftefjt, id) oerfannte bamalg, foroofyl am p^ilofop^ifdjen ^peffimig= 
 mug roie an bcr beutfctycn SJhtfif, Sag roag i^ren eig^ntlid>ett-^arafter 
 augmad)t j^Jtomajxtil^ SBag ift 31otnantif ? Sebe unft, jebe ^ilo= 
 fopfjie barf alg eil= unb fpiilfsmittel im Sienfte beg road^fenben, fa'mp= 
 fenben Sebeng angefe^cn toerben. @ie fe|en immer Seibefl^mb geibenbe 
 uoraug. 2lber eg gibt jroeierlei Seibenbe, einmal bieanttBerfurie beg 
 Sebeng Seibenben, . rTunb"fob4Wl 6te~an ber SSerarmung beg Sebeng 
 Seibenben, bie Stu^e . . . fudjen, . . . ober aber ben 9jaufdj. . . . Sent 
 Soppelbebiirfnifje ber 2e$teren entfpridjt aHe Siomantil in unften unb 
 rfenntniffen, i^nen entfpracf) ebenfo djopen^auer alg 9iid;arb 
 SBagner. . . . S)er 3ieid)fte an Sebengfiille . . . lann fid; nidjt nur ben 
 Slnblid" beg 5iird;terltd)en . . . gonnen, fonbern felbft . . . jeben i'ujug 
 oon 3wftorung. . . . Umgefefyrt roiirbe ber Seibenbfte ... bie ^rieblidj; 
 feit . . . notig ^aben. . . . 3>n >infid;t auf alle dftb/etifdjen 2Berte bebienc 
 id; mid; je^t biefer auptunterfd)eibung : id) frage in jebem einselnen 
 galle, ,,ift br_45ujujer ober bcr Uberflu^ fd)5pferifdj geroorben ?" . . . 
 3Son oorn^erein m6d)te7icg eine anbere llnterfd)eibung me^r ju etnpfefylen 
 fd)einen, namlid) bag Slugenmerf barauf, ob bag SSerlangen nad) . . . 33er= 
 eroigen . . . ober nad) 3erftontttg ift. . . . Slber beibe 2Irten erroeifen fid) 
 nod) alg jroeibeutig. . . . Sag 33erlangen nad) 3rftorung . . . fann ber 
 3lugbrud ber iiberfiillten 5?raft fein (biomjfiftf)), . . . aber eg fann ber <j?afj 
 beg ntbeljrenben fein, ber ^erftoren mu^. . . . Ser JBiHe jum SSereroigen 
 bebarf gIeid)faQg einer jroeifadjen Interpretation. r fann einmaf aug 
 Sanfbarfeit fommen (apoUonifd)) 3?ubeng, >afig, oetb/e . . . er 
 fann aber aud> ber tt)rannifd)e 2BiIIe eineg d)roerleibenben fein, ber an 
 alien Singen gleid)fam 3?ad)e nimmt. . . . i^ifreg ift ber romantijrije
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 'ipefftmigmug in feiner augbrucfoollften $orm, fei eg alg dEjopenfyauerfdije 
 21Ullenspl)Uoi~op[)ie, fei eg alg SBagnerfcfje 2JJuft!: ber romanttftfje tytfs 
 fimigmug, bag le|te grofje retgnig im tfjicffal unferer ihiltur. (Safj 
 eg nocf) einen ganj anberen ^efftmigmug geben fonne, einen Ilafftfdcien, 
 biefe 2l^nung gefyort ju mir . . . nur ba^ metnen D^ren ba3 2Bort 
 ,,Haffifrf)" tiberftef)t, eg ift fcei roeitem ju abgebraudgt, ju runb unb 
 unfenntlicf) geroorben. 2>dj nenne jenen ^Seffttnigmug ber 
 ben bionriftfcfyen ^efftmigmug.) Nietzsche. 
 
 @o bin id) enblid; bir entronnen, 
 
 tabt ber ^ritil unb ^olittf, 
 
 SKitf; locEt fjinaug ber SJaiennionnen 
 
 Unnriberftefylidje 2Kuftf. 
 
 gofjr I)in, bu ^arm ber Qeitunggblatter, 
 
 35er roiberraartig geUenb fd^allt, 
 
 3JJir ift, alg fort' id orngefd)metter 
 
 2lug etnem fernen Sticfjenroalb ! 
 
 Unb nun tnit ^eil'gem 2JZorgenftra^Ie 
 garbt fid ber otf)n>alb griin unb falb, 
 3u ^iiften mir bag riin ber Sale, 
 gu aupten mir bag 33lau ber 2llp. 
 S)ie Serdje fteigt in ^tatterfdciroingung, 
 tumm auggebreitet fdgrcimmt ber 2Bet^, 
 Sag 3leE) burc^bric^t bie Saubtjerfcplingung, 
 llnb aug bent trome fd;aut bie get. 
 
 @g fpielen bunlelrote Sifter 
 ^n nteineg ^eldgeg ^urpurnarfjt; 
 Sir fei, o 5laiferin ber id)ter, 
 Stomantif, biefer XrunI gebrad^t! 
 SSor beiner @rbe, beinem SBaffer, 
 3n beiner Sttft unb beinem Sid^t, 
 28o mir lein 2Rt^laut beiner gaffer 
 Sen fel'gen Siaumel unterbrtd^t. 
 
 Su tfjii^erin beg ^eit'gen rabeg, 
 $riemh,ilbe, bie um iegfrteb roeint, 
 efpieltn bu beg 3Wonbegftraf)leg, 
 Ser iiber elbengraber fdjeint, 
 
 [186]
 
 SOME DEFINITIONS 
 
 2)u bift efang im tromgeroQe 
 Sfaum, 
 
 2)u jogft juerft in3 SBunberoolIe 
 2)e3 erften 25id)ter3 SJJaientraum. 
 
 2)u roarft $rau 33enu3 bem Xann^dufer 
 
 tlnb Sorelei bem alien SR^ein, 
 
 S)u fdjroirrft am 2eic^ burc^ 3i^erretfer 
 
 2H3 rlenlonigg Xoc^terletn. 
 
 llnb feit bag SSolf, ba fampfe^blinbe, 
 
 35id^ jiingft cerftie^ von feiner eit', 
 
 Srinfft bu tm SBalb bie Wiid) ber inbe, 
 
 23ie enooeoa unfrer Qeit. 
 
 tlnb bod^, 33erfto^ene burcf) 3Serblenbung, 
 2Sie bift bu reid) tro^ 3 e ^ un ^ 3 orn ' 
 2)u leerft in gottlic^er SBerfc^roenbung 
 Zagtaglic^ noc^ bein SBBunberb/orn. 
 Sd) griie bidj mit frommem Sinne, 
 3Bie ift bein 3ietdj fo grim unb roeit ! 
 33u gitrftin oielgetreuer 2Rinne, 
 @ei taufenbmal gebenebeit! 
 
 frf^roeigt bie 2Belt, bie 3roeige nirfcn, 
 
 llnb leifer atmenb pulft ber See. 
 
 @ fallt ein marcf)en^aft ntjiitfen 
 
 3Kir iiber^ Serj roie Sliitenfdjnee. 
 
 3ur Slnbadjt roirb ber flatter ^Slaubern, 
 
 ^rfiircb,tig liegt bie SBoge bo; 
 
 ^a, frommeS 3l^nen, fufee3 djaubern, 
 
 ^etl bir, Stomantif, bu bift nab, ! 
 
 Von Strachwitz
 
 SECTION III 
 
 GENERAL TREATISES 
 
 One of the idiosyncrasies in connection with the gen- 
 eral studies on German Romanticism is the fact that the 
 members of the older group have been much more studied 
 than their younger and, as poets, more highly gifted 
 brothers in Apollo. And one of the most glaring in- 
 consistencies in connection with the whole movement 
 is the fact that, although the nineteenth century was 
 essentially historical, .and although the Romantic move- 
 ment is associated and hopelessly bound up with Ger- 
 many's greatest historians, neither the science of writing 
 history nor the history of the movement has ever been 
 written. F. C. Dahlmann (1785-1860), J. J. I. v. Dollinger 
 (1799-1890), J. G. Droysen (1808-1884), Fr. v. Gentz 
 (1764-1832), Th. Mommsen (1817-1903), J. v. Muller 
 (1752-1809), B. G. Niebuhr (1776-1831), L. v. Ranke 
 (1795-1886), Fr. L. G. v. Raumer (1781-1873), H. v. 
 Sybel (1817-1895), H. v. Treitschke (1834-1896), all 
 of these were famous historians, each in his own way, 
 during the days of Romanticism and a little later, yet no 
 one, not even Lamprecht, has traced the evolution of 
 historiography as brought about by these men and their 
 less noted contemporaries. Peculiar as this is, it is not 
 so peculiar as the fact that, despite all the books that 
 have been written on Romanticism, no one has ever 
 
 [188]
 
 GENERAL TREATISES 
 
 attempted to write a history of the movement, to trace 
 it, objectively, through the various stages of its develop- 
 ment and to point out its most important incidents without 
 digression or self -intrusion. 
 
 The student, therefore, who reads any of the following 
 works hoping thereby to obtain a clear view of the move- 
 ment as a whole, will be disappointed. The list is in 
 itself, however, instructive. Heine, the most difficult in- 
 dividual to locate, wrote a fascinating monograph for a 
 foreign people. He did not take his subject seriously ; 
 no one else did then, excepting, possibly, the poets them- 
 selves. Eichendorff followed him, a quarter of a century 
 later, with his Catholic propaganda. No one can blame 
 Eichendorff for his attitude. He was a Catholic himself, 
 and Romanticism was not Protestant. Then came Haym 
 with his definitive scholarship. This is just about the 
 order to be expected. After Haym the dissertations be- 
 gan to appear. It was, however, another quarter of a 
 century before Brandes wrote his fascinating book 
 Romanticism lends itself well to such treatment. Then 
 came Huch with her two Romantic studies, and a year 
 later Spiess thought the movement now justified a chres- 
 tomathy on popular lines. Gustav Schwab had done the 
 same thing, years before, in unwieldy proportion. It is 
 rather difficult to vindicate Joachimi's work, except that 
 she wished to explain the Romantic theory and wisely 
 selected Friedrich Schlegel for this purpose. Kircher 
 reminds one of an immature Haym with a strong tinge 
 of Jakob Boehme's mysticism. Walzel tried to condense 
 a lot of matter into a little space and incidentally to ex- 
 plain the origin of Romanticism. Beginners cannot read 
 
 [189]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 his book. And Wernaer, rather happily for the last in 
 the series, tried to draw the moral. The general student 
 should read Heine first, then Haym by way of contrast, 
 then Wernaer. 
 
 1833. Heinrich Heine: 2)ie ^Otttdtttifdje djllle, Leipzig, 152 pp. 
 
 (Written in the last months of 1832, intended originally for 
 the French, translated, modified and revised until 1836. Elster 
 gives complete text and variants. Great divergence of opinion 
 as to merits, especially from the standpoint of Heine's religious 
 and political attitude. Cynical and clever, sometimes slightly 
 inaccurate as to details, it remains a valuable pioneer work on 
 the subject. Predominantly popular.) 
 
 1857. Joseph von Eichendorff : efo*)id)te ber poetifdjen Siteratur 
 3)eutfd)lanb, Paderborn, 262 pp. 
 
 (Discusses Romanticism in general and 21 of the main 
 poets in particular. Written wholly from the Catholic stand- 
 point and therefore at times prejudiced, but on the whole accu- 
 rate and always suggestive. Predominantly doctrinal.) 
 
 1870. Rudolf Haym: 3)ie romcmttfd)e (SdEjute, Berlin, 951 pp. 
 
 (The classic work on German Romanticism. Author devoted 
 ten years of hard labor and ripe scholarship to its composition. 
 The exact opposite of Heine's book ; his name is not men- 
 tioned. Indebtedness acknowledged to Gervinus, H. Hettner, 
 J. Schmidt, and Koberstein, but the work is Haym's. Treats 
 only the old school : Tieck, Wackenroder, the Schlegels, 
 Holderlin, Novalis, Schleiermacher, Schelling and Brendel 
 Dorothea Mendelssohn-Veit-Schlegel, and in this order. Now 
 rare; the best book on the subject. Predominantly genetic.) 
 
 1894. Georg Brandes : 2)ie rotnanttfdje djule in 3)eutfd)lanb, trans- 
 lated by Adolf Strodtmann, Leipzig, 317 pp. 
 
 (One of the most brilliant and suggestive works on German 
 Romanticism. Written, however, from a questionable point of 
 view : German Romanticism is compared with Danish Roman- 
 ticism. Contains some scintillating but untenable generali- 
 ties. Treats, aside from general topics, Tieck, Holderlin, 
 the Schlegels, Wackenroder, Hoffmann, Chamisso, Novalis, 
 Eichendorff, Arnim, Brentano, Fichte, Arndt, Jahn, Fouque, 
 Kleist, Werner, Gb'rres, Gentz, and in this order, with occasional 
 
 [I 9 0]
 
 GENERAL TREATISES 
 
 digressions to their contemporaries in England, France and 
 Scandinavia. Gives the impression of a series of lectures 
 rather than of a coherent discussion. Predominantly critical.) 
 1899. Ricarda Huch : 33liitejeit ber SWomantif, Leipzig, 391 pp. 
 
 (A superb study by a romantic writer. Treats Romantic 
 themes rather than poets : Apollo and Dionysos, philosophy, 
 religion, life, love, irony, books, the fairy tale, art, death all 
 from the standpoint of the German Romanticists. Predomi- 
 nantly descriptive.) 
 
 1902. Ricarda Huch: 2lubrettung unb SBerfall ber 3?omontif, Leipzig, 
 
 357 PP- 
 
 (Slightly inferior to the companion volume, but excellent. 
 Title not accurate : Romanticism never completely fell. Treats 
 Romantic themes rather than poets : view of life, science, 
 numbers, man, animals, careers, Catholicism, the infinite, physi- 
 cians, politics. Deals almost exclusively with the Heidelberg 
 group, as her first volume deals with the Berlin-Jena group. 
 Contains a bibliography of 132 titles, only 18 of which are on 
 literature as such. Predominantly descriptive.) 
 
 1903. Heinrich Spiess : 2)ie beutfdjen Stomantifer, Leipzig and Wien, 
 
 246 pp. 
 
 (Good general anthology. Contains introduction and notes 
 and selections from the prose and poetry of A. W. Schlegel, 
 Fr.Schlegel,Tieck, Novalis, Holderlin, Kleist,Arnim, Brentano, 
 Fouque, Chamisso, Eichendorff, Wackenroder, Schleiermacher. 
 Poetry, 127 pages; prose, 54 pages. Predominantly eclectic.) 
 
 1905. Marie Joachimi: 35ie SBeltanfdjcmung bet SRomanttf, Jena and 
 
 Leipzig, 236 pp. 
 
 (A good work, but contains little not in Haym. Based 
 primarily on Friedrich Schlegel. Contains many well-chosen 
 quotations. Treats the Godhead, the universe, humanity, 
 poetry, genius and art from the standpoint of the German 
 Romanticists. Predominantly explanatory.) 
 
 1906. Erwin Kircher : 5|Bf|iIofopf)te bet Siotnantif, Jena, 294 pp. 
 
 (More interesting than valuable. Contains little not in Haym 
 or Huch. Printed from the literary remains of the author, 
 who died at the age of twenty-three. Not always clearly ex- 
 pressed. Contains chapters on life, Hemsterhuys, Fr. Schlegel, 
 Novalis, Schelling and general topics. Well printed. No 
 index, no bibliography. Predominantly philosophic.) 
 
 [191]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 1908. Oskar F. Walzel : 3)eutfdE)e 3tomcmtif, Leipzig ("Aus Natur und 
 Geisteswelt "), 168 pp. 
 
 (Excellent sketch. Devoted primarily to the Berlin-Jena 
 group. Attempts to explain the origin of German Romanticism 
 from the philosophy of German Romanticism. Can be used 
 much better for review than for introduction. Predominantly 
 theoretical.) 
 
 1910. Robert M. Wernaer : Romanticism and the Romantic School in 
 Germany, New York, 1910. 
 
 (An excellent book for the initiated. Deals with the Berlin- 
 Jena group and tries to see what the members of this group 
 stood for, and what lessons they can teach us. Resembles the 
 books by Huch. Contains a bibliography of 1 52 titles and an 
 index. Predominantly appreciative and didactic.) 
 
 [ I 9 2]
 
 SECTION IV 
 
 GENERAL TREATISES ON SPECIAL PHASES 
 
 Even a cursory glance at the following list of mono- 
 graphs will reveal two things : the wide range of topics 
 that fall under the general head of Romanticism, and the 
 fact that, though the flourishing time of Romanticism 
 closed with the year 1815, the movement was not studied 
 at all seriously until after 1890. The reason for this late 
 attempt to adumbrate the invisible, and to tone down and r 
 subdue the glaring in the Romantic universe, lies in the 
 nature of things ; men need time to think such a move- 
 ment over ; and then, in course of time, they need themes 
 on which to think. The reason for the comprehensiveness 
 of the field lies in the fact that the Romanticists were in- 
 novators ; they had many notions and were full of ideas. 
 Some of their suggestions and endeavors were good and 
 have borne much fruit ; others were dangerous and have 
 been harmful. But all were interesting and provocative 
 of suggestion. 
 
 The subjoined bibliography might be compared to the 
 mineralogical collection of the geologist ; it contains speci- 
 mens of Romantic creations, and from them one can see 
 where Romanticism tended. There was, for example, 
 such a thing as Romantic style, and its study has gained 
 the attention of such men as Hiigli, Petrich and Schiitze. 
 Women came in for much discussion during this period, 
 
 [193]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 and the works of Carriere, Sidgwick, Walzel, Gschwind, 
 Graf, Deibel and others have gone into the matter, and all 
 literature Rationalism, Realism, Romanticism is now 
 better understood. Verse and strophe forms, the tech- 
 nique of the lyric, the epic, the drama were revived and 
 revised by the Romanticists, and Bartsch, Welti, Minor, 
 Keiter and Pflaum have investigated this phase of the 
 period with enduring results. Benz throws bright light 
 on the fairy tale, Wachtler shows what Poe owed to 
 German Romanticism, Dreeser tells of the relation of the 
 author of " Immensee " to the movement, Williamson has 
 corralled the facts concerning Grillparzer's unsympathetic, 
 when not antagonistic, attitude toward the Romanticists 
 and their writings, Kirn has set forth Schleiermacher, 
 the Protestant preacher of the predominantly Catholic 
 movement, Joel has written a book big with interest on 
 Nietzsche and Romanticism, and so on. These works in- 
 vestigate the truth and picture it without embellishment ; 
 they are valuable. 
 
 Though the list is long, there still remains to be written 
 one work at least : " Die Asthetik der deutschen Ro- 
 mantik." In view of the fact that the Romantic move- 
 ment was so largely an aesthetic one, it is peculiar that a 
 monograph on this phase of the matter has not been written. 
 It has received fragmentary treatment in many places ; it has 
 received definitive treatment nowhere. The Romanticists 
 themselves wrote, to be sure, on aesthetics ; one needs only 
 to be reminded of Solger's magnum opus, of Jean Paul's 
 11 Vorschule der Asthetik," and of Wilhelm von Humboldt's 
 "Ansichten uber Asthetik und Literatur," consisting, 
 unfortunately, only of his letters written to C. G. Korner.
 
 GENERAL TREATISES ON SPECIAL PHASES 
 
 The work was edited by F. Jonas in 1880. And one 
 needs only to recall the many scattered commitments on 
 this subject by the Schlegels, Novalis, Schiller, Wacken- 
 roder and others. But the works of the Romanticists on 
 aesthetics, and their general ideas about aesthetics as seen 
 by the investigator, these are two totally different affairs. 
 And it is one thing to read Friedrich Bouterwek's "As- 
 thetik " (1815), it is another to determine the fundamental 
 characteristic of the aesthetics of the poets who lived during 
 Bouterwek's time. Nor does such a work as G. Neudecker's 
 " Studien zur Geschichte der deutschen Asthetik seit 
 Kant" (1878) satisfy the student of literature. In this 
 work one hears a great deal about Kant, Vischer, Zim- 
 mermann, Lotze, Kostlin, Siebeck, Fechner, Lange and 
 Deutinger ; one hears nothing about the same number of 
 poets, and what they said, sometimes between the lines, 
 on this subject, a subject, incidentally, that the student 
 can ill afford to divorce from his first love the study 
 of literature. 
 
 Of the works here listed, the first and fourth call for 
 special comment. W. von Blomberg had published in 
 the Rheinisch-westphalischer Anzeiger in 1820 a satire 
 against Romanticism, in which he drew a sharp line be- 
 tween Romantic and plastic poetry. Heine, in one of the 
 very first scientific articles ever written on Romanticism, 
 denied the existence of any such contrast and tried to 
 corroborate his thesis by referring to the fact that the two 
 greatest Romanticists, Goethe and Wilhelm Schlegel, were 
 both supreme masters of plastic form. In the light of 
 modern times, one can only smile at the illustration Heine 
 uses ; but there is sense in what he was driving at, for to 
 
 [195]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 contend that none of the creations of the Romanticists is 
 plastic is nonsense. It is in this same article that Heine 
 defends Romanticism from the view held then, and now, 
 by the unread laity, in the following words : 5lber me unb 
 nimmcrmefjr ift basojemge bte toafyre SRomanttf, toa3 fo ttie(e 
 bafiir au^geben ; ndmlirf) : etn emengfel bon fpamfdjem 
 (Sdjtnelg, fcfyotttfdjen 9?ebe(n unb ttaltenifdjem e!h'nge, tier* 
 toorrene unb Derfdjttnmmenbe SBitber, bte gletdjfam au< etner 
 3cwberlaterne au3gegoffen toerben unb burc^ bunted $arben= 
 [ptel unb frappante SBeteud^tung feltfam ba emiit erregen 
 unb ergotjen. As a picture of what German Romanticism, 
 in its best manifestations, is not, these words of Heine, 
 though he later nearly took them back, should be kept in 
 mind by any student of the movement who wishes to find 
 the wild flowers in this unfenced field. 
 
 Ludwig Noack's book is even more than the title indi- 
 cates. ScJieJUng lived from 1775 to 1854; his mature 
 years just about cover the Romantic period, of which he 
 was the philosopher. Noack has not only discussed his 
 philosophypHe has also set forth the many and enduring 
 and epoch-making scientific discoveries and advances that 
 made the Romantic century so illustrious. The general 
 student of literature can hardly be expected to step aside 
 and read what took place in the chemical, electrical, 
 medicinal, and physical world from 1766 to 1866. If, 
 however, he wishes to do special work on a special 
 phase of the period, he may be obliged to go into this 
 part of the matter. And if so, he will find Noack a safe 
 guide and a good, though very serious, friend. To un- 
 derstand Noack, scientific training is an indispensable 
 prerequisite. 
 
 [196]
 
 GENERAL TREATISES ON SPECIAL PHASES 
 
 1820. 2)ie Komantil. By Heinrich Heine. Written against W. von 
 Blomberg, who had maintained that there was a contrast be- 
 tween Romantic and plastic poetry. 3 pp. 
 
 1835. Reflexions sur le romantisme dans la litterature franfaise, et re- 
 futation de quelques opinions erronees auxquelles il a donne 
 lieu en Allemagne. By F. E. Bournot, Brandenburg. 31 (large) 
 pp. 
 
 1841. 2ld)im von 2lrnim unb bie 9iomantif. 2)ie (Mnberobe. By Moriz 
 Carriere, Griinberg and Leipzig. 44 pp. 
 
 1859. Celling unb bie ^Hofopljie ber 9iomantif. By Ludwig Noack, 
 Berlin, 2 volumes. 1094 pp. 
 
 1864. 3)ie neuere Slomantif in ifjrem Gntftef)en unb iljre Sejieljungen jur 
 gid)tefd)en S|Bf)ilofopf)ie. By J. H. Schlegel, Rastatt. 123 pp. 
 
 1873. iiber bie ntftef)ung unb Gntroicfelung be3 efiifjte fiir ba3 9io= 
 tttantifdje in ber 9Zatur. By Ludwig Friedlander, Leipzig. 
 
 45 PP- 
 
 1878. 2)rei ^apitel oont romantifd)en til. By Hermann Petrich, Leip- 
 zig. 1 52 pp. 
 
 1878. liber ben Segriff beg 5lomantifd)en. By J. H. Schlegel, Wertheim. 
 
 36 (large) pp. 
 
 1879. 2tt romantifd)e c^ule in 2)eutjd^lanb unb in iyran!rei$. By 
 
 Stephan Born, Heidelberg. 23 pp. An excellent treatise. 
 1881. 9lomantifer unb germaniftifc^e tubien in eibelberg 1804-1808. 
 By Karl Friedrich Bartsch, Heidelberg. 21 (large) pp. 
 
 1883. (SidjenborffS 2lnfidjten iifcer romantifd)e ^Soefte im 3ufantnienf)ange 
 
 ntit ber 2)oftrin ber romantifdjen djule. By Richard Dietze, 
 Leipzig. 70 pp. 
 
 1884. efdu'djte beg onette in ber beutfdjen Did;tung. By Heinrich 
 
 Welti, Leipzig. 255 pp. 
 1889. Caroline Schlegel and her Friends. By Mrs. Alfred Sidgwick, 
 
 New York. 255 pp. 
 
 1891. JRomantif unb 9Jaturali3mu. By Eberhard Kraus, Mitau. 51 pp. 
 1895. cf)Ieiertnad)er unb bie Stomantif. By Otto Kirn, Basel. 40 pp. 
 1899. 25ie gru^jeit ber 3?omantif. By S. Lublinski, Berlin. 152 pp. 
 
 Volume I in the four volumes of " Litteratur und Gesellschaft." 
 
 1899. ^einrid) ipeine unb bie beutjd^e Siomantif. By Otto zur Linde, 
 
 Freiburg im Breisgau. 219 pp. 
 
 1900. Sofepf) orreg al3 erauge6er, Sitteratur^iftorifer, flritifer im 
 
 3ufammen^ange mit ber jiingeren S^omantif . By Franz Schultz, 
 Berlin. 48 pp. 
 
 [197]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 1900. 2)ie romanifd)en tropfjen in ber 3)icf)tung beutfcf)er 5Romanti!er. 
 
 By Emil Hiigli, Zurich. 102 pp. 
 
 1901. The Influence of India and Persia on the Poetry of Germany. 
 
 By Arthur F. J. Remy, New York. 81 pp. 
 
 1901. 3tomantil, 9teuromantif unb bie grauenfrage. By Oskar F. Wal- 
 zel. In Archiv fur das Studium der neueren Sprachen und Lit- 
 teratur, Volume CVII. 
 
 1901. 2)a Siebe^le&en iplberlinS, SenauS, >eine. By Oskar Klein- 
 
 Hattingen, Berlin. 326 pp. 
 
 1902. fteufyocfybeutftfje 2Mrif. By J. Minor, Strassburg. 537 pp. 
 
 1903. 2)ie etfyij'cfyen 9Jeuerungen ber griif)=3iomantif. By Hermann 
 
 Gschwind, Bern. 136 pp. 
 
 1903. 3tol)el 33arnf)agett unb bie Jtomantif. By Emma Graf, Berlin. 
 
 106 pp. 
 
 1904. 3 c ttfdjriften ber 3tomantif. By O. Fr. Walzel and Heinrich Hub. 
 
 Houben, Berlin. 524 (quarto) pp. An invaluable and indispen- 
 sable collection. 
 
 1904. S5ie ^robleme ber 9Jomanttf al3 runbfragen ber egenroart. 
 By Oscar Ewald, Berlin. 227 pp. 
 
 1904. Xfjeorie beg 9ioman unb ber rja^lfunft. By Heinrich Keiter and 
 Tony Kellen, Essen-Ruhr. 314 pp. 
 
 1904. Sdfofc Soefjme unb bie 9lomantifer. By Edgar Ederheimer, Hei- 
 delberg. 128 pp. 
 
 1904. SBUfjelm einfe unb fern infhrjj auf bie 3tomantil. By Hans 
 Nehrkorn, Goslar. 85 pp. 
 
 1904. -JMe^fcfje unb bie S'lomantif. By Karl Joel, Leipzig. 367 pp. 
 
 1904. 2Bielanb 33estef)ungen ju ben beutfd^en 9iomanttfern. By Ludwig 
 Hirzel, Bern. 100 pp. In llnterfuc^ungen jur neuern @praa^= 
 unb &itteraturgefcJ)id[)te, Volume 4. 
 
 1904. Romantisme et Protestantisme. By E. Dubedout. 16 pp. In 
 Modern Philology, Volume I, No. i, pp. 117-133. 
 
 1904. Spfeuboromanti! : ^rtebrtcf) $inb unb ber 2)regbener SieberlreiS. 
 
 By H. A. Kriiger, Leipzig. 219 pp. 
 
 1905. Types of Weltschmerz in German Poetry. By Wilhelm Alfred 
 
 Braun, New York. 91 pp. Treats Hblderlin, Lenau, Heine. 
 1905. 2)er tnagifdje 3>beali3mu3. tubien jur ^p^ilofop^ie be 9totwU. 
 
 By Heinrich Simon, Heidelberg. 158 pp. 
 1905. 2)orotfjea d^Iegel ate <Sd)rift(teEerin im 3ufammen^ange mit ber 
 
 romantifcf)en C^ule. By Franz Deibel, Berlin. 188 pp. In 
 
 Palaestra, Volume 40. 
 
 [I 9 8]
 
 GENERAL TREATISES ON SPECIAL PHASES 
 
 1905. 2lbal6ert tifter unb bie 3totnantif. By Wilhelm Kosch, Prag. 
 129 pp. In Prager dentsche Studien. 
 
 1905. 3tomantifcf)e lemente bei Sfjeobor torm. By Willrath Dreeser, 
 
 Dortmund. n6pp. 
 
 1906. liber bie ntroicfelung be romantifdjen ^unftma'rcfjenS. By Her- 
 
 mann Todsen, Berlin. 123 pp. 
 
 1906. tubien jur neufyod&beutfdjen egenbenbicf)tung. in 33eitrag jur 
 efdjidjte be beutfd)en eifteSlebenS. By Paul Merker, Leip- 
 zig- i53 PP- 
 
 1906. >ie ntnricfelung beg ;JJaturgefu&I in ber beutfdjen Sitteratur be 
 neuitjef)nten2>a&rf)unbert3. By Siegmar Schultze, Halle. 170 pp. 
 
 1906. griebrid) iec! : in Seitrag jur beutfo)en ^unftgejd)id)te im 3t= 
 
 alter oet^e unb ber Siomanti!. By Edmund Hildebrandt, 
 Leipzig. 203 (quarto) pp. 
 
 1907. $er influfe ber SRomanttf auf bie SSerttefung be^ 5RationaIgefii^Ig. 
 
 By Franz Guntram Schultheiss. In ArchivfiirKultur-Geschichte, 
 Volume 5, pp. 55 to 82. 
 
 1907. Studies in German Romanticism. By Martin Schutze, Chicago. 
 58 pp. Deals with the repetition of words as a means of sus- 
 pense in the drama under the influence of Romanticism. 
 
 1907. Def)lenfd)Itiger in feinen perfonlirf)en 33ejiebungen ju (Soetfje, tecf 
 unb i>eb6el. By Albert Sergei, Rostock. 144 pp. 
 
 I 97- 3 ur efcf)id)te ber Sjbeibelberger Stomontif. By Wilhelm Kosch. 
 10 pp. In Euphorion, Volume 14. 
 
 1907. Jean Paul Friedrich Richter and E. T. A. Hoffmann; a Study in 
 
 the Relations of Jean Paul to Romanticism. By Robert Hern- 
 don Fife, Jr., Cambridge. 32 pp. In Publications of the Modern 
 Language Association, Volume 22. 
 
 1908. $pl)ilofop&ifd)e tromungen ber egenroart. By Ludwig Stein, 
 
 Stuttgart. 452 (large) pp. Read chapter iv, " Die neuroman- 
 tische Bewegung," 58 pp. 
 
 1909. Die $oeti! ber beutfcfjen 9tomantifer. By Chr. D. Pflaum, Berlin. 
 
 70 pp. 
 1909. 3ftardjen=>idjtungber3tomantifer. By Richard Benz,Gotha. 262pp. 
 
 1909. The Romantic Triumph. By T. S. Omond, New York. Read 
 
 chapter v, " The Romantic Triumph in Germany," pages 280 
 to 345- 
 
 1910. 2)ie 3eitfd)*iften b*r Sfomantif. By Johannes Bobeth, Leipzig. 
 
 431 pp. Discusses the journals mentioned in Walzel and Hou- 
 ben's work. An invaluable book.
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 1910. 3)ie romcmtifdje 23eroegung in ber amerifanifcljen Siteratur. By 
 Walter Just, Berlin. 90 pp. Treats Brown, Poe, Hawthorne. 
 
 1910. Grillparzer's Attitude toward Romanticism. By Edward John 
 
 Williamson, Chicago. 76 pp. 
 
 1911. (Sbgar 2Ulan $oe unb bie beutfdje 9lotnantif. By Paul Wachtler, 
 
 Leipzig. 109 pp. 
 
 191 1. Protestant Thought before Kant. By Arthur Cushman M'Giffert, 
 New York. 261 pp. Though this book treats the period im- 
 mediately preceding the really Romantic epoch, it is invalu- 
 able because of the preparation it gives for the Romantic 
 epoch itself; it shows where Romantic theology came from. 
 It is delightfully written, contains a clear statement of Pietism 
 and Rationalism, and an elaborate bibliography. 
 
 1911. SRomcmttfclje JloueUen. By Josef Nadler, 2 volumes, Regensburg. 
 Contains good general introduction and notes, and novelettes 
 from Kleist, Tieck, Hoffmann, Brentano, Eichendorff, Arnim, 
 Fouque. 
 
 1911. The German Romantic " Marchen." By Robert Herndon Fife, Jr. 
 
 19 pp. In Modern Philology, Volume IX, No. 2. 
 
 1912. German Poems (1800-1850). Edited by John Scholte Nollen, 
 
 Boston. 405 pp. Contains poems from 33 poets of the period, 
 with sensible introduction and sufficient notes. 
 
 1912. 3Jomantifrf)e Bronte unb romantifcfye ^omobie. By M. Pulver, 
 Freiburg i. B. 36 pp. 
 
 1912. 3)ie (Sntnritfelung be3 $ithlen3 unb SenfenS ber 3lomantif auf 
 runb ber romantifdjen 3ettfd^rtften. By Alfred Weise, Leip- 
 zig. 188 pp. 
 
 1912. S U K U 3 9JJofen3 ^Srofa. in Seitrag jur Siteraturgefdjicfyte ber 9^0= 
 
 mantif unb be^ Sungen 2)eutfd)tanb. By W T erner Mahrholz, 
 Weimar. 115 pp. 
 
 1913. djleiermadjer unb oetfye. in Seitrag jur efcfjicfjte beg beut= 
 
 fd;en eifte^. By H. Scholz, Leipzig. 72 pp. 
 
 [ 2OO ]
 
 SECTION V 
 SECTIONAL TREATISES IN GENERAL HISTORIES 
 
 The student of Romanticism should first acquire a work- 
 ing perspective ; he should first try to see the relation of 
 the parts of the movement to each other and to the whole, 
 so that, to quote Lowell on Cromwell, he can "distinguish 
 between the blaze of a burning tar-barrel and the final con- 
 flagration of all things." This broad view can be obtained 
 by reading any of the following sectional treatises, though 
 some are naturally much better than others. To begin at 
 the beginning, Vilmar wrote eine treffltdje beutjdje Stteratur^ 
 gefdjtdjte, but his treatment of Romanticism is brief and long 
 since superseded. Only the serious student, one intend- 
 ing to do doctoral work, need linger long over Schmidt, 
 Koberstein, Gervinus and Goedeke, while Hosmer is now 
 an old model. It is with the making of books as with the 
 making of machinery, in that, other things being equal, the 
 model of this year is an improvement over that of last year. 
 
 For the general student, the year 1900 saw the first 
 absolutely valuable study of German Romanticism in a 
 general history. And if Meyer is not entirely satisfactory, 
 it is only because his book does not reach back into the 
 eighteenth century. Francke is good because of his sug- 
 gestive, if not always tenable, theory of the collectivistic and 
 the individualistic. Moore is well illustrated and contains 
 some out-of-the-way facts. If, however, one of these, his 
 
 [201]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 reference to Redwitz's "Amaranth," should lead the student 
 to look upon this as a bit of Romanticism of real literary 
 value, it would be a pity. Robertson's first work is full and 
 will give the student an excellent bird's-eye view of the 
 whole field, Coar contains good matter on the drama, Vogt 
 and Koch need no mention, and Goetze has everything. 
 Wells has some interesting material on Jean Paul; Lam- 
 precht is wordy and philosophic and yet superficial, no one 
 human being can control the material that Lamprecht in- 
 cludes ; Engd is unique in that he approaches the matter 
 not from the point of view of " movements," but from that 
 of individuals who "moved "and were "moved." To praise 
 Scherer is to carry diamonds to South Africa ; Priest con- 
 tains many facts and little discussion ; TkerraS, ctespite his 
 unsympathetic attitude, gives a sane account; of the literary 
 worth of the movement ; Kummer is the one work that most 
 nearly makes this outline dispensable. Konig contains illus- 
 trations and gives plots, Biese's discussions and estimations 
 are admirable, and Riemann is about the best work for. the 
 beginner to read in German. Of his work he says : 9ftem 
 Seftreben gef)t bafjtn, bte grofcen (SnttDtdelungSlimen, bte Gn> 
 toetterimg be3 @tofffretje3, bte tiberttrinbimg ber SRomanttf; 
 unb 2Str!Itd)fettfrf)eu, fcfyarf fjeraitgguar&etten. He has done 
 it. Robertson's latest work is literary in form, studied in 
 content, small of size and sympathetic in attitude. The 
 reading of any one of these works for purposes of general 
 orientation cannot be too strongly recommended ; to read 
 any one of them and then quit, believing that thereby a 
 knowledge of German Romanticism has been acquired, can- 
 not be condemned too strongly as one of the contagious 
 afflictions of this age from the academic point of view. To 
 
 [ 202 ]
 
 SECTIONAL TREATISES IN GENERAL HISTORIES 
 
 read, for example, the sixty-three pages of Karl Storck's 
 history of German literature that discuss " Die Romantik," 
 and then to imagine that one knows German Romanticism 
 would be like crediting one's self with a knowledge of Rome 
 after having flown over the eternal city in a monoplane. 
 That would be a rather happy way to orient one's self on 
 the city of the Caesars. But Thorvaldsen, when asked how 
 long it would take to become thoroughly acquainted with 
 Rome, replied, " I cannot say ; I have been here only 
 twenty years." A general history of German literature is 
 only a guide-book ; one must read the lyric and epic and 
 dramatic works of the Romanticists in order to understand 
 Romanticism, in order to appreciate the worth and the 
 worthlessness of the general histories that contain, among 
 many other things, a brief sketch of the most comprehensive 
 movement that ever concerned intellectual Germany. One 
 can lecture about Romanticism, now, without ever hav- 
 ing read a line of it ; one can interpret Romanticism only 
 after reading the Romanticists themselves, and not merely 
 reading about them. Aside from the general treatises briefly 
 noted above, some others of a slightly different nature are 
 subjoined. 
 
 1856. A. F. C. Vilmar: efd)id)te ber beutfdjen 9Zational=2iteratitr, Mar- 
 burg. Pages 660-695. 
 
 1867. Julian Schmidt: efdjtdjte ber beutfdjen Siteratur feit SefftngS 
 ob, Leipzig. Vol. 2, complete, 654 pages; Vol. 3, pages 1-316. 
 
 1873. August Koberstein : efcf)td)te ber beutfdjen 9tottonalliteratur com 
 
 jroeiten SBiertel be 18ten 3aljrf)unbert3 6i3 ju OoetfjeS ob, 
 Leipzig. Vol. 4, pages 543-955- 
 
 1874. G. G. Gervinus : efcfjtdjte ber beutfdjen 2>id)tung, Leipzig. Vol. 5, 
 
 pages 631-816. 
 
 1879. James K.Hosmer: A Short History of German Literature, St.Louis. 
 Pages 474-545- 
 
 [203]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 1887. Ludwig Salomon : efdEjtcfyte ber beutfcfyen SZationaUitteratur be 
 neunje^nten Si^rfjunbert^, Stuttgart, 663 (large) pages, illus- 
 trated. For the complete Romantic movement, read pages i to 
 403; "Die romantische Schule," pages 58 to 106. Contains 
 many quotations. 
 
 1898. Karl Goedeke: runbrtfj jur e[tf)id)te ber beutfdjen >id)tung, 
 Leipzig, Berlin, Dresden. Volume 6. 
 
 1900. Richard M. Meyer: Sie beutftf)e Sitteratur beg 19ten ^a^r^un^ 
 
 bert<3, Berlin. Pages 1-243. 
 
 1901. Carl Busse: efcfjtdjte ber beutfcfjen 2)idE)tung im neunjefintett 
 
 2>flfjrf)Unbert, Berlin, 162 pages; Romanticism, pages i to no. 
 Covers the ground from Klopstock to Sudermann. 
 
 1901. Georg Stockhausen: 25d3 beutfdEje 2itt(jri)Unbert, Berlin, 797 (large) 
 pages. This is the first volume of an eclectic and synthetic 
 work on the various intellectual phases of Germany in the 
 nineteenth century. Stockhausen is the editor ; there are thir- 
 teen contributors on twelve different topics. C. Busse has a 
 chapter on the literature, Max Osborn writes on art, J. Duboc 
 'and P. Wiegler on philosophy, A. Berthold on commerce and 
 law, R. Schmitt on history and Leopold Schmidt on music. 
 Such a work is of great value for the specialist in Romanticism. 
 
 1901. Rudolf von Gottschall: )ie beutftfje ^attonalUteratur be neun= 
 jefjnten ^flfyr f)unbert, Breslau. The most elaborate work on the 
 century. There are four volumes. Volume I, 670 pages, gives 
 a good account of the Romantic movement from Wieland to 
 Immermann ; Volume II, pages i to 160, covers the reaction- 
 ary period. Gottschall was himself a poet of good standing. 
 He died in 1909. His history, in its composition, goes back to 
 1855. He is the author of a number of historical, creative 
 works "Amy Robsart," " Pitt und Fox," " Katharina Howard." 
 
 1901. Kuno Francke : A History of German Literature, New York. 
 Pages 301-547. 
 
 1901. Robert W. Moore: History of German Literature, Hamilton, 
 
 N. Y. Pages 192-228. 
 
 1902. John G. Robertson: A History of German Literature, London. 
 
 Pages 399-543- 
 
 1903. John F. Coar : Studies in German Literature in the Nineteenth 
 
 Century, New York. Pages 1-225. 
 
 1904. Friedrich Vogt and Max Koch : efcfjtdjte ber beut[d(jen Siteratur, 
 
 Leipzig and Wien. Vol. 2, pages 307-429. 
 
 [204]
 
 SECTIONAL TREATISES IN GENERAL HISTORIES 
 
 1905. Edmund Goetze : runbrijj jur ei'd)icf)te ber beutfcijen Sidjturtg, 
 
 Leipzig, Dresden, Berlin. Volume 8. 
 
 1906. Benj. \V. Wells : Modern German Literature, Boston. Pages 
 
 290-365. 
 
 1907. Karl Lamprecht : 2)eutfcfje efd)tcf)te, Berlin. Volume 10, Book 
 
 24, complete, 539 pp. Pages 3-258 for Romantic literature. 
 
 1907. Eduard Engel : efcf)id)te ber beutfdjen Stteratur t>on ben2lnfangen 
 
 bi in bie egenroart, Leipzig and Wien. Two large volumes. 
 Volume II, pages 689-828. This is the second edition. The 
 work, written for bie 9Jtd)trotffenben, contains illustrations and 
 many quotations. 
 
 1908. Wilhelm Scherer: efcf)id)te ber beutfdjen Stteratur, Berlin. 
 
 Pages 614-720. 
 
 1909. George M. Priest : A Brief History of German Literature, New 
 
 York. Pages 245-292. 
 1909. Calvin Thomas: A History of German Literature, New York. 
 
 Pages 328-376. 
 1909. Friedrich Kummer: Seutfdje Siteraturgefcfjtcfjte be3 19. 2>af)rf)un= 
 
 bert3, Dresden. Pages 65-283. 
 
 1909. Adolf Bartels: <Qanb6ud) jur efrf)icf)te ber beutfcfjen Siteratur, 
 
 Leipzig, 859 pages (2d edition). This book, though not critical 
 and occasionally inaccurate, contains, in brief space, a vast 
 deal of information. It does not cost much money, and the 
 student can save much time by using it. 
 
 1910. Robert Konig: 2)eutfd)e Siteraturgefcfjicfjte, Bielefeld and Leipzig. 
 
 Volume 2, pages 128-265. 
 
 1910. Otto von Leixner: efcfjtdjte ber beutfcfjen Stteratur, Leipzig. 
 This edition was prepared by Ernst Friedlander; it contains 
 numerous illustrations and facsimiles. There are 1098 (large) 
 pages. Romanticism is discussed from page 558 to page 628. 
 Leixner treats many small people. 
 
 1910. E. Arnold: 3>Huftrierte beutfcfje Siteraturgefcfjtcfyte, Berlin, 468 
 pages. "Die romantische Schule," pages 270 to 314; "Das 
 junge Deutschland," pages 319 to 335. Contains many facts ; 
 is uncritical. 
 
 1910. Otto Hauser: 2BeItgefdE)icf)te ber Stteratur, Leipzig and Wien. 
 There are two volumes ; the second discusses the Germanic 
 literatures. German, pages i to 260 ; Romanticism, pages 197 
 to 221. This is a valuable work from the point of view of 
 comparative literature. 
 
 [20 5 ]
 
 ign. J. G. Robertson: Outlines of the History of German Literature, 
 New York and Edinburgh, 320 pages. Though entirely re- 
 written, this is, as the title indicates, a condensation of Robert- 
 son's larger work of 1902. It contains a good account of 
 Romanticism, pages 178 to 253, and a good working chrono- 
 logical list from Wulfila to Nietzsche. 
 
 1912. Alfred Biese : 3)eutfdE)e iteratvtrgeftf)icf)te, Munchen, 3 volumes. 
 For Romanticism, read Volume 2, pages 288 to 693, and 
 Volume 3, pages i to 13. 
 
 1912. Robert Riemann : >a 19. 2>aE)tf)unbert ber beutfcljett Siteratur, 
 
 Leipzig. For Romanticism, read pages i to 338. Riemann lists 
 Grillparzer with the Romanticists and discusses him from page 
 113 to page 125. Of Grillparzer, Riemann says: ^-ormeU ftellt 
 feine Sitfjtung eine SSerfrfjmeljung Don $Iafftji3mu3 imb 3toman= 
 tif bar, aber in ber ^Bfncfjologie greift er iiber beibe b,tnait. 
 
 1913. Karl Storck: 3)eutfcfje iteraturgefdn'dE)te, Stuttgart, 623 pages. 
 
 This is the seventh edition. Pages 223 to 426 cover the period 
 from Wieland to Realism ; " Die Romantik " is discussed from 
 page 323 to page 386. 
 
 1913. J. G. Robertson: The Literature of Germany, New York, 256 
 pages. Romanticism takes up eighty-seven pages of this work. 
 
 No year. Leo Melitz : !>ie &eaterftiicfe ber JBeltltteratttr, Berlin and 
 Leipzig, 820 pages. This book is uncritical, but it is cheap 
 and intensely useful. It contains, aside from information on 
 the drama in general, the plots of practically all of the dramas 
 that have had success on the stage. The student can get from 
 it a good idea of the contents of any play ; this is sometimes 
 very helpful. It is a recent publication. 
 
 [206]
 
 SECTION VI 
 
 LETTERS OF THE MAIN ROMANTICISTS 
 
 The practice, indeed the art, of writing letters flourished 
 in Germany during the days of Romanticism as never be- 
 fore or since. By concerning themselves, in many instances,\ 
 precious little with the precarious politics of the coun- ) 
 try that was theirs, the Romanticists found' time for corre- / 
 spondence. By laying great stress on the value of friends 
 and friendship, they found people with whom to correspond. 
 For an understanding and appreciation of their works their 
 letters are, therefore, of fundamental importance. There 
 is, for example, as much Romanticism in the last letter 
 that Wackenroder wrote to Tieck in 1792 both were 
 then nineteen years old as in any other seven pages 
 written by any scholar on any phase of the movement 
 (Holtei, III, 228-236). 
 
 The difference between the correspondence of the Berlin- 
 Jena and the Heidelberg group is instructive. The letters of 
 the former are sentimental, conventional, and replete with 
 eighteenth-century formalities and peculiarities. Wacken- 
 roder writes to Tieck as though he were addressing his 
 fiancee. A. W. Schlegel's letters are pedantic and didactic. 
 Those of Novalis do not sound as though they had been 
 written by a robust, virile man. Schleiermacher's, however, 
 are more manly and they are, at the same time, so filled 
 with carefully elaborated ideas that they belong to literature. 
 
 [207]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Caroline Schlegel's correspondence shows that the sobriquet 
 " Madame Luzifer " was happily applied. Both she and 
 Dorothea wrote more interestingly than the Schlegel men. 
 The younger Romanticists wrote in a more natural, 
 more graphic style. The letters of Arnim betray the big, 
 healthy soul that he was. Brentano could become eloquent 
 in a simple note. Eichendorff 's candid character is delight- 
 fully exemplified in the few letters we have from his hand. 
 Kleist's letters are predominantly didactic. He was naturally 
 secretive and laid bare his heart rarely and then to his sister 
 Ulrike. The letters of the Grimms abound in charming 
 pictures and pleasing folk tones. Korner and Schenk- 
 endorf wrote letters as they wrote poems. Arndt always 
 called things by their right names in his ebullient epistles. 
 Bettina, however, was the mistress of letter-writing. 
 
 COLLECTIONS 
 
 SBrtefe an Subnrig Xiecf. Selected and edited by Karl von Holtei, 
 4 volumes in 2, Breslau, 1864. There are 1493 pages in this collection, 
 a complete list of names, tables of contents, introductions and short 
 biographical sketches of Tieck's numerous correspondents. It is the 
 most important single collection of Romantic letters. 
 
 oetfye imb bie SHomantif. By Carl Schiiddekopf and Oskar Walzel, 
 Weimar, 1898. Volumes 13 and 14 of the publications of the " Goethe- 
 Gesellschaft." The first contains Goethe's correspondence with the 
 Schlegels, Schelling, Steffens and Tieck. The second that with Z. Wer- 
 ner, A. H. Miiller, Kleist, Brentano, Arnim, Bettina, the Grimms, 
 Fouque, Chamisso, Immermann, Platen, Heine, Eichendorff. There 
 are introductions, notes, indices, etc. It is the second most important 
 single collection of Romantic letters. 781 pp. 
 
 )te Shifter beg beutfcfyen SBriefeS. By Theodor Klaiber and Otto 
 Lyon, Leipzig and Bielefeld, 1901. 529 pp. The book covers the period 
 from the sixteenth century to modern times. The rise of letter-writing 
 is discussed and specimens are given from the important writers. Pages 
 247 to 361 concern especially the student of Romanticism. 
 
 [208]
 
 LETTERS OF THE MAIN ROMANTICISTS 
 
 2lu @d)Ieiermacf)er3 Seficn in Sriefen. Three volumes, Berlin, 1860- 
 1861, second edition. It would be difficult to overestimate the value of 
 this collection. The first volume, 407 pages, covers the period from 
 Schleiermacher's childhood to his appointment at Halle in 1804. It 
 contains Schleiermacher's autobiography, written in 1794, and letters to 
 Henriette Herz, E. von Willich, Eleonore G(riinow), Henriette von 
 Miihlenfels, his immediate relatives and others. The second volume, 
 513 pages, covers the period from 1804 to his marriage in 1809 and 
 contains letters to and from E. M. Arndt, Schleiermacher's wife, Grafin 
 Luise von Voss and others. The third volume, 437 pages, covers the 
 period from 1809 on and is of great value because of the letters 
 to and from the Schlegels. 
 
 2lu3 bem 9?ad)lafje 33arnb,agen con Sn[e. Leipzig, 1865. Contains 
 letters from Stagemann, Metternich, Heine, Bettina. 407 pp. 
 
 2>ean ^SaulS 33latter ber SSerebrung. 33riefroed)[el mit grojjen SJZannern. 
 Edited by E. J. Forster, Miinchen, 1865. 347 pp. 
 
 b,eater=33riefe con oetfye unb freunbfcbaftlicfje SBriefe con 2>ean $aul. 
 Berlin, 1835. 166 pp. 
 
 9Jot)ali3 Sriefroedjjel mit ^riebrid), 2luguft SBilfjelm, Gfyarlotte unb 
 Caroline cfjlegel. Edited by J. M. Raich, Mainz, 1880. 192 pp. 
 
 $riebrid) @d)legel. 33riefe an feinen 33ruber 3lugitft SSil^elm @d)legel. 
 Edited by O. F. Walzel, Berlin, 1890. 680 pp. 
 
 Sorotfjea von a^legel^ 33rieftt>ed)fel. Edited by J. M. Raich, Mainz, 
 1881. 904 pp. 
 
 2>of)ann Valentin Xeia^mann literari[d)er 9?ad)Ia. Edited by Franz 
 Dingelstedt, Stuttgart, 1863. 466pp. Contains 112 letters by Iffland, 
 Schiller, Beyme, Goethe, Briihl, Kleist, A. W. Schlegel, Tieck, Z. Wer- 
 ner, Kotzebue, P. A. Wolff. 
 
 (HemenS Stentano^ ge'fammelte 33riefe (1795-1&42). Frankfurt am 
 Main, 1855. Two volumes, indexed. 
 
 Siemens SrentanoS ^rityltngftlraitg, in Sriefen, i^m geflodjten, rote er 
 jelb[t e fd^riftlic^ oerlangte. Edited by Paul Ernst, Leipzig, 1907. Two 
 volumes. Fantastic letters. 423 (small) pp. 
 
 33riefe an 3*ean ^aul unb beffen (Sattin. Edited by Paul Nerrlich, 
 Berlin, 1882. 189 pp. 
 
 5nebrtd) loolberlinS Seben in 93riefen Don unb an olberlin. Edited 
 by K. K. T. Litzmann, Berlin, 1890. 684 pp. 
 
 gouque, 3lpel, 2Rilti^. 33eitrage jur efdjidjte ber beutfa^en S^omantif. 
 Edited by Otto Eduard Schmidt, Leipzig, 1908. 220 pp. Contains 12 illus- 
 trations. A valuable collection,sincc such contributions onFouque are rare. 
 
 [209]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Slug f)amiffo3 ^rii^eit. llngebrucfte SBriefe. Edited by Ludwig Gei- 
 ger, Berlin, 1905. 278 pp. 
 
 Set Sriefroedfjfel be rafen 2luguft von platen. Edited by Ludwig 
 von Scheffler and Paul Bornstein, Miinchen, 1911. 544 pp. 
 
 &eater=33riefe oon $arl ^mntermann. Edited by Gustav zu Putlitz, 
 Berlin, 1851. 144 pp. 
 
 buarb 2JZ6rife3 S3riefroed)fel. Edited by Karl Fischer and Rudolf 
 Krauss, Berlin, 1903-1904. Two volumes in i. 709 pp. 
 
 gacfyariaS 2Berner3 Srtefe an Caroline con umbolbt. Albert von 
 Leitzmann, in Euphorion, 1909. Volume 16, pages 93-100, 425-434. 
 
 Sriefe on greifjerrn 2>ofepl) Don @icf)enborff. In the i2th volume of 
 Eichendorff's works, edited by Kosch and Sauer, Regensburg. Indexed. 
 
 35 1 PP- 
 
 Sriefe an ^reifjerrn Sofepf) oon idEjenborff. In the i3th volume of 
 Eichendorff's works, edited by Kosch and Sauer, Regensburg. Indexed. 
 
 39 PP- 
 
 23riefn)ec&fel jnrij'dOen 3o[ep^ 5 re ^ errn n Sajjberg unb Subroig 
 Uhlanb. Edited by Franz Pfeiffer, Wien, 1870. 342 pp. 
 
 $rtebrid) 9tudEert unb Sofeplj ^opp (1837-1842). Edited by Friedrich 
 Reuter, Altona, 1895. 4^ PP- 
 
 w^^ilologifo^e^" au^ 5 r i e ^ r ^ 3iudertg SBrtefen an 3- artung. 
 By Fr. Hartung, Magdeburg, 1888. 25 pp. 
 
 jQeinridE) eineg Sriefe an feinen 5reunb 9)Jofeg 9JJofer. Leipzig, 1862. 
 232 pp. 
 
 eine=33riefe. Edited by Hans Dams, Berlin, 1907. Two volumes. 
 
 einridj won $Ietft3 ^eben unb S3riefe. By Eduard von Bulow, Berlin, 
 1848. 286 pp. 
 
 ijbeinridE) oon ^leift: 23riefe an jeine o^roefter lllrife. Edited by 
 August Koberstein, Berlin, 1860. 164 pp. 
 
 iQeinndE) t>on $leift : Sriefe an feine 33raut. Edited by Karl Bieder- 
 mann, Breslau, 1884. 250 pp. 
 
 Sjbetnrtd) con Ieift in feinen Sriefen. By Roderich Markentin, Hei- 
 delberg, 1900. 47 pp. 
 
 einridE) con 5lleiftg SSerle. The Minde-Pouet, Steig, Schmidt (Bib- 
 liographischeslnstitut) edition, Volume 5, contains the necessary letters. 
 509 pp. They can also be found in the Eloesser (369 pages), Herzog, 
 and Muncker (Cotta) editions. 
 
 3)orotE)ea unb ^-riebridE) cglegel. Sriefe an bie $amilie 
 Edited by R. linger, Berlin, 1913. 192 pp. 
 
 [210]
 
 SECTION VII 
 
 THE ROMANTIC MAGAZINES 
 
 The beginning of every new movement, practical or 
 aesthetic, necessitates the establishment of an official 
 organ through which its aims and accomplishments can 
 be made known. In this way subscribers are secured 
 and informed. The Athendum was the first and fore- 
 most magazine of German Romanticism, first chrono- 
 logically and foremost because of its maturity from the 
 beginning; it was full-grown in the first issue. This 
 being the case, it is reasonable to suppose that it was pre- 
 ceded by other magazines sufficiently similar to make its 
 pretentious ctibut possible, sufficiently dissimilar to make 
 the establishment of other magazines necessary. The 
 Athendum had, in fact, nine important predecessors. 
 
 In 1789 August Wilhelm Schlegel wrote a pungent 
 and trenchant review of Goethe's " Torquato Tasso " for 
 the Gottingische gelehrte Anzeigen. In 1790 he fol- 
 lowed it up with one on " Faust, ein Fragment." In 1791 
 he reviewed some of Schiller's poems. His life at Gottin- 
 gen brought him into contact with Burger, for whose Aka- 
 demie der schonen Redekunste he wrote in 1 79 1 an article 
 entitled, liber be<3 >cmte ^Uigfytert gi)tt(ttf)e $omobte, an arti- 
 cle which, in some respects, may be looked upon as the 
 first sally in the Romantic campaign. It was the first of the 
 important invasions into the Romanic field, many of which 
 
 [211]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 were to follow. And it was owing to a review of Schiller's 
 " Kiinstler " in the same magazine that caused Schiller, as 
 early as 1 795, to express the wish that Schlegel might come 
 to Jena. He went. Soon he was writing for the third 
 of these pre-Athenaum magazines Schiller's Horen. 
 Inspired by Schiller's " Uber naive und sentimentalische 
 Dichtung," Schlegel wrote for the Horen his article en- 
 titled S3rtefe fiber ^oefte, itbenmafe unb (Spracfje. In the 
 same journal he discussed Dante again, but what is vastly 
 more important, he turned his attention to the North, to 
 Shakespeare, and made the pioneer contention that Shake- 
 speare should be translated into the original metre and gave 
 some specimens from " Romeo and Juliet," "The Tempest " 
 and "Julius Caesar." And Fichte, who had been living 
 in Jena since 1794, wrote an article for the Horen on 
 the significant subject Ubcr 93ctebung unb (Mjofyung be3 
 retncn >ntcrcffc3 fiir 2Sa()d)ctt. Sophie Mereau likewise 
 contributed. She wrote entertainingly on " Nathan der 
 Weise," Boccaccio and so on. Then came Schiller's 
 Musenalmanach, a journal for poetry, also contributed 
 to by Sophie Mereau and August Wilhelm Schlegel. 
 
 Schiller at once recognized in Schlegel the critic rather 
 than the creator and introduced him accordingly to the 
 most important of these nine magazines, the Allgemeine 
 Literaturzeitung of Jena. It was established in 1785 by 
 Christian Gottfried Schiitz and was continued until 1848. 
 Philosophically it leaned toward Kant. During the three 
 years of his affiliation with this magazine Schlegel wrote 
 approximately three hundred articles for it. Two of the 
 most important are his review of Voss's translation of 
 Homer (1796) and his discussion of Goethe's " Hermann 
 
 [212]
 
 THE ROMANTIC MAGAZINES 
 
 und Dorothea" (1797). A break with the policy of this 
 journal was inevitable. It soon came. 
 
 In the meantime the other Romanticists were browsing 
 in Rationalistic fields. About 1795 the followers of the En- 
 lightenment were only too glad to get Friedrich Schlegel's 
 articles on Greek literature. To Biester's Monatsschrift 
 he sent in 1794 his essays on 33on ben cfjuten ber grted)t= 
 fcfjen $poefte and $8om cifthetifdfjen 2Berte ber grtccrjtfcfjen o* 
 mobte. In the same year he published in the Monatsschrift 
 fur Damen in Leipzig his U6er bie Sarftettung ber toet6= 
 Itdjen (Eharaftere in ben griedjijc&en SHcfjtern. In course of 
 time Friedrich Schlegel became an out-and-out Romanti- 
 cist, and when he sought for admission to the journals for 
 which his brother was writing it was refused him. The 
 break between Classicism and Rationalism on the one 
 hand and Romanticism on the other needs now but a 
 slight touch and it will be complete. By way of getting 
 even, Friedrich Schlegel began to write for Reichardt's 
 Deutschland, a journal that also had a grudge against 
 the others. Here Friedrich Schlegel published his $er|ud() 
 iiber ben 23egriff be3 $Repubttfam3mu3 and showed himself 
 an open defender of woman suffrage and cosmopolitanism, 
 one of the main tenets of old Romanticism. And in the 
 same journal appeared his attack on Schiller's " Wiirde 
 der Frauen." The gap becomes wider. In 1796 appeared 
 one of the best criticisms he ever wrote, and one of great 
 importance for the proper appreciation of the Romantic 
 theory, his review of Jacobi's "Woldemar." But he 
 had not yet completely broken away from his studies in 
 Greek; his liber bie fyomertjcfje ^oefie was also sent in. 
 It is possible, however, that the most significant article 
 
 [213]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 published in the Deutschland was the one by Wackenroder 
 the only time Wackenroder wrote for a magazine en- 
 titled SfyrengebadjtmS unfere3 efyrtoiirbigen 5lf)nt)errn 5Itbred)t 
 2)itrer3 (1796). It revealed at once the love for Mediae- 
 valism and Old German art that was to play such a large 
 role in later Romanticism. 
 
 Reichardt had trouble, however, with the critics by rea- 
 son of his Deutschland, so he let it die. He then called 
 into being a purely aesthetic magazine, Das Lyceum der 
 schonen Kiinste. Contributions from Romanticists were 
 welcomed. Friedrich Schlegel sent in his excellent criti- 
 cism of Forster. It was published (1797). Then came his 
 attempts to wrest Lessing from the charge of belonging to 
 the Enlightenment. He criticised " Emilia Galotti " as an 
 example in dramatic algebra, " Nathan der Weise " as the 
 work of a poet with a great soul. 
 
 Then there was Tieck. He was now writing for the 
 Archiv der Zeit und Hires Geschmackes. It was a Ration- 
 alistic journal, but Tieck was running in a goodly number 
 of Romantic ideas. Bernhardi, Tieck's teacher, was writing 
 for the same journal, criticising the theatrical situation in 
 Berlin and attacking Kotzebue and Iffland. Tieck attacked 
 Lafontaine and praised Goethe and Schiller. The Roman- 
 tic side of this Rationalistic journal began to predominate. 
 
 And finally the time came when the Romanticists had 
 to have their own organ. Friedrich Schlegel had attacked 
 Schiller in the Deutschland, Schiller had ridiculed Friedrich 
 Schlegel in the "Xenien." Goethe and Schiller were now 
 fast friends, and they had great weight with the policy of 
 the Allgemeine Literaturzeitung. And this journal, aside 
 from what had already happened, could have nothing 
 
 [214]
 
 THE ROMANTIC MAGAZINES 
 
 to do with the author of " Lucinde." Also, it still leaned 
 toward Kant, with whom the Romanticists had now broken. 
 They lauded Fichte. And A. W. Schlegel could also find 
 no satisfaction with the editors of the most important jour- 
 nal of the day. So they broke away from it, one and all, 
 and forever. The Schlegels and Schelling and Tieck in 
 his " Das jiingste Gericht" made fun of the only journal 
 worthy of their services. The Romanticists had to have 
 an official organ of their own. In the course of their 
 career they established no fewer than twenty-five separate 
 magazines, as follows : 
 
 2ltf)entium (1798-1800), Berlin. Edited by A. W. and Fr. Schlegel. 
 Chief contributors : the Schlegels, Novalis, Schleiermacher, Hiilsen. 
 
 ^oetifc^eg journal (1800), Jena. Edited by Tieck. Chief contribu- 
 tors : Tieck, F. Majer, Friedrich Schlegel. 
 
 9JJemtmton (1800), Leipzig. Edited by August Klingemann. Chief 
 contributors : August Winkelmann, Clemens Brentano. 
 
 $tmofarge (1802), Berlin. Edited by A. F. Bernhardi. Chief con- 
 tributors : Sophie Bernhardi, Friedrich Schlegel. 
 
 (Suropa (1803-1805), Frankfurt am Main. Edited by Friedrich Schle- 
 gel. Chief contributors : Karl von Hardenberg, Dorothea Schlegel, 
 J. G. Schweighauser, A.W. Schlegel, Friedrich Ast, Helmina von Chezy. 
 
 Spohjdjorbtt (1803-1805), Penig. Edited by August Bode. Chief con- 
 tributors : F. Majer, Kannegiesser, F. A. Kuhn, Seckendorf. 
 
 ^|3f)6bu<9 (1808), Dresden. Edited by Heinrich von Kleist and Adam 
 H. Miiller. Chief contributors : the editors, Fouque, Oehlenschlager, 
 Wetzel, O. H. von Loeben. 
 
 $rotnetf)eu (1808), Wien. Edited by L. von Seckendorf and J. L. 
 Stoll. Chief contributors : A. W. Schlegel, J. H. Voss, Z. Werner. 
 
 3eitung fitr. (Sinfieblcr (1808), Heidelberg. Edited by Achim von 
 Arnim. Chief contributors : Friedrich Schlegel, Jean Paul, Brentano, 
 Gorres, Uhland, Christian Schlosser, Fouque. (Published in book form 
 in 1808 under the title "Trost Einsamkeit.") 
 
 ^Bantfyeon (1810), Leipzig. Edited by J. G. Busching and K. L. Kanne- 
 giesser. Chief contributors : G.W. Kessler,Raumer, J. Winkelmann, Hen- 
 riette Schubart, Friedrich Wollank, Romer, Von der Hagen, C. Salfeld. 
 
 [215]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Serliner 2U>enb6latter (1810-1811), Berlin. Edited by Heinrich von 
 Kleist. Chief contributors : Adam MUller, Kleist, Arnim, Friedrich 
 Schulz, Fouque, Von Mollendorff, J. E. Hitzig. 
 
 3)ie S&^eSjetten (1811-1814), Berlin. Edited by Fouque. Chief 
 contributor : Fouque. 
 
 S)eutjrf)es> 2JJltfeum (1812-1813), Wien. Edited by Friedrich Schlegel. 
 Chief contributors : August von Steigentesch, M. Claudius, Friedrich 
 Miiller, A. W. Schlegel, Caroline Fouque, H. W. von Gerstenberg, 
 Ernst Plainer. 
 
 (Saltna (1812, 1816), Halle. Edited by A. G. Eberhard, A. Lafon- 
 taine, et al. Chief contributors : the editors. 
 
 2)te 2Rllfen (1812-1814), Berlin. Edited by Fouque and Wilhelm Neu- 
 mann. Chief contributors : F. S. von Grunenthal, Fr. Riihs, the editors. 
 
 2Binter=2Konate (1814-1815), Leipzig. Edited, possibly, by G. J. 
 Goschen. Chief contributors : obscure writers. 
 
 35te arfe (1815-1819), Leipzig. Edited by Friedrich Kind. Chief 
 contributors : Caroline Fouque, Friedrich Kind, Fouque, F. A. Schulze, 
 Luise Brachmann, Streckfuss, Friedrich Kuhn. 
 
 >te Igefperibett (1816), Leipzig. Edited by Otto Heinrich, Graf von 
 Loeben. Chief contributors : Helmina von Chezy, Von der Malsburg, 
 Eichendorff, Schenkendorf, J. Kerner. 
 
 giir ttliijjtge tunbert (1816-1821), Jena. Edited by Fouque. Chief con- 
 tributors : Caroline Fouque, J. C. Hohnbaum, C. Hohnbaum, C. W. Justi, 
 A. Lafontaine, G. Reinbeck, Freimund Reimar, Fr. Sickler, K. E. Schmid. 
 
 SBttnfdjelrut&e (1818), Gottingen. Edited by H. Straube and J. P. 
 von Hornthal. Chief contributors : Loeben, F. W. Carove, W. Grimm, 
 Arnim, Wilhelm Miiller. 
 
 3)ie SJJorgenrotfie (1819, 1821), Elberfeld. Edited by August Gebauer. 
 Chief contributors : Luise Brachmann, Helmina von Chezy, Fouque, 
 Caroline Fouque, Franz Horn, Loeben, Fanny Tarnow. 
 
 Goncorbtd (1820-1823), Wien. Edited by Friedrich Schlegel. Chief 
 contributors : Franz Baader, Adam Miiller, Z. Werner, Bucholtz. 
 
 3)te 3)hlfe (1821-1822), Leipzig. Edited by Friedrich Kind. Chief 
 contributors : Arthur von Nordstern, Eduard Gehe, Von Lichtenstein. 
 
 SDrpIjeu^ (1824-1825), Niirnberg. Edited by Carl Weichselbaumer. 
 Chief contributors: Eduard Schenk, W. von Schiitz, L. Auerbacher, 
 Max von Freiberg. 
 
 SBerlimfdje flatter fur beutfdje ^rauen (1829-1830), Berlin. Edited 
 by Fouque. Chief contributors : Arnim, Fr. Kind, Ludwig Robert, Karl 
 von Holtei, Heinrich Schmidt. 
 
 [216]
 
 SECTION VIII 
 FOLLOWERS OF THE BERLIN-JENA GROUP 
 
 The literary founders of the Berlin-Jena Romantic 
 School, which lasted as a "school" only from 1798 to 
 1 80 1, or 1804, were Tieck, Wackenroder, Novalis and 
 the Schlegels. The other and less important founders were 
 Friedrich Ernst Daniel Schleiermacher (1768-1834), the 
 preacher and the author of " Vertraute Brief e iiber Lucinde " 
 (1800), " Monologen " (1800), " Reden iiber die Religion " 
 ( : 799) ne made a profound impression on his contem- 
 poraries by insisting that religion is not solely a matter 
 of morality and metaphysics but of the soul, a finding of 
 the infinite within us; Caroline Michaelis Bohmer Schlegel 
 Schelling (17631809), who influenced without writing; 
 Veronika (Brendel) Dorothea Mendelssohn Veit Schlegel 
 (1763-1839), the mother of the painter, Philipp Veit, and 
 the author of the fragmentary novel " Florentin" (1801); 
 Friedrich Wilhelm Joseph Schelling (1775-1854), the 
 nature philosopher, who is discussed in Section X ; Henrik 
 Steffens (1773-1845), the Scandinavian, in a sense the 
 understudy of Schelling, and the author of " Was ich 
 erlebte" (1844); Lorenz Ockenfuss (Oken) (1779-1851), 
 the brilliant transcendentalist and naturalist, the scientist 
 who stood midway between Fichte and Schelling, the 
 author of " Lehrbuch der Naturphilosophie " (1811) and 
 "Lehrbuch der Naturgeschichte " (1827); Adam Karl 
 
 [217]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 August Eschenmayer (1768-1852), the distinguished phy- 
 sician, who agreed with Schelling except as to our knowledge 
 of the absolute, a believer in animal magnetism, the author 
 of " Religionsphilosophie " (1814); August Ferdinand 
 Bernhardi (1770-1820), Tieck's friend; Sophie Tieck 
 (1775-1833), Tieck's sister and the wife of A. F. Bern- 
 hardi ; Johann Wilhelm Ritter (1776-1810), the physicist; 
 August Ludwig Hiilsen (1765-1810), who wrote, among 
 other things, an article for the Athendum entitled liber 
 bte naturltrfje Ietd)f)eit ber Sftenfcfjen. 
 
 Aside from these founders of the old school there were 
 a number of distinguished men and women who had an 
 enormous influence on the movement and were in turn 
 influenced by it without ever becoming an integral part of 
 it. Of these the most important were Friedrich Wilhelm 
 Christian Karl Ferdinand von Humboldt (1767-1835), 
 linguist, statesman, minister of education, public-spirited 
 citizen, author of " Uber die Kawisprache auf der Insel 
 Jawa " (1840), the introduction to which, on the difference 
 in the construction of language and its influence on the 
 intellectual development of the human race, has been pub- 
 lished separately ; Friedrich Wilhelm Heinrich Alexander 
 von Humboldt (17691859), younger and more famous than 
 his brother, the greatest natural scientist of all times, a man 
 of tremendous intellect, the author of " Kosmos" (1858) ; 
 Abraham Gottlob Werner (1750-1817), the founder of 
 scientific geology, the propounder of the Neptunian theory, 
 the teacher of Novalis at Freiberg, the author of " Neue 
 Theorie uber die Entstehung der Gange "(1791); Friedrich 
 von Gentz (1764-1832), a publicist of repute, a man of 
 brilliant if dissipated talents, a man who advised kings and 
 
 [218]
 
 FOLLOWERS OF THE BERLIN-JENA GROUP 
 
 always won the favor of royalty, the author of " Fragmente 
 aus der neuesten Geschichte des politischen Gleichge- 
 wichts " (1804) and "Maria Stuart"; Johann Friedrich 
 Reichardt (1752-1814), one of the most interesting men 
 of his time, a musician of some importance, a man who 
 did much to bring the Romanticists together by frequent 
 entertainments in a social way, now known only by his 
 musical compositions ; Karl Wilhelm Ferdinand Solger 
 (1780-1819), the aesthetician of the movement, the author 
 of "Vorlesungen iiber die Asthetik" (1811) and "Erwin" 
 (1815). 
 
 And of the women, there were Dorothea Tieck (1799- 
 1841), Tieck's gifted daughter, who did much of the trans- 
 lation that has been published under his name ; Henriette 
 Herz (i 764-1 847), the friend of Schleiermacher and Borne, 
 the woman who presided over one of the most brilliant 
 salons of Berlin in the days of Romanticism ; Rahel Antonie 
 Friederike Robert Levin von Ense, the gifted wife of 
 Varnhagen von Ense, in some ways the original woman 
 suffragist, a woman who lived Romanticism. 
 
 [219]
 
 SECTION IX 
 FOLLOWERS OF THE HEIDELBERG GROUP 
 
 That the Romantic movement in Germany was vastly 
 more than a literary affair is better shown by the long list 
 of distinguished names associated more or less directly with 
 the Heidelberg group and the side lights than by those 
 connected with the Berlin-Jena group. Of these the most 
 important were Jakob Ludwig Karl Grimm (1785-1863), 
 philologist, mythologist, disciple of Savigny, founder of 
 scientific Germanic philology, author of Grimm's law per- 
 taining to the relative correspondence of consonants ; he 
 wrote " Uber den altdeutschen Meistergesang " (1811), 
 "Deutsche Grammatik" (1822), still the fundamental work 
 in Germanic philology, "Deutsche Mythologie" (1835), 
 "Geschichte derdeutschen Sprache" (1848), and began the 
 famous u Grimms Worterbuch" in 1854, a work which he 
 thought could be finished during his lifetime, but which 
 is still unfinished; Karl Wilhelm Grimm (1786-1859), 
 the less distinguished but more poetic brother, author of 
 "Altdanische Heldenlieder " (1813), "Deutsche Helden- 
 sage " (1829); the Grimms also collected, edited and 
 published the famous ' ' JCinder- und Hausmarchen "(1812- 
 15), next to " Des Knaben Wunderhorn " one of the most 
 important achievements of German Romanticism ; Johann 
 Joseph von Gorres (1776-1848), professor at Heidelberg, 
 first to lecture in Germany on Asiatic languages, coeditor 
 
 [ 220 ]
 
 FOLLOWERS OF THE HEIDELBERG GROUP 
 
 of " Trost Einsamkeit," the man whom Napoleon called 
 la cinquieme puissance because of his political power, the 
 father of Guido Gorres, a staunch Catholic, publisher of 
 the " Teutsche Volksbiicher " (1807), supporter in his 
 youth of French revolutionary principles, editor of the 
 Rheinischer Merkur (1814-16), author of " Christliche 
 Mystik" (1836-42) and "Athanasius" (1837); Georg 
 Friedrich Creuzer (1771-1858), philologist, archaeologist, 
 for nearly forty-five years professor of philology and ancient 
 history at Heidelberg, founder of the philological seminary 
 at Heidelberg (1807), author of " Symbolik und Mythologie 
 der alten Volker, besonders der Griechen" (1812), a work 
 that was attacked by J. H. Voss in his " Antisymbolik " ; 
 Gotthilf Heinrich Schubert (1780-1860), naturalist and 
 mystic, pupil of A. G. Werner, author of " Ansichten von 
 der Nachtseite der Naturwissenschaf ten " (1808), "Symbo- 
 lik desTraumes" (1814), " Geschichte der Seele " (1830); 
 Karl Konrad Friedrich Wilhelm Lachmann (1793-1851), 
 philologist, critic, expanded the works of the Grimms, 
 disinterred Germany's old literature, translated Shake- 
 speare's sonnets (1820), "Macbeth" (1829), author of 
 " Urspriingliche Gestalt des Gedichts der Nibelunge Not " 
 (1816); Adam Heinrich Miiller (1779-1829), publicist, 
 Protestant turned Catholic (1805), defended as did Gentz 
 the policies of Metternich, associated with Kleist in Dres- 
 den, student of political economy ; Franz Xaver von Baader 
 (1765-1841), philosopher, theologian, pupil of A. G. 
 Werner, scholastic mystic, acquainted with F. H. Jacobi, 
 studied by Schelling, influenced by Jakob Boehme, Eck- 
 hart, Saint-Martin, one of the greatest speculative theo- 
 logians of modern Catholicism ; Karl August Varnhagen 
 
 [221 ]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 von Ense (1785-1858), prose writer, soldier, diplomat, 
 author of " Goethe in den Zeugnissen der Mitlebenden " 
 (1824), " Tagebiicher "; Sulpiz Boisseree (1783-1854), 
 the greater of the two brothers, architect and archaeolo- 
 gist, made a famous collection of Old German art now to 
 be found at Miinchen and Niirnberg, head, with his 
 brother, of what might be called the Koln Romantic 
 School; Melchior Boisseree (1786-1851), assisted his 
 brother in collecting Old German art and discovered the 
 method of painting on glass with a single pencil ; Franz 
 Anton Mesmer (1733-1815), physician, originator of the 
 theory of mesmerism or animal magnetism, author of 
 " Sendschreiben an einen auswartigen Arzt iiber die 
 Magnetkur " (1775) ; Friedrich Karl von Savigny (1779- 
 1861), student of Roman law, founder of modern histori- 
 cal jurisprudence, author of " Geschichte des romischen 
 Rechts im Mittelalter" (1815) ; Karl Gustav Carus (1789- 
 1869), physiologist, psychologist, first to lecture on com- 
 parative anatomy, in sympathy with the teachings of 
 Schelling, author of " Lebenserinnerungen und Denk- 
 wiirdigkeiten " ; Clemens Wenzel Lothar Metternich- 
 Winneburg (17731859), Austrian statesman, diplomatist, 
 one of the smoothest men of his day, the moral, civic, 
 political dictator of Germany and Austria from 1815 to 
 1848, the man who checked the progress of united Ger- 
 many by years, wrote eight volumes of memoirs ; Barthold 
 Georg Niebuhr (1776-1831), a Dane, professor of Roman 
 history at Berlin, the man who first favored the method of 
 supplying missing links in documentary evidence by taking 
 material from ballad literature, author of " Lebensnach- 
 richten" (1838); Friedrich Ludwig Georg von Raumer 
 
 222
 
 FOLLOWERS OF THE HEIDELBERG GROUP 
 
 (1781-1873), teacher and statesman, author of "Geschichte 
 der Hohenstaufen und ihrer Zeit" (1825), " Die Vereinig- 
 ten Staaten von Nordamerika" (1845) ; Friedrich Wilhelm 
 Carove" (17891852), philosopher, publicist, one of the 
 founders of the SBurfdjenfrfjaft, author of tracts on religious 
 subjects from the Catholic point of view ; Otto Heinrich, 
 Graf von Loeben (1786-1825), visionary, author of " Blat- 
 ter aus dem Reisebiichlein eines andachtigen Pilgers" 
 (1808) and many briefer works ; Raimund Pissin's "Otto 
 Heinrich, Graf von Loeben (Isidorus Orientalis). Sein 
 Leben und seine Werke," Berlin, 1905, 325 pp., is an 
 excellent treatise ; though an unpretentious poet, Loeben 
 was a journalist of importance and his relation to Romanti- 
 cism was intimate and influential ; Caroline von Giinderode 
 (1780-1806), took her own life in 1806 because of an 
 unhappy love affair with G. F. Creuzer, wrote, under the 
 pseudonym Tian, " Gedichte und Phantasien" (1804), 
 " Poetische Fragmente" (1805). 
 
 [223]
 
 SECTION X 
 THE PHILOSOPHERS 
 
 There is no doubt but that the nineteenth century began 
 philosophically. It is equally certain that during the entire 
 period of systematic Romanticism philosophy was, in a 
 double sense, in the air. When Bulwer-Lytton referred to 
 the German people as a nation of thinkers, he unquestion- 
 ably had this period in mind. Modern philosophy, whether 
 we date it irom Descartes (1596-1650) or Spinoza (1632- 
 1677), is fundamentally nature philosophy. That is to say, 
 modern philosophy has attempted a mathematical explana- 
 tion of the external world ; it has asked a great number of 
 r questions about the interrelations of men and animals and 
 plants. Each philosopher has answered the questions as 
 he saw the light, and each has seen the light reflected 
 at a different angle. And finally, it is certain that Kant 
 was the controlling figure in modern philosophy at the be- 
 ginning of the century as he was at the close, and Kant 
 unromantic. 
 
 There are consequently a number of reasons why it is 
 fatally easy for the master of Romanticism to impress his 
 disciples too strongly with the importance of contemporane- 
 ous philosophy. In the first place, with a few exceptions 
 Novalis, Fr. Schlegel, Kleist, Holderlin the main poets of 
 Romanticism were not nearly so philosophically inclined 
 and trained as we are at first blush apt to believe. Brentano 
 
 [224]
 
 THE PHILOSOPHERS 
 
 left the room when anyone began to discuss " adversity's 
 sweet milk, philosophy." Heine, though he wrote a sort 
 of book on Romantic philosophy, and Hoffmann sought 
 neither long nor successfully after the unattainable stone. 
 Tieck, ber Stonig bcr SHomanttf, to quote Hebbel, had 
 assimilated and unconsciously formulated his romantic- 
 philosophic view of nature before he knew Schelling. 
 Arnim and Chamisso, to judge from their poetic commit- 
 ments, looked, with Goldsmith, on philosophy as a " good 
 horse in the stable, but an arrant jade on a journey." There 
 is no systematic philosophy in the poems of Eichendorff or 
 Wilhelm Miiller or Morike. "Undine," " Taugenichts," 
 " Schlemihl," all the purple patches of Romanticism are 
 unphilosophic. The theory of Romanticism "^ more or 
 less tinged with philosophy, the practice was devoid of it. 
 
 And again, German philosophy is exceedingly difficult. 
 The student of literature who can read and grasp Kant's 
 transcendental idealism, or Fichte's science of knowledge, 
 or Hegel's phenomenology of intellect, is already such a 
 master of discussion that he should change his major sub- 
 ject from letters to metaphysics. If there is any one place 
 where students of literature can be strongly advised to read 
 about the subject rather than the subject itself, it is in con- 
 nection with German philosophy. He will get more out of 
 Hoffding than he will out of Hegel. 
 
 And finally, without being paradoxical while seeming so, 
 that is a wise man, who, in his study of German Romanti- 
 cism, can fly into the face of the relativity of all things and 
 determine with race-track accuracy just where philosophy 
 stops and literature begins, or the other way around. What 
 is philosophy anyhow ? Is it anything more than unartistic, 
 
 [225]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 unfinished " literature " ? Is it anything more than a visu- 
 alization and reflection of life with the " faithful " and 
 "artistic" elements left out? The line between Romantic 
 poetry and Romantic philosophy is an imaginary one, de- 
 termined by taste and intellectual temperament, some 
 people look upon ^eltanfcrjauung as $prjtlojopf)te, though 
 there is a wide difference, varying with different indi- 
 viduals and different in succeeding decades. And where 
 the student, after time-consuming search, finds a similarity 
 between the effusions of the wise and those of the fanciful, 
 he will do better to assimilate the latter than to annotate 
 and correlate the former. He will do best to follow with 
 cautious hesitation and mental reservation the lead of 
 Lander's " Dying Old Philosopher," who departed from 
 this life with these words : 
 
 " I strove with none, for none was worth my strife ; 
 
 Nature I loved ; and, next to Nature, Art. 
 I warmed both hands against the fire of life ; 
 It sinks, and I am ready to depart" 
 
 The following are the Romantic philosophers, arranged 
 in order of birth. The list embraces a century of philoso- 
 phy, starting with Kant, who was not Romantic, and closing 
 with Strauss, who belonged to a new age. 
 
 Immanuel Kant (1724-1804), Germany's first great, and 
 greatest, philosopher, was the Imperator of the Romantic 
 movement. His most active and immediate opponents were 
 Hamann, Herder, F. H. Jacobi and S. Maimon. It was 
 he who first gave dignity to the term " philosopher." Six 
 large influences converged in Kant's day : ( i ) Pietism, 
 (2) Sentimentalism, (3) empirical psychology of Locke, 
 
 [226]
 
 THE PHILOSOPHERS 
 
 (4) Rationalism of Leibnitz-Wolff, (5) Newton's rigorism, 
 (6) Romantic subjectivity and intuition. From Kant on, 
 even before, German philosophy has been scholastic, mystic, 
 cosmic. In his two main "Critiques," Kant tried (1781) 
 to establish the province of certain human knowledge, and 
 to prove (1788) that the ideas of God, human liberty and 
 immortality are postulates of practical reason. He is best 
 known for his formulation of the " categorical imperative." 
 One of his best known remarks is : 3njei 2>inge erfiiflen bas 
 enutt nut immg; neucr unb aunefjmenber 23ettwnberung unb 
 Gfyrf urrfjt : S)er befttrnte ^tmmel i'tber mtr unb ba3 morale 
 fcf)e e)"etj in mir. Herder said of Kant : $etne $abale, !etne 
 (efte, fein SBorurtett, tein 9?amensef)rgei fyatte je fiir tfjn ben 
 mtnbeften 9?et5 gegen bte Sttuetterung unb 2luff)ellung bcr 
 SSafyrhett. His influence was greatest on Schiller and Kleist. 
 Johann Gottlieb Fichte (1762-1814) was the moralist 
 of the movement. Influenced, it might be said, personally 
 by Lessing, Rousseau, Pestalozzi, the Romantic writers 
 and his wife, Johanna Rahn, he derived his philosophical 
 stimulus from Spinoza and Kant. His philosophy has been 
 described as " Spinoza in terms of Kant." That he made 
 the ego the centre of all was pleasing to the Romantic 
 writers ; that he barred nature from his system was equally 
 displeasing to them, Holderlin, in " Empedokles," even 
 going so far as to make defection from nature a tragic 
 theme. Fichte's call to duty, his statement that there can 
 be no reality independent of us, that the morally free ego 
 is the central principle of life, appealed not only to the 
 mystic but also to the humanitarian side of the German 
 people of that time. It encouraged them to be told that 
 their environment was only apparently an independent 
 
 [227]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 existence beyond their control, that it was not static, that 
 they could rethink it and make it dynamic. 
 
 Friedrich Ernst Daniel Schleiermacher (1768-1834) 
 was the preacher of the movement and not a systematic 
 philosopher at all. His influence was greatest on Fr. 
 Schlegel. He attacked most effectively the Rationalism 
 that had supplanted religion, and pointed out that religion 
 was not a matter of precept, morality, law, intellectuality, 
 command, but a seeing, feeling and perceiving of the in- 
 finite in one's soul. Aside from his translation of Plato, 
 Germany owes him much for what he did to inspire the 
 people after Prussia's collapse ; the religious awakening at 
 the beginning of the nineteenth century goes back to his 
 preaching, and Protestant theology rests on his teaching. 
 
 Georg Wilhelm Friedrich Hegel (1770-1831) was the 
 systematizer of the movement. His erudition, his inter- 
 pretation of facts, the at least apparent orthodoxy of his 
 philosophy, and his application of Kant's doctrine to evo- 
 lution make him the representative of Kant to-day. He 
 really comes after Schelling, uniting, as he did, Fichte's 
 subjective idealism with Schelling's objective idealism and 
 forming a system of absolute idealism. One of the most 
 fruitful thinkers that ever lived, he tried to explain, in a 
 comprehensive philosophic system, the interrelation and 
 irreparable continuity of the entire world in all of its 
 phenomena, religion, art and politics included, by declaring 
 all of these phenomena to be nothing more nor less than 
 the revelations of one absolute spirit. He was not exactly 
 a Romantic philosopher, and yet his energetic opposition to 
 superficial Rationalism, the inspiration he drew from reli- 
 gion, and the poetic, mystic strain in his very intellectual 
 
 [228]
 
 THE PHILOSOPHERS 
 
 make-up all these are Romantic. He influenced Holder- 
 lin, and Goethe bowed before him. He made consistent use 
 of the theory of thesis, antithesis, synthesis. His philos- 
 ophy was neither Mysticism nor Realism, but Idealism. 
 
 Friedrich Wilhelm Schelling (1775-1854) was the 
 mystic nature-philosopher, the philosopher of the move- 
 ment. With Fichte and Hegel he forms the inseparable 
 triumvirate. Schelling was a sort of very modern Spinoza, 
 and, somewhat like Kant, he believed all nature to be dy- 
 namic, matter lowest, then vegetable higher, animal high- 
 est; at least nothing is dead. His theory that neither Mind 
 nor Nature is absolute, but that the former is invisible 
 nature and the latter visible mind, found many poetizations 
 by the Romantic writers. He came at an opportune time, 
 just when vitalism was taking the place of mathematics, 
 when Spinoza was supplanting Galileo. Schelling stated 
 in philosophy what Goethe stated in poetry. He was also a 
 poet of some merit, though he did not write, as was be- 
 lieved until quite recently, that peculiar novel " Nacht- 
 wachen. Von Bonaventura," this having been written by 
 F. G. Wetzel (1779-1819), a friend of G. H. Schubert 
 and his circle of Romantic occultists. His two best known 
 works are " Die letzten Worte des Pfarrers zu Drottning 
 auf Seeland " (1802), the theme of which he owed to his 
 friend and understudy, Steffens, and " Epikurische Glau- 
 bensbekenntnis Heinz Widerporstens," in doggerel, after 
 the manner of Hans Sachs and Goethe. It shows, among 
 other things, the poet-philosopher's attitude toward nature. 
 
 Jakob Friedrich Fries (1773-1843) was the psycholo- 
 gist of the movement, Johann Friedrich Herbart (1776- 
 1841) its realist. The influences on Herbart were Kant and 
 
 [229]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Leibnitz and negatively the Idealists. He claimed to have 
 disclosed the psychological grounds of the Kantian doc- 
 trine. Arthur Schopenhauer (1788-1860) was its intui- 
 tionist. While Herbart was a Realist, Schopenhauer was 
 a Mystic, yet both their theories had the same source. 
 Schopenhauer was to Idealism what Mephistopheles was 
 to Faust he turned Romanticism into pessimism. A 
 number of his shorter essays, by reason of their attractive 
 style and even more attractive contents, can be classed as 
 real literature. Friedrich Eduard Beneke (1798-1854) was 
 its empiricist, Ludwig Andreas Feuerbach (1804-1872) its 
 religionist. Feuerbach was more radical than Strauss, since 
 he was a philosopher, not simply a theologian. He brought 
 anthropology into theology, asserting that the essential 
 nature of all gods is human nature they are simply the pro- 
 jection of the best in us. God did not create man after His 
 own image, but man made God after his own image. And 
 David Friedrich Strauss (1808-1874) was the theologian of 
 the movement. His book on the life of Christ called forth a 
 controversy such as a nation witnesses only at long intervals. 
 These are the eleven main philosophers of German 
 Romanticism. Of these, Fichte and Schelling and Hegel 
 are by all odds the most important. In the study of litera- 
 ture, one should remember Fr. Riickert's lines from " Die 
 Weisheit des Brahmanen " : 
 
 S)u benleft, tt>a bu benfft, ba miiffe brunt fo fein ; 
 
 benfe : Senfeft bu benn auf ber SSelt altein ? 
 anbre benfen audf), bid anbres> benfcn fie, 
 $)od) anber tmrb ba (Sent burcf) anbcr 3)enlen nie. 
 tafjt fid) fo unb fo bon unferm S)enfen faff en, 
 SBletbt tt>a e ift, unb fte'fjt bent ptele u gelaffen. 
 
 [230]
 
 THE PHILOSOPHERS 
 
 GENERAL TREATISES 
 
 The Spirit of Modern Philosophy. By Josiah Royce, Boston and 
 New York, 1892. 519 pp. Read especially chapter vi, "The Roman- 
 tic School of Philosophy," pages 164 to 189. Possibly the very best 
 place to get a succinct idea of the subject. 
 
 A History of Modern Philosophy. By Harald Hoffding, London, 
 1900. Volume II, 600 pp. Translated by B. E. Meyer. Read especially 
 Book VIII, "The Philosophy of Romanticism," pages 139 to 289. 
 
 History of Modern Philosophy. By Richard Falckenberg, New York, 
 1897 (2d edition). 655 pp. Translated by A. C. Armstrong. Read 
 especially chapters x to xiv, pages 419 to 547. 
 
 A History of Philosophy. By Wilhelm Windelband, New York, 
 1898. 659 pp. Translated by James H. Tufts. Read especially Part VI, 
 pages 529 to 622. 
 
 The Persistent Problems of Philosophy. By Mary Whiton Calkins, 
 New York, 1908 (2d edition), 575 pp. Read especially chapters ix and 
 x, pages 307 to 394. 
 
 A Beginners' History of Philosophy. By Herbert Ernest Cushman, 
 Boston, 1911. Volume II, 377 pp. Read especially chapters xi and xii, 
 pages 278 to 351. 
 
 3)ie ${)tlofopb,te im beutftfjen eifteSleben be3 19. 3<*()ri)Uttbert. By 
 Wilhelm Windelband, Tiibingen, 1909. 120 pp. 
 
 READING LIST 
 Kant 
 
 1766. rtiume etneS eifterfe&erS, ertautert burdE) raume ber 2JZeta= 
 pljnftf, 49 pp. 
 
 1781. $rttif ber reinen SBernunft, 252 pp. 
 
 1788. $rittf ber prafttfdjen SSernunft, 163 pp. 
 
 1790. Kritif ber UrtfjeilSfraft, 322 pp. 
 Fichte 
 
 1792. 33erjurf) einer ritif aller Dffenbarung, 182 pp. 
 
 1 794. intge 33orlefungen iiber bie Seftimmung beg elefjrten, 338 pp. 
 
 1794. runblage ber gefamtnten 2Btfjenfd)aft<j[ef)re, 108 pp. 
 
 1800. &ie SBefttmmung be3 SJienfdjen, 338 pp. 
 
 1801. griebrid) 9Mcolai3 Seben unb fonberbare 3Heinungen, 130 pp. 
 
 (Not philosophy, but valuable.) 
 
 1806. 2)te runbjiige be^ gegenttwrttgen 3eitalter, 563 pp. 
 
 1808. Keben an bie beutfdie Nation, 268 pp. Edited with introduc- 
 tion by Rudolf Eucken, 1909. 
 
 [231 ]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Schleiermacher 
 
 1 799. liber bie Religion ; 3teben an bie ebilbeten unter ifjren 2?erdc^= 
 
 tern, 228 pp. 
 
 1800. SRonologen, 100 pp. 
 
 1800. SSertraute 33riefe iiber bie Sucinbe, 128 pp. 
 
 Hegel 
 
 1807. ^plja'nomenologie be3 eifteS, 823 pp. 
 
 1812. 2Bifjenfd)aft ber Sogif, 1030 pp. 
 
 Schelling 
 
 1 799. (Srfter ntnwrf eineg tjftem^ ber 3taturp^tlojopf)te, 269 pp. 
 
 1800. tjftem be tranfcenbentalen ^bealigmug, 308 pp. 
 
 Fries 
 
 1807. j$idjte3 unb @d)elling neuefte Sefjren oon ott unb ber SBelt, 
 
 80 pp. 
 1811. nftem ber Sogif, 596 pp. 
 
 1813. ntnntrf beg @i)ftemg ber t^eoretifd^en ^S^fif, 138 pp. 
 
 Herbart 
 
 1808. 2lQgemeine pralttjcfie ^B^iloyop^ie, 430 pp. 
 
 Schopenhauer 
 
 1819. S5ie 3Belt alg SBtUe unb Sorftellung, 487 PP- 
 Beneke 
 
 1832. $ant unb bie pln'lofopf)tfd)e Slufgabe ttnferer 3eit, 104 pp. 
 
 1853. Sefjrbud) ber pragtnatifd^en ^frjcfyologie, 180 pp. 
 
 Feuerbach 
 
 1841. 3)a 3Befen beg E^riftentumg, 4 ? 5 PP- 
 Strauss 
 
 1835. 2)ag Seben Sefu, 633 pp. 
 
 [232]
 
 SECTION XI 
 
 THE MUSICIANS 
 
 The services of Romanticism have proved greater than 
 its creations ; it was more suggestive than productive. 
 Its immediate harvest was, in proportion to the labor 
 expended, not large, but amply large for fertile seed. 
 Others have reaped where the Romanticists sowed. From 
 the aftermath there sprang a new conception and apprecia- 
 tion not simply of religion and of nature and of patriotism, 
 but also of music. The new musicians were born after the 
 poets just as the Italian sonata came after the sonetto. 
 There were, of course, German musicians that preceded 
 those whom we call the Romanticists, just as there were 
 poets that preceded Tieck and Novalis and their congenial 
 brothers in Apollo. There was, for example, Johann Rudolf 
 Zumsteeg (1760-1802), Schiller's fellow-student at Stutt- 
 gart, who wrote such ingfptelc as " Die Geisterinsel " and 
 who set to music the songs and ballads of Goethe and 
 Schiller, and Burger's " Lenore," thus anticipating Schu- 
 bert and Lowe. There was Mozart (1756-1791), who 
 bears somewhat the same relation to Romantic music that 
 Wieland bears to Romantic literature. And there was 
 Beethoven (1770-1827), the Goethe of music, beginning 
 the new century with his first symphony. But to reckon 
 these and others of their time among the Romantic com- 
 posers would be to disregard conventional and convenient 
 
 [ 2 33]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 limits and to set awry all conception of Romantic solidarity. 
 They indubitably inspired some of the statements of the 
 Romanticists about music, but the really Romantic com- 
 posers were to come later. 
 
 There was a musical leaning and approach, however, 
 long before the composers began to write music the 
 most Romantic of all the arts. Jean Paul tried to explain 
 the essence of Romanticism from music by saying : ( 
 [ba< SSefen] ift nod) tifynlidjer al3 cm @(etd)nt, vocnrt man 
 ba3 SRomanttfdje ba< toogenbc &u$fummen ctner. aite ober 
 locfe nennt, in ttietdjcm bie onn?oge lute in immer fernercn 
 SSeitcn ucrfdjtmmmt unb enbltd) [id; Dcrltcrt in un< fclbcr nnb, 
 obluotjt aujjcn fdjon fttff, nod) innen lautct. In his comedy 
 " Die verkehrte Welt," Tieck tried to compose a symphony 
 in words. Friedrich Schlegel said : Surd) afle Stone tonct 
 im bnnten (Srbentraumc etn tei[er Xon, gegogen fi'tr ben, ber 
 heimttd) laufdjet. Friedrich Schlegel and others spoke of 
 architecture as frozen music, to Novalis all science was 
 based on rhythm, Eichendorff spoke of the song that 
 slumbers in all things and only needs to be awakened, 
 and E. T. A. Hoffmann's commitments on music are so 
 numerous as to forbid choice. 
 
 And then came the Romantic composers. To point out 
 the essential differences between their musical technique 
 and that of their predecessors, between that of J. S. Bach 
 and that of Schubert, for example, is in no wise either the 
 purpose or the duty of this section of the outline, though 
 there were differences, all of which are carefully and fully 
 attended to in the appended bibliography. And the Roman- 
 tic men of letters as composers, or the Romantic composers 
 as men of letters, can be dismissed in a single sentence : 
 
 [234]
 
 THE MUSICIANS 
 
 E. T. A. Hoffmann composed a good deal of music, and 
 Weber and Schumann wrote some "literature." But all 
 the musicians drew first and foremost on the literature 
 of Romanticism for thematic suggestion and inspiration. 
 And in so doing they did two things that make them stand 
 apart from those who had gone before : Weber and others 
 established the German Cper, Schubert and others estab- 
 lished the German Steb, a twofold accomplishment that 
 constitutes one of the brightest chapters in the history of 
 Romanticism, a twofold achievement that makes the com- 
 plete disappearance of Romanticism an impossibility and 
 an inconceivability. Romantic poetry will survive so long 
 as men and the children of men continue to sing and to 
 love song. And men will forsake song only when verse 
 has lost its rhythm, the sea its tide, and the spheres their 
 harmony. 
 
 Convention and tradition, safe guides in this matter, 
 have set aside twelve men as the Romantic composers. 
 Of these, Kreutzer, Spohr, Silcher, Marschner, Nicolai 
 and Lortzing are the less important half, though no lover 
 of music would like to be without them. Weber, Lowe, 
 Schubert, Schumann, Mendelssohn and Franz are the 
 more important half ; no lover of music could be without 
 them. Richard Wagner is not included. To include him 
 would be like trying to include Grillparzer among the 
 Romantic men of letters. For this each was too great, 
 each went too nearly his own way, each reminds one too 
 much of Classicism. Yet Wagner had many things in 
 common with the Romanticists. His themes, with the 
 single exception of " Rienzi," reecho the Middle Ages. 
 His connection with the Schlegels, Novalis, Tieck and 
 
 [235]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Hoffmann needs no accentuation. His moods of exalta- 
 tion, during which he created, and his moods of depres- 
 sion, during which he could do nothing, remind one of 
 Tieck, indeed of any Romanticist. But he was not a 
 Romanticist if for no other reason, because he lived for 
 the future ; there was no attempt at the revivification of a 
 Golden Age about either him or his works. He lacked 
 irony too, just as he was no friend of vague speculation, 
 or diffusive digression, or formless architecture. Even in 
 his "Tannhauser" there is something rigidly clear that 
 does not resemble Novalis' " Ofterdingen," just as there 
 is something logically concise in his " Parsifal " that 
 bears but little similarity to Wolfram's epic breadth and 
 opaque wording. One thing, however, should not be 
 forgotten : Wagner was the product, the result of German 
 Romanticism. 
 
 And of the Romantic composers again, Spohr, Marsch- 
 ner, Nicolai, Weber and Lortzing are well known for 
 their dramatic compositions, the others for their lyric ones. 
 Silcher, except for his popularization of Heine's " Lorelei," 
 is of subordinate merit. The lyric compositions are of 
 greatest importance in the literary study of Romanticism, 
 not only because so much more was done along this line 
 but also because of its eminent superiority. Just as a 
 drama is written for the stage, so is a real lyric written 
 for the lyre, in a sense the first of all musical instruments. 
 Schubert alone set to music about six hundred different 
 songs written by eighty-five different poets. Lowe was the 
 master of the ballad. Weber composed about one hundred 
 songs; Marschner, though we think of him primarily in 
 connection with the opera, about three hundred ; Schumann, 
 
 [236]
 
 THE MUSICIANS 
 
 one hundred and thirty-eight in the year 1 840 alone ; Spohr, 
 about one hundred and fifty all told. Such figures show 
 that the student of Romanticism has not finished his task, 
 has not enjoyed his opportunity, until he has heard the 
 poets' words in their proper setting and with their intended 
 accompaniment. Some of the songs and operas of Roman- 
 tic origin follow ; the list is intended only as a series of 
 samples ; there would be no point in attempting to make 
 it complete ; it contains, however, the best known. But 
 no such outline would be piously written which made no 
 mention of E. T. A. Hoffmann's opera " Undine," based 
 on Fouque's story of like name. Its present relegation to 
 the shelves of the antiquarian forbids, unfortunately, its 
 inclusion in the appended list. 
 
 BIBLIOGRAPHY 
 
 The History of Music. By Waldo Selden Pratt, New York, 1911 
 (fourth edition). 683 pages. Read pages 41 1 to 598. An excellent work, 
 containing brief biographical sketches of the many composers, directors 
 and performers, an account of the mechanical development of musical 
 instruments, a discussion of the various musical forms, and an analysis of 
 the various musical tendencies from the earliest times to the present. 
 
 The Study of the History of Music. By Edward Dickinson, New 
 York, 1906. 409 pages. Read pages 185 to 242. 
 
 Pronouncing Dictionary of Musical Terms. By H. A. Clarke, Phila- 
 delphia, 1896. 122 pages. A good manual for the lay student. Contains 
 descriptive analyses of all musical terms as well as brief data of practi- 
 cally all musicians. Very cheap. 
 
 The Oxford Book of German Verse. Edited by H. G. Fiedler with 
 a perfunctory introduction by Gerhart Hauptmann, Oxford, 1911. 596 
 pages. Contains 536 poems and gives the names of the most important 
 composers in all cases. Ninety-four composers are listed, aside from 
 folk melodies. 
 
 Beethoven and his Forerunners. By Daniel Gregory Mason, New 
 York, 1904. 352 pp. 
 
 [237]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 The Romantic Composers. By Daniel Gregory Mason, New York, 
 
 353 PP- 
 
 From Grieg to Brahms. By Daniel Gregory Mason, New York, 1903. 
 225 pp. For the average student unacquainted with German these three 
 books are excellent. They are written in a racy style, contain sympa- 
 thetic accounts of the various composers, good essays on music in 
 general and how to appreciate it. They do not, however, go very far 
 into the literary themes on which the musicians drew. 
 
 2)ie SMiitejett ber mufifaltfrf)en Stomantif in Seutfchlanb. By Edgar 
 Istel, Leipzig, 1909. 167 pp. For the student acquainted with German 
 this is the best book here listed. It is Volume 239 of " Aus Natur und 
 Geisteswelt," and contains all that the general student can ever need for 
 his study of Romantic literature. 
 
 Makers of Music. By R. Farquharson Sharp, New York, 1901. 237 
 pages. Discusses nineteen composers, from J. S. Bach to Brahms, and 
 gives brief chronological summaries of their compositions. 
 
 Songs and Song Writers. By Henry T. Finck, New York, 1902 (sec- 
 ond edition). 254 pages. Read pages 22 to 174. 
 
 2Jhtftigefcf)icf)te feit S3eginn beg 19. Sa^r^un^ert. By Karl Grunsky, 
 Leipzig, 1908. 123 pp. 
 
 efdjtdjte ber 3Hitfif feit Seetrjooen (1800-1900). By Hugo Riemann, 
 Berlin, 1901. 816 pages. Read pages 106 to 356. A depressingly 
 thorough book. 
 
 2)as> Dpernbucf). By Karl Storck, Stuttgart, 1913. 436 pp. 
 
 Grove's Dictionary of Music and Musicians. Edited by J. A. Fuller 
 Maitland, New York, 1910. There are 5 volumes, each consisting of about 
 800 pages ; the set is arranged in alphabetical order and is therefore 
 the standard reference work. 
 
 The Oxford History of Music. Volume VI, " The Romantic Period," 
 edited by Edward Dannreuther and W. H. Hadow, Oxford, 1905. 374 
 pages. Exceedingly valuable for the Romantic period, for the special 
 student. 
 
 The History of German Song. By Louis C. Elson, Boston, 1903. 
 288 pp. 
 
 3ur aftetap&nftf ber 3Jhiftf. By Arthur Schopenhauer. Pages 51 1-523 
 in the third volume of Schopenhauer's " Sammtliche Werke," Leipzig, 
 1877 (second edition). 
 
 [238]
 
 THE MUSICIANS 
 
 ROMANTIC THEMES COMPOSED 
 (Composers arranged chronologically) 
 
 Konradin Kreutzer (1780-1849) 
 
 2)d3 9Jad)tlager in ranaba, romantic opera in -2. acts, after Friedrich 
 
 Kind's drama of like name, libretto by K. Freiherr von Braun. 
 Incidental music to Raimund's " Der Verschwender." 
 Set to music Uhland's Sie $opelle; <5djafer3 @onntag3lieb; 2)a 
 am 2JZeer; Ser cfymieb; 2KorgenUeb ; infect; >eimfef)r; 
 
 Serglieb; greie 
 
 Ludwig Spohr (1784-1859) 
 
 3effonba, romantic opera in 3 acts, after the novel " The Widow of 
 Malabar," libretto by Eduard Gehe. 
 
 Karl Maria von Weber (1786-1826) 
 
 35et {$fteifd) u te> romantic opera in 3 acts, libretto by Friedrich Kind. 
 
 anj beutjd) unb im beften inne be^ 9Sorteg romantijd^. 
 ur^ant^e, romantic opera in 3 acts, libretto by Helmina von 
 
 Chezy. 
 Dberon, romantic opera in 3 acts, German libretto by Theodor Hell 
 
 (Theodor Winkler). 
 
 Incidental music to Pius Alexander Wolff's " Preciosa." 
 Set to music Theodor Korner's 2Bir liegen je^t im otteI)au; 
 
 33ater, id^ rufe bid^ ; 2)ie SBunbe brennt. Composed also music for 
 
 songs by Tieck, Herder, Burger and Voss. 
 
 Friedrich Silcher (1789-1860) 
 
 Set to music Dach's 2lnnd)en con Xfiarau ; folk song, 2Rorgen mujj id) 
 fortnon^ter; Chamisso'sSer olbat; Heine's Sorelei; Morike's 
 3)ie @olbaten6raut; Reinick's SBo^in mtt ber $reub'. 
 
 Heinrich Marschner (1795-1861) 
 
 iQan Ceiling, romantic opera in 3 acts, with a prelude, libretto by 
 
 Ph. Ed. Devrient. 
 er 3Sampir, romantic opera in 2 acts, libretto by W. A. Wohl- 
 
 briick. 
 2)er templet unb bie 3 u bin> romantic opera in 3 acts, after Scott's 
 
 " Ivanhoe," libretto by W. A. Wohlbriick. 
 Composed music for songs by Goethe, Heine, Eichendorff, Lenau, 
 
 Bodenstedt, Geibel, Fallersleben, Uhland, W. Miiller. 
 
 [239]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Karl Lowe (1796-1869) 
 Set to music : 
 Goethe's 2fteine Jlitf) ift E)in ; SOBanbrerg 9fadtlteb ; >er $if dEjer ; efang 
 
 ber eifter iiber ben 2Baffern; rlfonig; 3)er anger; 3)er dE)a= 
 
 grciber; 3)er gauberlefyrling ; ieb beg Siirmerg; priidjje (24); 
 
 Set getreue (SdEart. 
 Herder's rl!bnigg SodEjter ; buarb. 
 Riickert's Kleiner ^aug^alt; ii^eg 33egrabni3; ^inlenbe ^amben; 
 
 35eg fremben tinbeg fjeil'ger gfjrtft; D fii^e Gutter. 
 Uhland's olbfdtjmieb^ ^od^terlein; SQoralb; raf berftein. 
 Freiligrath's 3)er 2ftob,renfiirft; 2)ie aJio^renfiirftin ; 2)er Slumen 
 
 atacfye ; ^rtnj (Sugen, ber eble 3titter. 
 Strachwitz's Ser gefangene 2lbmiral. 
 Platen's 2)er pilgrim oor t. 2>uft. 
 A. Grun's 2)ie Seiche ju t. S"ft; 2)ie Skigevbeije. 
 Schiller's Ser raf non ^abgburg. 
 Uhland's er SBirtin Soc^terlein. 
 Zedlitz's Sie nac^tltd^e ^eerfd^au. 
 Heine's <Qerj, mein^erj, jet ntd^t beflommen; 3)er St^ra; Sie Soto= 
 
 blume; 2)u jdgoneS ^i^ermabd^en. 
 (Kopisch's >er 3lod; 2)ie iQeinjelmanndjen.) 
 (Fontane's 2lrd^tbalb 3)ouglag.) 
 
 Franz Schubert (1797-1828) 
 
 Set to music (a selection) : 
 
 Goethe's @rl!onig; 2Keine 3iul) ift ^in; d^aferg $lagelieb; 3Keereg= 
 ftille; etbenro^Iein; SOBanbrer^ Sfacfjtlteb ; SOBillfommen itnb 2lb= 
 jd^ieb ; >er ^onig in S^ule ; 5 reui>I)0 U un ^ leibooH ; 2>ager3 
 Slbenblieb; 3laftlofe Siebe ; 2lnben2Ronb; Sergifcger; efang ber 
 eifter iiber ben SBafjern; renjen ber 3Jlenfd5f)eit; er anger; 
 2Jiignon^ Sieber (2); Sieb beg Jgarfnerg; 9Ja^e beg eltebten; 2)er 
 d^a^graber. 
 
 Schiller's 2ln bie ^reube; Sag SJJabd^en au ber grembe; offnung; 
 ie r roar tun g ; efjnfucfyt; S)er plgrnn. 
 
 A. W. Schlegel's Ibenblieb fiir bie ntfernte; Sebengmelobien; >ie 
 gefangenen anger. 
 
 Fr. Schlegel's S)er d^metterling ; Ser SCanberer; 2lbenbrotf)e; 2Me 
 9?ofe; SBalbegnadgt; ie Serge; 2)er Differ. 
 
 Fouque's Ser deafer itnb ber better; ebet. 
 
 Fr. Kind's iinflingg Siebegroerbung. 
 
 [240]
 
 THE MUSICIANS 
 
 Platen's 2)ie Siebe f)at gelogen. 
 
 Th. Korner's Sag roar id); ebet rocifyrenb ber d)lad)t. 
 
 L. Rellstab's 2luf bem trom. 
 
 E. Schulze's roige Siebe; %m SBalbe. 
 
 F. L. Stolberg's 2luf bem SBaffer ju fingen. 
 C. Pichler's Set Unglitdlidje. 
 
 Riickert's Safe jie bier geroefen ; reifengefang ; Sit bift bie 9htlj. 
 
 Heine's 2)u fd)5neg $ifd)ermabd)en ; 25a SJieer erglanjte. 
 
 W. MUller's 2Banberfd)aft; SBo^in; alt; Ungebulb; SWein; $te 
 ^Soft ; 2)er iiinbenbautn. 
 
 Uhland's j5riif)UngggIaube. 
 
 Novalis' SBenn alle untreu roerben; SSenn id) i^n nur ^abe. 
 
 Composed also music for a great many songs by poets of less re- 
 nown: Pyrker, Collin, Craigher, Schober, Leitner, Bauernfeld, 
 Seidl, Mayerhofer, and for a few by the greatest of Austrian poets, 
 Grillparzer. 
 
 Otto Nicolai (1810-1849) 
 
 25ie luftigen 3Beiber ju SBinbfor, comic-fantastic opera in 3 acts, 
 after Shakespeare's drama of like "name, libretto by H. S. Mosenthal. 
 
 Robert Schumann (1810-1856) 
 
 enODCDa, romantic opera in 4 acts, after Hebbel's drama of like 
 
 name more than after that of Maler Muller, Raupach or Tieck ; 
 
 libretto by Reinick, then revised by Schumann himself. 
 His ^b/antafteftiirfe and ftreisleriana are based on works by E. T. A. 
 
 Hoffmann. 
 
 Set to music (a selection) : 
 Heine's Selfafcar ; 25ie 3tofe, bie Silie, bie aitbe, bie onne ; 3d) 
 
 grolle nid)t; Sin 3""9li9 Hebt ein 2Kabd)en; 3)u bift rote eine 
 
 33lume ; (S tretbt mid) bin ; 3d) roanbelte unter ben Saumen ; 
 
 @d)5ne SBiege meiner Seiben ; 9Jtit SJigrtb.en unb Stofen ; 2)ie 
 
 blume ; %m rounberfdjonen 3)Jonat 2Hat ; Slug meinen X 
 
 fpriefeen; 3Benn id) in beine 2lugen feb'; Sag ift ein 5^ te n ""^ 
 
 eigen; 3d) ^ab' im raume geroeinet; 2lQndd)tIid) im Jraume; 
 
 2)ie alien, bofen Sieber ; 2)ie beiben renabiere ; S)ein 2lngefid)t ; 
 
 3Bir fafeen am $ifd)erfiaufe ; 2lit alien 3JJdrd)en roinft eg. 
 Eichendorff's 2)ein Silbnife rounberfelig; 3}?onbnad)t; @d)5ne 
 
 e^reube; 3n ber grembe; ^rit^linggnadjt; 28e^mut; Sie tille; 
 
 3)er frof)e SBanbergmann ; 3d) bbr' bie Sad)lein raujd)en; 25er 
 
 tnfiebler; SBalbgefprdd) ; ?hif beit ^ob eineg 
 
 [241]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Chamisso's 33erratb,ene Siebe ; (Sett id) if>n gefeljen ; Gr, ber >errlid;fte 
 
 son alien; 2>d) fann'3 nid)t fafjen, nid)t glauben; 2)u Sling an 
 
 meinem ginger; ufeer $reunb, bu blirfeft; 3tun fyaft bu mtr ben 
 
 erften corner 3 getfjan; er olbat. 
 Goethe's eibenrolein ; >er $6nig in b,ule; Sfaftlofe Siebe; 2Ban= 
 
 brer3 9Zadjtlieb; 2)er anger; 2JJignon3 Sieber (2); Sieb be3 
 
 arfner^; Sieb be^ Siirmer^; priicfje (24). 
 RUckert's SBibmung; ^agminenftravic^ ; SBenn id; friif) in ben arten 
 
 gel)'; djneeglocldjen ; Siebe^frii^ling. 
 Morike's (gr tft'g; 2)a oerlajjene 3Kdgblein; 35ie olbatenbraut; 
 
 Sung Solferg Sieb; @cl)on=3tol)traut. 
 
 J. Kerner's SEBanberlieb; tille Siebe; tille ^fjranen ; Sllte Saute. 
 Uhland's 3)e^ ^naben Serglieb; eg <Sa'nger glud); Ser d^mieb; 
 
 ie lapeUe. 
 
 Lenau's tnfamfeit; ^ommen unb djeiben. 
 Wunderhorn, 3Warienn>urmd;en. 
 Folk songs, d)nitter Sob; 9Benn id; ein SOoglein roar'; fiel ein 
 
 Relf. 
 
 Gustav Albert Lortzing (1803-1851) 
 
 2)er 3Bilbfd)ii^, ober bte timme ber 3Jatur, comic opera in 3 acts, 
 
 after a comedy by Kotzebue, libretto by Lortzing. 
 llnbine, romantic opera in 4 acts, after Fouque's " Undine," libretto 
 
 by Lortzing. 
 
 Felix Mendelssohn-Bartholdy (1809-1847) 
 
 Wrote overtures to Shakespeare's " Midsummer Night's Dream," 
 
 Goethe's @rfte 3Balpurgi3nad)t, Tieck's 2)Jelu[ine. 
 Set to music (a selection): 
 Eichendorff's 2lbfd)ieb; Sietille; 9?ad)tlieb; Ser fro^e 2Banber3= 
 
 mann; ^Sagenlieb; SBanberlieb ; ^ roeifs unb ratf) eg bod; Reiner. 
 Uhland's d;aferg onntag^Iieb ; griifjlinggglaube; 2)ie 5lonne; 
 
 irtenlieb; 3)a tf;ifflein. 
 Lenau's d)ilflieb; 2luf ber 3Banberfd;aft ; 2ln bie ntfernte; griil)- 
 
 Hng^lieb. 
 Heine's 2luf ben glilgeln be efangg; Seife jiefjt burd; mein e= 
 
 miit; 9Jeue Siebe; SSerluft ; ruf(; 2Rorgengruf! ; 9teifelieb; Wl* 
 
 nad;tlid; im Xraume ; 2)er ^erbftroinb riittelt bie SBaume. 
 Goethe's 3KeereS tide; uleifa (2); 2)ie Siebenbe jd;reibt; rfter 
 
 Serluft. 
 Geibel's 2)er 9JJonb; 2Benn fid; jroet erjen fd;eiben. 
 
 [242]
 
 THE MUSICIANS 
 
 Fallersleben's Sroftung; eemannS djeibelieb. 
 
 Wunderhorn, 2JUnnelieb.; 2>agblteb. 
 
 Folk songs, djnitter ob; 3 fiel ein 3ieif ; D Sugenb; Qcrntelieb. 
 
 Tieck's 2Winnelieb. 
 
 Immermann's obe3lieb bet 33ojarett. 
 
 Schiller's 2)e3 2Hcibd)en3 fllage. 
 
 Simrock's 3Barnung oor bem 9tl)ein. 
 
 Robert Franz (1815-1892) 
 
 Set to music (a selection) : 
 
 Heine's 2lu3 meinen grofeen djmerjen; 2>m rounberfdjonen 3JZonat 
 3Kai; D liige nid)t; (Sterne tnit ben golbenen 3tifs3) en ; 3 m 
 3t^ein; 2)ie Soto^blume; 2lm Ieud)tenben ommermorgen ; $riif)= 
 ItngSfeier; ragt in 3Keer ber Kunenftein; 2luf bem Sfleere; 
 aWabdjen ntit bem rotten afliinbdjen; 2Bie beg 2Konbeg Slbbilb; 
 3)urd) ben 2Salb im 2JJonbenfdjein ; in ^^"fmwtt fte^t ein= 
 fam; 2)a 2Jleer erftra^tt im @onnenfd;ein ; 2Banbl' id) in bem 
 SBalb beg 2lbenb3 ; ie Itebten fid) beibe ; (Eb^ilbe ^arolb ; eife 
 jie^t burd) ntein emiit ; @S fdllt ein tern Ijerunter. 
 
 Lenau's SBitte; d)ilftieb; SiebeSfeier; 2Binternod)t ; 2luf ge^eimem 
 3BaIbegpfabe ; onnemmtergcmg ; 5 r "^^ n S g S e ^ r S n 9 e > tiBe 
 idjerljett ; 2luf bem ^eid). 
 
 Geibel's Sie Soto^blume ; ^w 30?ufil ; $Wun bie fatten bunfeln. 
 
 Eichendorffs 2)er djatf; ute 9tatf)t; 35er Sote; 
 
 Morike's tlm 2Kitternad)t ; Sag nerlaflene SRagblein; Siofenjeit; 
 
 SBerborgenfjeit; S)enf eg, D eele! 
 Fallersleben's 2)ie f5^^ e elgolanb^ ; $riif)ling unb Siebe ; 
 
 pelrcanblung. 
 
 Riickert's @r tft gefommen. 
 Goethe's 9iaftlofe Siebe. 
 Chamisso's J)er olbttt. 
 Storm's 2)Jeine 3JJutter ^at'S gerooQt. (From "Immensee.") 
 
 [243]
 
 SECTION XII 
 THE ROMANTIC PAINTERS 
 
 The very shibboleth of German Romanticism was Art. 
 Tieck's " Sternbald," Wackenroder's " Phantasien iiber 
 die Kunst," A. W. Schlegel's " Die Gemalde," Morike's 
 " Maler Nolten," to say nothing of the various novels and 
 dramas that have artists, historical and fictitious, as heroes, 
 would prove this if proof were necessary. The Romanticists 
 were interested in all that is pleasing, and man's three chief 
 mediums of expressing his ideas in a pleasing way are 
 words, colors, sounds. Goethe wrote " Erlkonig," Moritz 
 von Schwind painted it, Schubert set it to music. Such 
 instances of triple composition are conspicuously numerous. 
 We have but to think of the " Nibelungenlied," Rethel's 
 panels and Wagner's music in a very general way, and 
 Uhland's " Schloss am Meer," K. F. Lessing's painting 
 and Raff's music in a very specific way. Not to discuss 
 painting in a treatise on German Romanticism is to leave 
 the treatise a torso ; though the men of letters were not, 
 like William Blake and D. G. Rossetti in England, also 
 painters. No one studies, for example, E. T. A. Hoffmann 
 as a painter, though he painted. 
 
 And it is this again that separates Weimar from Jena. 
 Weimar, starting from Winckelmann who preached the 
 glories of ebte (Stnfcttt unb fttHe @roe, and listening to 
 Goethe, wanted clear outline, regular execution and 
 
 [244]
 
 THE ROMANTIC PAINTERS 
 
 classical subject : did not Homer make many themes so dis- 
 tinct that they were already half painted ? Jena, that is to 
 say Diisseldorf-Rome, demanded and acquired bold outline, 
 original execution, popular theme, and landscape. But 
 Diisseldorf-Rome was not only national and popular, it was 
 pious. For this piety Goethe had no patience. He had 
 time for Hackert and Zahn, he had no time for Runge and 
 K. D. Friedrich. He would, to be sure, have wasted some 
 effort had he spent much time on some of the Romantic 
 Nazarenes, whose creations have not received the universal 
 suffrage of the initiated. Nor did the men of letters always 
 succeed in writing holy literature. And there is a striking 
 similarity between the tendencies of the painters and of 
 the writers, a similarity expressed by Karl Immermann 
 as follows : llnb tuenn bteje ttmmung e&en bte fenttmental* 
 romantifdje tuar, unb toenn barin ba SSetcfje, $crne, 9Rufifa 
 Itfdje, GontempIattDe anftatt beg tarfen, 9?af)en, Sptaftifdjen, 
 |)anbe(nben fcorttmltete, toarum fcfjeltet >l)r bte 2J2a(eret, 
 ba Sf)r bte ^Soefte gelobt fyabt, ber 3f)r afte etnen 2eU Surer 
 23t(bung berbanft ? 2)te ^jSoefte ging boran, bte 9ftalerei folgte, 
 unb e njurbe f)ter etraa^ loafjr, toa^ out3 be 9J?at)narb in 
 jetner SBetradjtitng iiber bte neuere unft ber granjofen etn= 
 mat fagte: "L'ictte passe du papier a la toile" And the 
 observation is apposite. 
 
 There were also a number of sculptors and architects 
 who lived at the same time as the Romanticists and asso- 
 ciated with them. It is, however, impossible to speak of 
 Romanticism in the specifically plastic arts. Romanticism 
 was subjective. And just as music is the most subjective 
 of the arts, so are architecture and sculpture the most 
 objective. All Classic art was objective, to indulge in a 
 
 [245]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 fairly tenable generality ; the predominant art form in the 
 Classic Ages was sculpture ; in the Middle Ages it was 
 architecture ; in the Renaissance it was painting ; now, as 
 it was in the days of Romanticism, it is music. If, then, 
 we find sculptors such as Rauch, Rietschel and F. Tieck, and 
 an architect like Schinkel living at the time of the Romanti- 
 cists and associating with them, let us not try to make them 
 out Romanticists ; their art does not admit of such classi- 
 fication. Nor is it proper, though it has been done, to speak 
 of Sophie Schroder, P. A. Wolff, Esslair and L. Devrient 
 under the caption of Romantic actors. Time gives to con- 
 temporaries a similarity of interest and inclination ; it 
 changes the fundamental principles, the main types of art 
 not at all. There is as much difference between the paintings 
 of A. J. Carstens and J. A. Koch, with their Classic ideals, 
 and those of Richter and Schwind, with their Romantic 
 ideals, as there is between the writings of Goethe and 
 Wackenroder on painting ; and we cannot call Friedrich 
 Tieck a Romantic sculptor simply because he was the 
 brother of Ludwig Tieck, a Romantic writer. 
 
 In the matter of Romantic literature and Romantic 
 painting, we have only another exemplification of the fact 
 that literature is an artistic visualization and faithful reflec- 
 tion of life ; it not only includes everything that goes to 
 make up life, it is coeval with life. The various ways in 
 which art manifests itself have changed from time to time ; 
 literature has remained about the same. The lyrics of 
 Sappho, the epics of Homer, the dramas of Sophocles 
 have not been improved upon. Literaturejcomes-^fiist. 
 And just as the poems of Goethe and Heine were written 
 first and the compositions of Schubert and Schumann 
 
 [246]
 
 THE ROMANTIC PAINTERS 
 
 came later, so did the Madonnas, landscapes, sagas, folk 
 songs, fairy tales, and lyrics of the Romantic poets come 
 first ; and then came the paintings of these by the men 
 here listed. The number is nearly complete. Each one 
 is accompanied by a brief note of characterization and a 
 sufficient number of his works to show in what direction 
 he tended. 
 
 Though it would seem at first blush that all color-art is 
 Romantic, it is just in this phase of the century that we 
 must proceed with the strictest adherence to tradition. 
 Beginning with K. D. Friedrich, born in 1774, and clos- 
 ing with A. Rethel, who died in 1859, we have sixty years 
 of Romantic painting ; we have no more. And even in these 
 sixty years we must allow time for genesis and attenua- 
 tion. The flowering time of Romantic painting was from 
 about 1810 to about 1835. At least, one cannot go beyond 
 the sixty years. J. A. Koch's " Schmadri-Wasserfall im 
 Lauterbrunnen Tal " is certainly romantic. But Koch, 
 born in 1768, came too early to be included in the group 
 that oscillated between Diisseldorf and Rome ; he stayed 
 too exclusively in Rome. And Bocklin's " Meeresbran- 
 dung " is certainly romantic, but Bocklin, born in 1827, 
 came too late. Anyhow, his paintings, though they remind 
 one somewhat of " Undine " and her kind, have also a 
 strong tinge of Classical mythology ; there is too little in 
 Bocklin that drives us to German legends to get the con- 
 nection. But if we take Friedrich at the beginning or 
 Rethel at the end, we move in the same world that the 
 Romantic poets poetized. And though paintings, like 
 concerts, are not always accessible, the student has not 
 done his full duty, he has not availed himself of his real 
 
 [247]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 opportunity, until he has seen what the idea in question 
 means to the man who expresses himself in colors. There 
 is diluted Romanticism even in such a painting as Karl 
 Spitzweg's " Gedanken sind zollfrei." 
 
 BIBLIOGRAPHY 
 
 2)te beutfdje $unft be neunjefynten Sal^unbertS. By Cornelius 
 Gurlitt, Berlin, 1907. 722 pp. The best book on the subject. It is 
 Volume II in the series " Das neunzehnte Jahrhundert in Deutsch- 
 lands Entwicklung," edited by Paul Schlenther. Read especially 
 chapter v, "Die Romantiker," pages 180 to 279. The illustrations are 
 excellent and the painters are discussed in connection with the men 
 of letters. 
 
 efdjtdjte ber SJZalerei. By Richard Muther, Leipzig, 1909. In 3 vol- 
 umes. Read Volume III, 602 pp. A history of painting in general, not 
 simply that of Germany. 
 
 2Ufreb 3Jetf)el : e3 SMfterS SBerfe in 300 2lbbtlbungen. By Josef 
 Ponten, Stuttgart and Leipzig, 1911. 202 (large) pp. An excellent book 
 in an excellent series, " Klassiker der Kunst," Volume 17. There is 
 also one on Schwind, Volume 9. 
 
 5hmge unb bie Siomantif. By Andreas Aubert, Berlin, 1909. 127 pp. 
 The best, the only book on Runge. Illustrated. A valuable work because 
 of Runge's relation to Tieck and his similarity to Novalis. 
 
 2Jiafengefprad)e. By Karl Lebrecht Immermann, in " Diisseldorfer 
 Anfange," 1840. 108 pp. Immermann lived with and knew intimately 
 the Diisseldorf group of painters. 
 
 glister jur $unft. SSon bexitfcfjer $unft. By Karl Woermann, Ess- 
 lingen, 1907. 85 pp. A very good small manual. 
 
 The Schools of Modern Art in Germany. By J. Beavington Atkinson, 
 New York, 1881. 150 (quarto) pp. 
 
 2>er beutfdje Sicerone. By G. Ebe, Leipzig, 1898. In 3 volumes. 
 Volume III, 475 pp. Read pages 301 to 397 (" Epoche der Klassik und 
 Romantik "). 
 
 eutfdje $unft unb beutfdje ^olitif. By Richard Wagner, Leipzig, 
 1868. 112 pp. A series of detached articles that deal mostly with the 
 musical and mimetic arts, but of much general interest and value. 
 
 runbrtfj ber $imftgefdjtd)te. By Heinrich Bergner, Leipzig, 1911. 
 333 PP- There is a second edition, 1912, slightly changed and enlarged. 
 
 [2 4 8J
 
 THE ROMANTIC PAINTERS 
 
 Contains 448 illustrations. An excellent manual from which to get a 
 general idea of architecture, sculpture and painting. 
 
 Seutfdje $unft in SBort unb $arbe. Edited by Richard Graul, Leip- 
 zig, 1911. A most excellent work. 
 
 augbud) beutfd>er $unft. Compiled by Eduard Engels, Stuttgart, 
 1907. Contains only pictures; a superb collection. 
 
 STUDY LIST 
 
 Kaspar David Friedrich (1774-1840) 
 
 (Sir ift ber etgentlidje iiieblinggmaler ber romantifdjen djriftfteller 
 geroefen. 2Ran liebte ben melandplifdjen runbton, bie geb,eim= 
 niScoUe (Sinfamfeitgpoefie, bie Dfftan=timmung feiner 33ilber. 
 Muther. 
 
 " Kreuz im Gebirge," " Der Sturzacker," " Landschaft mit Regen- 
 bogen," " Mondbild," " Das Hiinengrab." 
 
 Philipp Otto Runge (1777-1810) 
 
 2)ag tubium ber 2Uten unb bag (Sntroideln aller tufen ber 5?unft 
 barau ift jroar fehr gut, eg lann ober ben [bem] ^iinftter ntdjtg fyel- 
 fen, roenn er nidjt babin fommt unb gebradjt roirb, ben gegenraarti= 
 gen SJZoment beg Safegng mit alien djmerjen unb ^reuben ju faffen 
 unb ju betracb^ten; roenn ni^t alleg, roag ibm begegnet, perfonlicb/e 
 33erub,rung ntit ber roeiteften ^erne unb bem innerften ern 
 SajerinS, mit ber alteften 5?ergangenb,eit unb ber berrlidjften 
 tt)irb. Runge to Schelling. 
 
 " Lehrstunde der Nachtigall," " Triumph des Amors," " Ossian 
 mit der Harfe," " Die Geburt Fingals," " Die Musica," Der Mor- 
 gen, Der Tag, Der Abend, Die Nacht, four parts of his chief work, 
 " Die Tageszeiten." 
 
 Peter Cornelius (1783-1867) 
 
 r b,at nad) feinen eigenen SBorten in ben 93ilbern fetne pljilofopb> 
 fdje 2)oftorbiffertation gefd)rieben. r roar ber eiftegoerroanbte ber 
 grofien elefyrten, bie bamalg ib,re tiefabgriinbigen pbjlofopljifdjen 
 nfteme erfannen. ignorelli, 2)iirer, SRaffael, oboma unb 2Kid)el= 
 angelo geben fid) [bei ifjm] ein poftfjumeg teUbidjein. Muther. 
 
 " Die apokalyptischen Reiter," " Joseph deutet die Traume Pha- 
 raos," " Gretchen im Kerker," " Das jiingste Gericht," " Nibelungen- 
 lied," " Faust und Mephisto am Rabenstein." 
 
 [ 2 49]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Franz Pforr (1788-1812) 
 
 ^Bforr roar f ftdE) barauf, )iirer 2lrt ju ergriinben. Sr ift 
 afymer, fonbern etn roaster Mnftler, ber alle offnung geroahrte, bajj 
 er au3 bem inbenfen in anbere jur perfbnlidfjen $reil)ett gelangen 
 roerbe. Gurlitt. 
 
 " Rudolf von Habsburgs Begegnung mit dem Priester." 
 
 Friedrich Overbeck (1789-1869) 
 
 eit DcerbedE 1813 jum $atl)oli3i3mu iibergetreten roar, fanb er 
 in biefem fein colleS liicf. (Sein c^affen ift ebet, ebet um ba^ 
 eigene QeU'uttb im inne ber guten SBerfe um bag ^eit anberer. 
 Doerbecf neigte fid^ in Seraiinberung cor gra 2lngelico. Gurlitt. 
 
 "Magnifikat der Kiinste," "Joseph wird von seinen Briidern ver- 
 kauft." 
 
 Wilhelm Schadow (1789-1862) 
 
 2)ie S)icf)ter unb agen aQer geiten mu|ten ityre beften toffe b,er= 
 geben. SJomanttfdje ^onig^finber, fa^one 5^en^ ^irtenfnaben unb 
 dauber, ^een unb Grjodter, fcfyliefjlid) audi roeinfro^Ud^e pie^biirger 
 unb fromme SBauern rourben ju J)ubfo)en S3ilbcb,en cerarbeitet. 
 Bergner. 
 
 " Die heilige Familie," " Paradies, Fegefeuer und Holle, nach 
 Dante," " Die freigeborene Poesie," " Mignon in die Saiten grei- 
 fend," " Die heilige Hedwig," portraits of Immermann, Felix Men- 
 delssohn, Thorvaldsen. 
 
 Philipp Veit (i 793-187 7) 
 
 $f)ilipp SSeit aug $ranffurt, ber aB (Snfel 3JJofeg 2Renbel3fob,n3, alg 
 o^n 2)orot^ea SSeit unb tieffofjn ^riebrid) d)Iege(g feine Sxtgenb 
 in jeb,r aft^etifa^en 5?reifen oerlebt ^at, erinnert an 33orgognone. 
 eine beiben ijbauptroerte finb Don einer nicfyt unfnntpat^ifo^en trau= 
 merifd^en SBeidjfyeit. Muther. 
 
 " Selbstbildnis aus der Jugendzeit," "Die Einfiihrung der Kiinste 
 in Deutschland durch das Christentum." 
 
 Julius Schnorr von Carolsfeld (1794-1872) 
 
 3Son jeinen [Sorneliu^] cb,iilern malte d^norr in ber 3Kuna)ener 
 3tefibenj in grojjen ^re^fen ba^ 3tibelungenlieb, fcpne 2JJenfa^en, fd^one 
 ^leiber unb erfjabene ebarben, aber roenig eift. >te Silberbibel, 
 roelc^eerim2llterinrebenjeid)nete,iftunfagbareintonig. Bergner. 
 
 "Familie Johannes des Taufers bei jener Christi," "Verkiin- 
 digung," " Bildnis Friedrich Riickerts." 
 
 [2 5 0]
 
 THE ROMANTIC PAINTERS 
 
 Karl Rottmann (1798-1850) 
 
 SRottmann fud)te trie efdjidite in ber 2anbfcb,aft, fei eg bie 33egeben= 
 tyeiten aug bem Seben ber SSolfer ober bie Umroaljungen ber @rbe, 
 roie fie Shilfane unb roilbe 33erglinien bem im eifte 2Uer.anber con 
 iQumbolbtg Saufdjenben erjafjlen. Gurlitt. 
 
 " Marathon," " Celafu," " Meereskiiste im Sturm." 
 
 Joseph von Fiihrich (1800-1876) 
 
 SBei ber iiberroiegenb poetifa)en 2lnlage beg jungen $iinftlerg roaren 
 eg begreiflidjerroeife bie 2)ia)ter, roelcfje if)n anjogen, junacfjft roirften 
 beftimmenb auf ib,n filler, Xietf, yiovaliZ, Spiegel unb SBacfen; 
 rober. Grueben. 
 
 "Marias Gang iiber das Gebirge," "Derarme Heinrich," "Das 
 alte und neue Rom." 
 
 Adrian Ludwig Richter (1803-1884) 
 
 3)er ungefyeitre oolfgtiimlic^e 2Bert ber 5hmft Subroig 3ticf)terg, auf 
 ben roofyl malerifd^e Xalente roie 3)abl unb ^nebric^ in frii^er iyugenb 
 eingerairft batten, ber aber aud) in ben iireig ber 9iajarener getreten 
 raar, liegt ebenfallg auf feinem gutmiitigen rjablertalent. 21I 3Kaler 
 fud^te er fic^ an ber 2Beife beg alloerefirten, ju friif) cerftorbenen 5?arl 
 ^ob/r ju bilben, beffen Sanbfc^aften con ber jungen @d)ar ber 9l6m= 
 linge berounbert rourben. Slber roeit bebeutenber alg ber Staler an= 
 ntutiger, mit einer gillie oon gigwren ftaffierter Sanbfc^aften, ift bocf) 
 ber 3dd)ner gfliajter. Graul. 
 
 " Im Mai," "Am Rhein, da wachsen unsre Reben," " Uberfahrt am 
 Schreckenstein," " Brautzug im Friihling," " Es fiel ein Reif," " Ge- 
 novefa," " Dornroschen," " Der kleine Daumling," "Abendandacht." 
 
 Moritz von Schwind (1804-1871) 
 
 (Sinem ^Soeten roie er einer roar, fam eg gar nidjt an auf malerifdje 
 efc^icflic^feit ober auf treue 5Raturroiebergabe, roie fie t>on ben ^tin- 
 gern am 2Berf, oon ben wreatiftifc^en" $)iftorien= unb enremalern, 
 geforbert ju roerben begann. 3)urd) bie Seftiire ber 9)Jinnefinger roar 
 er ganj auf bie romantifdje 2BeIt unb in bie errlid)ieit altbeutfcb.er 
 SSergangenb,eit unb trauter 2Rdra)enpoefie fyingefiifyrt roorben, unb roag 
 er . . . gefd)affen b,at, ift ein b,o^e Sieb auf bie poetifc^e Sinnigfeit 
 beutfdjer 2lrt unb beutfcb,er Sicb/tung. 2ludj roo er jenen beg ^ami- 
 lienlebeng fd^ilberte, jeigte er fie im fjeiteren 2lbglanj }arter ^Soefie 
 ober golbenen umorg. Graul. 
 
 [251]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 " Die Morgenstunde," " Die Hochzeitsreise," " Elfenreigen," " Die 
 Symphonic," " Waldkapelle," " Die Schopfung," " Die schone Me- 
 lusine," " Die sieben Raben," " Die Rose," " Der gestiefelte Kater," 
 " Erlkonig," " Rubezahl," " Aschenbrodel," " Morgengrauen," " Des 
 Knaben Wunderhorn." 
 
 Friedrich Preller (1804-1878) 
 
 2jm roeiteren SSerlauf feiner Sugenb nwrbe Atelier im 20efentli$en 
 burd) oetfjeg giirforge bergeftalt begunftigt, bafj er ttn iginblicf auf 
 feine fpateren eiftungen alg ein berufener 33ertreter ber ^unftleljre 
 beg 2)id)terg gelten barf. %m Eolorit E)at ^reller in feinen Dbt)ffee= 
 lanbfdjaften ba^ SBetterleben beg 9iorben in rounberfamen inflang 
 gebradjt mit ber gormenflarfyeit beg iibeng. V. Donop. 
 
 " Odysseelandschaft," " Norwegische Landschaft." 
 
 Wilhelm von Kaulbach (1805-1874) 
 
 Spatte er bie 2Birflid^Ieit bigfyer nur oon ber roiberrocirtigften cite 
 lennen gelernt, unb raar feiner reid)begabten 37atur ber ^bealigmug 
 fetnegroegg fremb, \ o mu^te ifym bie^luc^t oor ber egenroart ing raette 
 SReic^ ber ^S^antafte, roelcfje bag d^arafteriftifd)e foment ber @d)ule tute 
 ber 3fiomanttl iiberfjaupt bilbet, mofyl entfpred^en, obrao^l fein Seben ifyn 
 le^rte, fie balb mit bem fjarteften Stealigmug 511 erbinben. Fr. Pecht. 
 
 " Der Verbrecher aus verlorener Elftre," " Die Zerstorung Jerusa- 
 lems," " Die Hunnenschlacht." 
 
 Johann Wilhelm Schirmer (1807-1863) 
 
 2Ug ^anbfc^aftgmaler fteljt dEjirmer in Seutfdjlanb neben Seffing 
 alg f)erorragenber SSertreter ber Siiffelborfer @d)ule. 2ln Siefe beg 
 Jiaturftubiumg Seffing ebenbiirtig, in ber 3)JannigfaItig!eit ber 2(uf= 
 gaben, bie er feinem ^Jinfel ftellte, iiberlegen, fte|t er alg !ybealift jjer 
 Sanbfd^aftgmalerei neben 3tottmann nnb 'preller. SUJan f dEjafct bie Qafyl 
 feiner auggefiib^rten Dlgema'Ibe auf 230. V. Weech. 
 
 "Deutscher Urwald," "Italienische Landschaft mit Pilgern," 
 " Vom Heidelberger Schloss," " Wetterhorn." 
 
 Karl Friedrich Lessing (1808-1880) 
 
 g feblt if)m bie SBeite beg 33Iideg; eg feb,lt i^m ber 2Rut, bie gro= 
 ^en rfdEjeinnngen feiner 5liinft ing 2luge ju faffen. ein wS^elin" 
 raar bag einjige unter ben neueren SBUbern beg aJiiifeximg, roeldjeg mir 
 neben ben alten 3Berfen ticf) f)ielt. Immermann. 
 
 "Motiv aus dem Harz," "Die tausendjahrige Eiche," "Hus auf 
 dem Scheiterhaufen," " Belagerung." 
 
 [252]
 
 THE ROMANTIC PAINTERS 
 
 Karl Spitzweg (1808-1885) 
 
 Dbroob,! er roeber Sauern nod) inber malte, jroitfdjert aud) in feinen 
 SBerfen, rote in einem meffingnen Sogelbauer eingefdjloffen, bieganje 
 SRomantif. 2lUe3 rooran man benft, roenn ba3 SBort Siebermeierjeit 
 genannt roirb, ift oereinigt: 2Balbesluft, fleinftdbtifdjeS tilleben, 
 2Rufif unb 2JJonbfdjein. Muther. 
 
 " Beim Morgenkaffee," " Flotenkonzert," " Der Friede," " Spazier- 
 ganger," "Lektiire," "Der Pfarrhof," " Strickender Monch," "Der 
 arme Poet." 
 
 Eduard Steinle (1810-1886) 
 
 erootynlid) nimmt teinle fiir jeine reidje djopfunggfraft bie 
 $orm be^ Gpclug in 2lnfprudj : f)ier nerftefit er es, namentlid) in ben 
 fpateren SBerfen, mit grower bramatifdjer 5lroft ben ^ortgang ber @r= 
 ja^lung SSieter wor 2lugen 511 ftellen, bie er tfyetls ber Segenbe, t^eilg 
 bem 9Kdrd^en xtnb ber poetijdjen Siteratur entnimmt : ^ier fei in erfter 
 Sinie bie Segenbe ber tyeiligen @up^rofi)ne errodfint, bann bie fjeilige 
 2Kargarita oon Gortona, djneeroei^d)en unb Siofenrot, ber ^aufmann 
 Bon SSenebig, ^arjinal, ferner bie djopfungen nad) ben 2JZdrdjen con 
 Srentano, in benen bie eltfamreiten ber romantifd^en Saunen bes 
 2)id)ter3 ju reijoollen ebilben abgefldret erjd)einen, roie im 2JJiiUer 
 Slablauf, rodfjrenb bie braftifd^e SebengroeiS^eit in ben 3HeF)reren 
 SBe^miiller mit oollenbetem Jjbumor jur Sarftellung fommt. Veit 
 Valentin. 
 
 " Die Lorelei," " Der Kardinal-Grossponitentiar," " Marchen vom 
 Rhein." 
 
 Karl Wilhelm Hubner (1814-1879) 
 
 2U er fid^ sum 25ar[teller ber bie Qeit mdd^tig beroegenben focialen 
 gragen madjte, unb biefelben in lebenbiger, roirfung^coller SBeife 
 jum (Segenftanb feiner emdlbe rodb,Ite, ba roar fein 3tuf mit einem 
 2Hale begriinbet unb roud)^ in erftaunlidjem 3Ka^e. M. Blanckarts. 
 
 " Die schlesischen Weber," " Das Jagdrecht," " Hiilfe in der 
 Noth," " Die Verlassenen." 
 
 Andreas Achenbach (1815-1910) 
 
 3n feiner 3luffafjung entfernte fid) Slnbreag 2ld)enbad) oon ber 5lo= 
 mantif dn'rmerS unb Seffing, aber al einen 3"9 i>er Qeit be^ielt 
 er eine geroiffe bramatifd;e ober patb,etifd)e JJeigung bei, bie ib,n oft u 
 einer malerifd) unb fadjlid) ^effeftDOlIen" 2)arfteUung oerleitete. 
 biefem ang jum ff interefanten" 5Wotin unb jur 
 
 [253]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 fyatte er ein gut eil mefjr realiftifdjen inn itnb ^efpeft oor ber 3ta= 
 tur al3 bie meiften feiner jeitgenoffifd^en 9tioalen. Richard Graul. 
 
 " Stiirmische Landung," " Westfalische Miihle," " Westfalische 
 Landschaft." 
 
 Alfred Rethel (1816-1859) 
 
 2)a3 fyat Sletfyel mit SBagner gemeinfam, bajj if)re 2Berfe, burcfiau^ 
 ber Siomanti! entfprofjen, fiir bie Siomantif tfjrer $eit nic^t roeidjltcf) 
 genug roaren; nur if)re f>erbe realtftifd^e Setmifdjung ^at fie, eble 
 itonferuen, bie lange $eit UBerfte^en unb cmd) fjeute genie^bar bleiben 
 la[jen. Ponten. 
 
 " Karl Martell in der Schlachtbei Tours," " Rudolf von Habsburg 
 im Kampfe gegen die Raubritter in der Schweiz," " Tod Arnolds von 
 Winkelried," " Die Kreuzfahrer erblicken Jerusalem," " Rheinischer 
 Sagenkreis," " Loreley," " Illustrationen zum Nibelungenlied," 
 " Entwurf zum Kopfe des toten Karl," " Der Sturz der Irmensaule," 
 " Saulus-Paulus," " Kampf der Kiinste und Wissenschaften," " Das 
 Lutherlied," " Frauenlobs Begrabnis," " Komposition zur Eroica- 
 symphonie." 
 
 [ 2 54]
 
 SECTION XIII 
 AN INTRODUCTORY COURSE 
 
 An introductory, an undergraduate course in literature 
 should inspire, a graduate course should instruct. In the 
 former the student should be made familiar with the most 
 interesting works of the period ; in the latter he should 
 study those works that have, unfortunately, less popular in- 
 terest but more historical significance. Great is the teacher 
 who can do advanced work in an introductory course ; rare 
 is the student who can be successfully instructed in litera- 
 ture without first having been inspired. He will not ap- 
 proach the source with much zest if he has not already 
 been interested in the best that has flowed from it. The 
 appended bibliography will throw abundant light on the 
 Romantic movement from the undergraduate point of view, 
 while the reading list has been made so as to cover the 
 entire movement, with something valuable from and typical 
 of each of the main writers. The course as outlined does 
 not contain any real dramas : the Romanticists, with the 
 exception of Kleist, Grabbe and Werner, were so weak 
 along dramatic lines that it is best for the undergraduate to 
 confine his attention to fiction, wherein they had, each and 
 all, intermittent moments of real inspiration ; and to the 
 lyric, wherein they excelled. 
 
 Why study just these works ? It would be impious to 
 defend the Grimms' " Deutsche Sagen," containing, as the 
 
 [255]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 collection does, 579 stories that belong only to Germany. 
 The work is a golden treasury of imaginative legends indis- 
 solubly connected with places and people, legendary narra- 
 tives that the serious student of German will turn to again 
 and again on finding popular allusions in pure literature, 
 while the lover of things interesting will read them for their 
 own sake. Heine's work, inaccurate though it is in places, 
 gives one nevertheless a fairly good, and certainly readable, 
 account of the main landmarks in the Romantic movement. 
 The two books by Ricarda Huch, though they discuss but 
 little literature, are written in a style that charms and with a 
 wealth of content that is rare. The very chapter headings 
 of these books give one an insight into the comprehen- 
 siveness of the Romantic movement. Robertson's history 
 will enable the student in a short time to know where he 
 is at any time in his course. Spiess's chrestomathy would 
 be worth buying if it contained only the prose selection 
 from Schloiermacher, otherwise so inaccessible. The chief 
 merits of Wernaer's book are that it points out the mission 
 of the Berlin-Jena Romanticists and shows what lessons 
 we may learn from them. Nollen's anthology is uniquely 
 relevant because of the selections it contains, the introduc- 
 tion to these and the notes on them. Deckelmann makes 
 many suggestions relative to the meaning of the works 
 subjoined in the reading list, and closes with a catalogue 
 of 302 possible themes the reasonableness of which is evi- 
 dent and the elaboration of which would be fruitful. And 
 Hesse has gathered together in attractive form, with an 
 enlightening introduction and no impeding notes, a num- 
 ber of lyrics, all of which will repay reading, some of which 
 will justify learning. 
 
 [256]
 
 AN INTRODUCTORY COURSE 
 
 And why read just these works ? Tieck's " Kater," with 
 its delightful attack on the naturalism of the Berlin stage, 
 enables one to see and to laugh at what was then going on 
 on the German stage ; the best satirical comedy in German 
 literature, it shows not only what the playwrights were 
 then offering but what a perverted public taste demanded. 
 " Eckbert," translated by Carlyle, one of the first things 
 Tieck wrote after breaking away from the bondage of 
 Nicolai, abounds in Romantic conceits and is written in 
 superb style. " Ofterdingen " is Romanticism ; it symbol- 
 izes it. To read about this work and do nothing more is 
 voluntarily to stay outside of the temple when one could 
 without ceremony walk in and sit down. " Wunderhorn " 
 is the song-book of the whole movement and one of its 
 choicest accomplishments. It is not necessary to read all 
 of it ; it is unwise to read none of it. " Kohlhaas " is a 
 poetization of vengeance and is Romantic by reason of its 
 extravagance ; it and the poems in Spiess leave one in no 
 doubt as to where Kleist stood with reference to his age. 
 " Undine," the sole surviving child of Fouque's mind, 
 contains Romanticism for the many ; it is lay romanticism. 
 " Ganzgott " reads as though it had been written by a man 
 in a thoroughly good humor and pictures the unfortunate 
 condition of a country divided into very many very small 
 states. The " Kinder- und Hausmarchen " contains in 
 prose what " Wunderhorn " contains in verse, with a dif- 
 ference as to content. The constant change from the 
 natural to the supernatural in " Der goldene Topf " shows 
 Romanticism as it came from the mind of a man infre- 
 quently sober. " Schlemihl " has become a household 
 word ; there is always something interesting about a good 
 
 [257]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 man in trouble, so long as we have reason to hope that, 
 somehow or other, he will eventually disentangle himself. 
 " Kasperl und Annerl is a short story on honor from 
 various points of view ; one of the first j)orfgefcf)tcfiten in 
 German literature, we read it and wonder how and why 
 Brentano wrote it. " Taugenichts " is a delightful picture 
 
 J of a romantic loafer, written by a man who was very indus- 
 trious. It is a 91et)croman written to please, or rather to 
 bring out pleasing traits in an interesting character ; not 
 
 4 to present a philosophy of life as did the earlier works by 
 Goethe and his followers that were built on a similar plan. 
 " Sendomir " is a Romantic story, full of all manner of 
 gruesomeness, written by Grillparzer, who is in no way con- 
 nected with Romanticism as a movement. "Oberhof " is 
 the first happy herald of Realism. " Heidedorf " should be 
 studied for its picture of nature ; one could write an interest- 
 ing study on it in comparison with Tieck's " Runenberg." 
 Morike's " Mozart " is one of those many ^iinftterromanc, 
 and a more delightful one than Morike's is not to be found 
 in German literature. And Wagner's " Meistersinger " 
 \ takes us back to the late Middle Ages, from which, ac- 
 cording to Heine, the whole movement started. 
 
 BIBLIOGRAPHY 
 
 1816. The Grimm Brothers: Seiltfcfje agcn (Nicolaische Verlags- 
 
 Buchhandlung) . 
 
 1833. Heinrich Heine: S)te romatltijdje cfjule (Cotta). 
 1899. Ricarda Huch : 33liitejeit bee Stomantt! (H. Haessel Verlag). 
 
 1902. Ricarda Huch : 2lu3breitung wtb SBerfaU ber 3tomantif (H. Haessel 
 
 Verlag). 
 
 - 1902. John G. Robertson: A History of German Literature (William 
 Blackwood and Sons). Pages 399-557- 
 
 1903. Heinrich Spiess: 2)ie beutfcfyen SRotnanttfer (G. Freytag). 
 
 [2 5 8]
 
 AN INTRODUCTORY COURSE 
 
 -1910. Robert M. Wernaer: Romanticism and the Romantic School in 
 
 Germany (Appleton). 
 1912. John Scholte Nollen: German Poems, 1800-1850 (Ginn). 
 
 1912. Heinrich Deckelmann: 35te Siteratur be neunje^nten !3af)rfyun= 
 
 bertS tm beutfdjen llnterricfyt (Weidmannsche Buchhandlung). 
 
 1913. Hermann Hesse: Set 3<i"&er&runnen. 25ie Sieber ber beutfd)en 
 
 3tomantif (Gustav Kiepenheuer Verlag). 
 
 READING LIST 
 
 1797. Tieck : Set geftiefelte flater (Cotta). 
 
 1797. Tieck: 2)er blonbe clbert (Cotta). 
 
 -1800. Novalis : <5einrid) von Dfterbingen (Hesse). 
 
 1805. Arnim and Brentano : )e $naben 3Bunber^orn (Reclam). 
 
 1810. Kleist: 3JMd)ael o^lf>aag (Holt). 
 
 1811. Fouque : llnbine (Holt). 
 
 1811. Arnim: ^iirft anjgott unb anger ^albgott (Reclam). 
 
 1812. The Grimm Brothers : ^inber= unb augmarcf)en (Holt). 
 
 1813. Hoffmann: 2)er golbene Xopf (W. Langewiesche-Brandt). 
 
 1814. Chamisso : 5(5eter c^Iemi^IS rounberfame efcf)td)te (Holt). 
 1817. Brentano: efc^ic^te oom braoen ^afperl unb fc^onen Slnnerl 
 
 (Reclam). 
 
 1826. Eichendorff: 2lu bem Seben eine Xaugenid^tg (Holt). 
 1828. Grillparzer: J)a ^lofter bei enbomir (Cotta). 
 
 1839. Immermann: 2)er Dbertyof (G. Freytag). 
 
 1840. Stifter: 2)a3 Jpetbeborf (American Book Company). 
 1855. Mdrike : SRojart auf ber 9tetfe nac^ ^8rag (Ginn). 
 
 1862. Wagner : 2Reifterfinger oon ftiirnberg (American Book Company). 
 
 [259]
 
 INDEX 
 
 Achenbach, Andreas, 253-254 
 Alexis, Willibald, 73, 74-75 
 Arndt, E. M., 73, 74, 76-77 
 
 nim, Achim von, 55-56, 57-59, 
 
 257. 259 
 
 Baader, F. X. von, 221 
 Beneke, F. E., 230, 232 
 Bernhardi, A. F., 218 
 Boisseree, M., 32, 222 
 Boisseree, S., 32, 222 
 Borne, Ludwig, 142-143 
 Brentano, Clemens, 56, 59-61, 258, 
 
 259 
 Biichner, Georg, 145 
 
 Carove, F. W., 223 
 
 Cams, K. G., 222 
 
 Chamisso, Adelbert von, 56, 62- 
 
 64, 257, 259 
 Clauren, H., 7, 19 
 Cornelius, P., 249 
 Creuzer, G. F., 221, 223 
 
 Droste-Hiilshoff, Annette von, 73, 
 77-79 
 
 N/ Eichendorff, Joseph von, 56, 65- 
 
 68, 189, 190, 258, 259 
 Engel, Johann Jakob, 6 
 Eschenmayer, A. K. A., 218 
 
 Fallersleben, Hoffmann von, 73, 
 
 79-80. 
 
 Feuerbach, L. A., 230, 232 
 Fichte, J. G., 15, 156, 225, 227-228, 
 
 231 
 yFouque, Fr. de la Motte, 73, 81- 
 
 82, 257, 259 
 Franz, R., 235, 243 
 
 Freiligrath, Ferdinand, 73, 83-84 
 Friedrich, K. D., 247, 249 
 Fries, J. F., 229, 232 
 Fiihrich, J. von, 251 
 
 Geibel, Emanuel, 73, 74, 85-86 
 Gentz, Fr. von, 218-219 
 Gerstenberg, Heinrich Wilhelm 
 
 von, 13 
 Goethe, xx, xxi, xxii, xxvii-xxviii, 
 
 3, 4, 10, 12, 15, 17, 20, 21, 23, 
 
 3O, 32, 178, 211, 212, 214, 229, 
 
 233 245. 246 
 
 Gorres, J. J. von, 220-221 
 Grabbe, Christian Dietrich, 73, 74, 
 
 87-88, 255 
 Grillparzer, Franz, vii, 47, 1 50, 179, 
 
 194, 258, 259 
 Grimm, Jakob, 220, 255-256, 258, 
 
 259 
 Grimm, Wilhelm, 220, 255-256, 
 
 258, 259 
 Grim, Anastasius, 73, 74, 88-89, 
 
 168-169 
 
 Giinderode, Caroline von, 223 
 Gutzkow, Karl, 144-145, 170 
 
 Halm, Friedrich, 73, 90 
 Hamann, Johann Georg, 13 
 Hauff, Wilhelm, 73, 74, 91-92 
 Hegel, G. W. F., 225, 228-229, 230, 
 
 232 
 Heine, Heinrich, xxiii, 73, 92-100, 
 
 142, 163, 178, 190, 196, 197, 210, 
 
 256, 258 
 
 Heinse, Wilhelm, 14 
 Herbart, J. F., 229-230, 232 
 Herder, xvi, xix-xx, 3, 8, 9, 12, 15- 
 
 16, 226, 227 
 Herwegh, Georg, 73, 74, 101-102 
 
 [261]
 
 OUTLINE OF GERMAN ROMANTICISM 
 
 Herz, Henrietta, 219 
 V Hoffmann, Ernst Theodor Ama- 
 
 deus, 73, 74, 102-106, 234, 235, 
 
 237, 244, 257, 259 
 Holderlin, Friedrich, 22-23, 26-29 
 Houwald, Ernst von, 48, 50-51 
 Hiibner, K. W., 253 
 Hiilsen, A. L., 215, 218 
 Humboldt, Alexander von, 218 
 Humboldt, Wilhelm von, xv, 218 
 
 Iffland, August Wilhelm, 7 
 Immermann, Karl Lebrecht, 73, 
 107-108, 179, 252, 258, 259 
 
 Jacobi, Friedrich Heinrich, 13 
 
 Kant, Immanuel,xxi, xxii, 212,224, 
 
 226-227, 228, 229, 230 
 Kaulbach, W. von, 252 
 Kerner, Justinus, xxv, 73, 74, 109- 
 
 no 
 >/ Kleist, Heinrich von, 73, 74, 110- 
 
 118, 168, 170, 255, 257, 259 
 Klinger, Friedrich Maximilian von, 
 
 lo-n, 13 
 
 Klopstock, viii, xviii 
 Korner, Theodor, 73, 74, 118-120 
 Kotzebue, August von, 7 
 Kreutzer, Konadin, 235, 239 
 
 Lachmann, Karl, 221 
 Lafontaine, A. H. J., 6, 7 
 Laube, Heinrich, 141, 143-144, 162 
 Lavater, J. K., 13 
 Leisewitz, Johann Anton, 13 
 Lenau, Nikolaus, vi, 73, 120-121, 
 
 169, 242, 243 
 Lenz, J. M. R., 10, 13 
 Lessing, G. E., xv, xvi, xviii, xix, 
 
 155. 1 7S> 2I 4, 227 
 Lessing, K. F., 244, 252 
 Levin, Rahel, 219 
 Loeben, Graf von, 223 
 Lortzing, G. A., 235-236, 242 
 Lowe, Karl, 233, 235, 236, 240 
 
 Marschner, Heinrich, 235, 236, 239 
 Mendelssohn, Felix, 235, 242 
 Menzel, Wolfgang, 143 
 
 Mereau, Sophie, 212 
 Mesmer, Franz Anton, 222 
 Metternich-Winneburg, C. W. N. 
 
 L. von, 169, 222 
 Morike, Eduard, 73, 74, 122-124, 
 
 258, 259 
 
 Miiller, A. H., 221 
 Miiller, Fr., 14 
 
 Miiller, Wilhelm, 73, 124-125 
 Miillner, Adolf, 48-50, 51-52 
 Mundt, Theodor, 141, 142, 144 
 
 Nestroy, Johann Nepomuk, 73, 126 
 Nicolai, Friedrich, 4, 6 
 Nicolai, Otto, 235, 236, 241 
 Niebuhr, B. G., 222 
 4 Novalis, xvi, xxii, xxv, xxvi, 15-18, 
 16, 17, 3 1 - 37-4i> 257, 259 
 
 Ockenfuss, Lorenz, 217 
 Overbeck, Fr., 250 
 
 Paul, Jean, see Richter, Johann 
 
 Paul Friedrich 
 Pforr, Franz, 250 
 Pichler, Karoline, 7 
 Platen, Graf von, 73, 74, 127-129 
 Preller, Friedrich, 252 
 
 Rahel Levin, see Levin, Rahel 
 Raimund, Ferdinand, 73, 129-130 
 Raumer, F. L. G. von, 222-223 
 Raupach, E. B. S., 7 
 Reichardt, J. F., 219 
 Rethel, Alfred, 244, 247, 254 
 Richter, A. L., 246, 251 
 Richter, Johann Paul Friedrich, 3, 
 
 22-26 
 
 Ritter, J. W., xxi, 218 
 Rochlitz, Friedrich, 5-6, 7 
 Rottmann, Karl, 251 
 Riickert, Friedrich, xvi, xxx, 73, 
 
 ^o-'SS. 2 3 
 Runge, P. O., 249 
 
 Savigny, Fr. K. von, 222 
 Schadow, F. W. von, 250 
 Schelling, Fr.W.J. von, 225,229, 232 
 Schenkendorf, Max von, 73, 133- 
 
 [262]
 
 INDEX 
 
 Schiller, xxviii, 3, 4, 12, 15, 16, 18- 
 20, 21, 47, 50, 72, 135, 182 
 
 Schirmer, J. W., 252 
 
 Schlegel, Caroline, 217 
 
 Schlegel, Dorothea, 217 
 
 Schlegel, Friedrich, 16, 31, 43-46, 
 184-185, 214-215 
 
 Schlegel, Wilhelm, xv, xviii, xxi, 
 15,16,17, 18,31,32,41-43,177, 
 
 211-212, 215, 244 
 
 Schleiermacher, Fr. E. D., xxvi, 
 
 228 
 
 Schnorr von Carolsfeld, J., 250 
 Schopenhauer, Arthur, 230, 232 
 Schubart, C. F. D., 14 
 Schubert, Franz, 233, 235-236, 240- 
 
 241 
 
 Schubert, G. H., 221 
 Schulze, Ernst, 73, 74, 134-135 
 Schumann, Robert, 235, 236-237, 
 
 241-242 
 
 Schwab, Gustav, 73, 135-136 
 Schwind, Moritz von, 251-252 
 Silcher, Friedrich, 235, 236, 239 
 Solger, K. W. F., 194, 219 
 Spitzweg, Karl, 248, 253 
 Spohr, Ludwig, 235, 236, 239 
 Steffens, Henrik, 217 
 Steinle, Eduard, 253 
 Stifter, Adalbert, 73, 136-137, 258, 
 
 259 
 
 Stolberg, Christian, 14 
 Stolberg, Friedrich, 14 
 Strauss, David Friedrich, 230, 232 
 
 Tieck, Dorothea, 219 
 i-^Tieck, Ludwig, 31, 32-37, 39, 179, 
 
 208, 244, 246, 257, 258, 259 
 Tieck, Sophie, 218 
 Tromlitz, A. von, 7 
 
 Uhland, Ludwig, 56, 69-71 
 
 Varnhagen von Ense, 142 
 
 Veil, Ph., 250 
 
 Voss, Johann Heinrich, 7 
 
 Wackenroder, Wilhelm, 31, 3637, 
 
 i 80, 207 
 
 Wagner, H. L., 14 
 Wagner, Richard, viii, 235-236, 
 
 258, 259 
 Waiblinger, Wilhelm, 73, 74, 137- 
 
 138 
 Weber, Karl Maria von, 235, 236, 
 
 239 
 
 Werner, A. G., 218 
 Werner, Zacharias, 48, 49, 52-53, 
 
 255 
 
 Wieland, 15-16 
 Wienbarg, Ludolf, 140, 141, 142, 
 
 [263]
 
 University of California 
 
 SOUTHERN REGIONAL LIBRARY FACILITY 
 
 405 Hilgard Avenue, Los Angeles, CA 90024-1388 
 
 Return this material to the library 
 
 from which It was borrowed. 
 
 s 
 
 I 3 
 8 s.
 
 3 115800616 1797