We thus understand how it was that Jean Paul, when in Weimar, and under the influence of Frau von Kalb's personality, exclaimed: "This much is certain; the heart of the world is beating with a more spiritual and greater revolution than the political, and one quite as destructive."
What revolution? The emancipation of feeling from the conventions of society; the heart's audacious assumption of its right to regard its own code of laws as the new moral code, to re-cast morals in the interests of morality, and occasionally in the interests of inclination. The Weimar circle had no desire, no thought for anything beyond this, had neither practical nor social reforms in view. It is a genuinely German trait that outwardly they made deep obeisance to the laws which they privately evaded. In conversation, Goethe, in his riper years, invariably maintained that the existing conventions regulating the relations of the sexes were absolutely necessary in the interests of civilisation; and in their books authors gave expression to revolutionary sentiments which were more or less their own, only to recant at the end of the book. The hero either confesses his error, or commits suicide, or is punished for his defiance of society, or renounces society altogether (Karl Moor, Werther, Tasso, Linda). It is exactly the proceeding of the heretical authors of the Middle Ages, who concluded their books with a notice that everything in them must of course be interpreted in harmony with the doctrines and decrees of Holy Mother Church.
Into this Weimar circle of gifted women Madame de Staël, "the whirlwind in petticoats," as she has been called, is introduced when she comes to Germany. In the midst of them she produces the effect of some strange wild bird. What a contrast between her aims and their predilections I With them everything is personal, with her by this time everything is social. She has appeared before the public; she is striking doughty blows in the cause of social reform. For such deeds even the most advanced of these German women of the "enlightenment" period are of much too mild a strain. Her aim is to revolutionise life politically, theirs to make it poetical. The idea of flinging the gauntlet to a Napoleon would never have entered the mind of any one of them. What a use to make of a lady's glove, a pledge of love! It is not the rights of humanity, but the rights of the heart which they understand; their strife is not against the wrongs of life but against its prose. The relation of the gifted individual to society does not here, as in France, take the form of a conflict between the said individual's rebellious assertion of his liberty and the traditional compulsion of society, but of a conflict between the poetry of the desires of the individual and the prose of political and social conventions. Hence the perpetual glorification in Romantic literature of capacity and strength of desire, of wish; a subject to which Friedrich Schlegel in particular perpetually recurs. It is in reality the one outwardly directed power that men possess—impotence itself conceived as a power.
We find the same admiration of wish in Kierkegaard's Enten-Eller (Either-Or). "The reason why Aladdin is so refreshing is that we feel the childlike audacity of genius in its wildly fantastic wishes. How many are there in our day who dare really wish?" &c. The childlike, for ever the childlike! But who can wonder that wish, the mother of religions, the outward expression of inaction, became the catchword of the Romanticists? Wish is poetry; society as it exists, prose. It is only when we judge them from this standpoint that we rightly understand even the most serene, most chastened works of Germany's greatest poets. Goethe's Tasso, with its conflict between the statesman and the poet (i.e. between reality and poetry), its delineation of the contrast between these two who complete each other, and are only unlike "because nature did not make one man of them," is, in spite of its crystalline limpidity of style and its keynote of resignation, a product of the self-same long fermentation which provides the Romantic School with all its fermentative matter. The theme of Wilhelm Meister is in reality the same. It, too, represents the gradual, slow reconciliation and fusion of the dreamed of ideal and the earthly reality. But only the greatest minds rose to this height; the main body of writers of considerable, but less lucid intellect never got beyond the inward discord. The more poetry became conscious of itself as a power, the more the poet realised his dignity, and literature became a little world in itself with its own special technical interests, the more distinctly did the conflict with reality assume the subordinate form of a conflict with philistinism (see, for instance, Eichendorff's Krieg den Philistern). Poetry no longer champions the eternal rights of liberty against the tyranny of outward circumstances; it champions itself as poetry against the prose of life. This is the Teutonic, the German-Scandinavian, that is to say, the narrow literary conception of the service that poetry is capable of rendering to the cause of liberty.
"We must remember," says Kierkegaard (Begrebet Ironi, p. 322), "that Tieck and the entire Romantic School entered, or believed they entered, into relations with a period in which men were, so to speak, petrified, in final, unalterable social conditions. Everything was perfected and completed, in a sort of divine Chinese perfection, which left no reasonable longing unsatisfied, no reasonable wish unfulfilled. The glorious principles and maxims of 'use and wont' were the objects of a pious worship; everything, including the absolute itself, was absolute; men refrained from polygamy; they wore peaked hats; nothing was without its significance. Each man felt, with the precise degree of dignity that corresponded to his position, what he effected, the exact importance to himself and to the whole, of his unwearied endeavour. There was no frivolous indifference to punctuality in those days; all ungodliness of that kind tried to insinuate itself in vain. Everything pursued its tranquil, ordered course; even the suitor went soberly about his business; he knew that he was going on a lawful errand, was taking a most serious step. Everything went by clockwork. Men waxed enthusiastic over the beauties of nature on Midsummer Day; were overwhelmed by the thought of their sins on the great fast-days; fell in love when they were twenty, went to bed at ten o'clock. They married and devoted themselves to domestic and civic duties; they brought up families; in the prime of their manhood notice was taken in high places of their honourable and successful efforts; they lived on terms of intimacy with the pastor, under whose eye they did the many generous deeds which they knew he would recount in a voice trembling with emotion when the day came for him to preach their funeral sermon. They were friends in the genuine sense of the word, ein wirklicher Freund, wie man wirklicher Kanzleirat war."
I fail to see anything typical in this description. Except that we wear round hats instead of peaked ones, every word of it might apply to the present day; there is nothing especially indicative of one period more than another. No; the distinctive feature of the period in question is the gifted writer's, the Romanticist's, conception of philistinism. In my criticism of Johan Ludvig Heiberg's first Romantic attempts, I wrote: "They (the Romanticists) looked upon it from the philosophical point of view as finality, from the intellectual, as narrow-mindedness; not, like us, from the moral point of view, as contemptibility. With it they contrasted their own infinite longing. … They confronted its prose with their own youthful poetry; we confront its contemptibility with our virile will" (Samlede Skrifter, i. p. 467). As a general rule, then, they, with their thoughts and longings, fled society and reality, though now and again, as already indicated, they attempted, if not precisely to realise their ideas in life, at least to sketch a possible solution of the problem how to transform reality in its entirety into poetry.
Not that they show a spark of the indignation or the initiative which we find in the French Romantic author (George Sand, for instance); they merely amuse themselves with elaborating revolutionary, or at least startling fancies.
That which