Romanticism
Romanticism
As a general philosophical movement, romanticism is best understood as the initial phase of German Idealism, serving as a transition from Kant to Hegel, and flourishing chiefly between 1775 and 1815. It is associated primarily with the Schlegel brothers, Novalis, Fried, Schelling, and Schleiermacher, with Schelhng as its culmination and most typical figure. The philosophical point of departure for romanticism is the Kantian philosophy, and romanticism shares with all German Idealism both the fundamental purpose of extending knowledge to the realm of noumena, and the fundamental doctrine that all reality is ultimately spiritual, derivative from a living spirit and so knowable by the human spirit. The essence of philosophical romanticism as expressed by Schelhng, that which differentiates it from other types of Idealism, resides in its conception of Spirit; upon this depend its metaphysical account of nature and man, and its epistemological doctrine of the proper method for investigating and understanding reality. Romanticism holds that Spirit, or the Absolute, is essentially creative; the ultimate ground of all things is primarily an urge to self-expression, and all that it has brought into being is but a means to its fuller self-realization. If the Absolute of Fichte is a moralist, and that of Hegel a logician, then that of the romanticists is primarily an artist. From this basic view there springs a metaphysic that interprets the universe in terms of the concepts of evolution, process, life, and consciousness. The world of nature is one manifestation of Spirit, man is another and a higher such manifestation, for in man Spirit seeks to become conscious of its own work. The metaphysical process is the process by which the Absolute seeks to realize itself, and all particular things are but phases within it. Hence, the epistemology of romanticism is exclusively emotional and intuitive, stressing the necessity for fullness of experience and depth of feeling if reality is to be understood. Reason, being artificial and analytical, is inadequate to the task of comprehending the Absolute; knowing is living, and the philosopher must approach nature through inspiration, longing, and sympathy.
Romanticism was a healthy and necessary influence in reasserting the dignity of nature, in stressing the emotional factor in knowledge, and in emphasizing the concepts of process and evolution. It was an inadequate doctrine, in that it did not clarify the detailed movement of the process it posited, and could offer no positive advice for discovering this, other than to be inspired and intuit it. Romanticism is metaphysical expressionism, and like any expressionistic doctrine it is unable to give any concrete meaning to the concept of causality; it can therefore provide no categories under which to comprehend things, but can only say that things are because they have been expressed, and can be understood only by being re-expressed i.e., only by re-living the experience of their creator.
(In Aesthetics)A movement in both art and general aesthetic theory which was particularly widespread and influential in the last years of the 18th and the first half of the 19th centuries. So interpreted, it is especially associated with Novalis, the Schlegels, and Jean Paul Richter in Germany, Rousseau, Chateaubriand, Hugo, Lamartine in France; Blake, Scott, the Lake Poets, Shelley, and Byron in England. As a general attitude toward art and its function, as an interpretation of the goodness, beauty, and purpose of life, romanticism has always existed and can be confined to no one period. The essence of romanticism, either as an attitude or as a conscious program, is an intense interest in nature, and an attempt to seize natural phenomena in a direct, immediate, and naive manner. Romanticism thus regards all forms, rules, conventions, and manners as artificial constructs and as hindrances to the grasp, enjoyment, and expression of nature, hence its continual opposition to any kind of classicism (q.v.), whose formalities it treats as fetters. Romanticism stresses the values of sincerity, spontaneity, and passion, as against the restraint and cultivation demanded by artistic forms and modes. It reasserts the primacy of feeling, imagination, and sentiment, as opposed to reason. It maintains that art should concern itself with the particular and the concrete, observing and reporting accurately the feelings aroused by nature, with no idealization or generalization. It commands the artist to feel freely and deeply, and to express what he has felt with no restraints, either artistic or social. It seeks in works of art a stimulus to imagination and feeling, a point of departure for free activity, rather than an object that it can accept and contemplate.
Such a general attitude and purpose of course allow for vast specific differences, and under the term romantics must be included artists and theorists who stress varying aspects of nature and man. All have in common a rejection of formal restraints, an obseesion with their experience of nature, and the conviction that this felt quality of things is of ultimate value in its immediacy.
On the ambiguities of the term, as well as an analysis of one of its meanings as the characteristics of thought shared by some German thinkers from about 1790 to 1830, cf. A. O. Lovejoy, “Meaning of Romanticism for the Historian of Ideas,” Jour. Hist. Ideas (Jan. 1941), which refers also to Lovejoy’s now famous articles on the subject. — I.J.