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The Theory of Descent had its way prepared by the evolutionist ideas and the speculative nature-philosophy of Goethe, Schelling, Hegel and Oken; by the suggestions and glimmerings of the nature-mysticism of the romanticists; by the results of comparative anatomy and physiology; was already hinted at, at least as far as derivation of species was concerned, in the works of Linné himself; was worked out in the “zoological philosophies,” by the elder Darwin, by Lamarck, Etienne Geoffrey St.
We know, moreover, that on this matter the camps of the formalists and the romanticists are divided. The Greeks, the lovers of formal beauty, were so alive to the moral effects of art that their theories were in danger of being quite overwhelmed by this view.
This reaction is superimposed by another: the reaction of Impressionism, not only against classic subjects, but against the black painting of the degenerate Romanticists.
Your romanticists claim that the realistic story has no charm, nor excitement, nor psychical thrill. This'll show them!" So he hurried to deliver it to Brown. Then he posed industriously to himself, and tried hard to do some more glooming, but it was difficult work. Someway he felt his cause not hopeless. This masterpiece would go far to convince her that he was right after all.
Both poems recall many happy memories of youth; both express a very real mood of a moment; but while the beauty of one merely saddens and disheartens us, the beauty of the other inspires us with something of the poet's own faith and hopefulness. In a word, Wordsworth found and Shelley lost himself in nature. Keats was not only the last but also the most perfect of the Romanticists.
As for our fancy of laughing while we weep, and of weeping while we laugh, as the divine Rabelais drank while he ate and ate while he drank; as for our humor, to put Heraclitus and Democritus on the same page and to discard style or premeditated phrase if any of the crew mutiny, overboard with the doting cranks, the infamous classicists, the dead and buried romanticists, and steer for the blue water!
That was left for the romanticists of our own century to discover; even the romanticists whom Goldoni drove from the stage, were of that simpler eighteenth-century sort who had not yet liberated the individual from society, but held him accountable in the old way.
But they could not have accused us of the horrible conscientiousness, the deadly determination to see the correct things and to think the correct thoughts about them that dulls the personally-conducted to the world's real beauty and its meaning the same tendency of the multitude to follow like sheep the accepted leader and never venture to explore fresh fields for themselves, that drove Hugo to writing his Hernani, and Gautier to wearing his red waistcoat, and all the other Romanticists to their favourite pastime of shocking the bourgeois.
The opposition was exasperated by the recent success of Hugo's 'Hernani. Musset was then in complete accord with the fundamental romantic conception that tragedy must mingle with comedy on the stage as well as in life, but he had too delicate a taste to yield to the extravagance of Dumas and the lesser romanticists.
A second time they were worked on and embellished by the French romanticists, and from these later versions Malory appears to have collated the materials for his immortal translation. The story of Arthur and Launcelot is the thread of interest followed in this epitome. I. The Coming of Arthur
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