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His first work, 'Les Contes d'Espagne et d'Italie' , shows reckless daring in the choice of subjects quite in the spirit of Le Sage, with a dash of the dandified impertinence that mocked the foibles of the old Romanticists.
Be it granted that the drama, more than any other kind of literature, is liable to the encroachment and dominance of such artificiality on account of its foreshortening in perspective. Be it granted, also, that sometimes a new movement will intensify an old habit. The Romanticists, though reformers in other respects, did little or nothing to render the stage more real.
Yanski Varhely departed, a little stunned by this interview. He had never felt so old, so out of the fashion, before. Prince Zilah and he now seemed to him like two ancestors of the present generation Don Quixotes, romanticists, imbeciles. The minister was, as Jacquemin would have said, a sly dog, who took the times as he found them, and left spectres in peace. Well, perhaps he was right!
His famous Elegy, expressing a meditative mood in language of the choicest perfection, is the representative poem of the second half of the 18th century, as the Rape of the Lock is of the first. The romanticists were quietists, and their scenery is characteristic. They loved solitude and evening, the twilight vale, the mossy hermitage, ruins, glens, and caves.
"I admit it," Lawrence said, smiling; "and yet" he paused "I want to be the maddest of romanticists, I want to say those things to the woman I love, I want to think them about her, I want to feel them all, all those dear, false romantic deceptions. I do, in fact, even though my brain agrees with you." "So should I, and I would." Then she added softly under her breath, "I do."
The weather-eye on probability is what in later times has helped the Romanticists to slip so easily into Realism and to reactionary views. Fouqué represents the talent which develops in the glare of the world, is popular for a decade, but soon withers when the sun is set.
With this organic conception both Romanticists and many natural scientists of the age were in practical agreement; it was the view that had always appealed to Goethe and Herder before him and it gained for Schelling a large following.
There was in the later group a deeper sense of religion and a firmer belief in the spiritual foundations of experience than is shown by their predecessors, though all Romanticism tried to penetrate the mysteries of life and all Romanticists were seers as well as prophets. In the later school, too, there appears a development of the nature-sense far beyond anything shown in the first group.
These classicizing poems, which purport to express modern feeling in the terms of Greek mythology, sound now a little hollow and conventional. The vein had been worked to excess even in Schiller's day, and it is no wonder that the Romanticists pined for something new.
In modern painting such exceptions, and widely different from each other as the poles, are Couture and Puvis de Chavannes. Better than in either the true romanticists with the classic strain, or the academic romanticists with the classic temperament, the blending of the classic and romantic inspirations is illustrated in Couture. The two are in him, indeed, actually fused.
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