Chapter XVII: Appendix: Chinese Primitivism (2)

=George Sand=, 1804-76: _Indiana_, 1832. _Lélia_, 1833. _Jacques_, 1834. _Consuelo_, 1842-43. _La petite Fadette_, 1849. _Histoire de ma vie_, 4 vols. 1854-55.--_Correspondance_, 6 vols. 1882-84. _Correspondance de G. S. et d’ A. de Musset_, p. par F. Decori, 1904. _Œuvres complètes_ (éd. C. Lévy), 105 vols.--S. de Lovenjoul: _Etude bibliographique sur les œuvres de G. S._, 1868.

Biography: H. Lapaire and F. Roz: _La bonne dame de Nohant_, 1897.--Ageorges: _G. S. paysan_, 1901.--A. Le Roy: _G. S. et ses amis_, 1903.--H. Harrisse: _Derniers moments et obsèques de G. S., souvenirs d’un ami_, 1905.--A. Séché and J. Bertaut: _La vie anecdotique et pittoresque des grands écrivains, G. S._, 1909.

Critical Studies: G. Planche: _Portraits littéraires_, t. II, 1836. _Nouveaux Portraits littéraires_, t. II, 1854.--Sainte-Beuve: ✱ _Lundis_, t. I, 1850. _Portraits Contemporains_, 1832.--E. Caro: _G. S._, 1887.--P. Bourget: _Etudes et Portraits_, 1889.--J. Lemaître: _Les Contemporains_, t. IV, 1889. _Impressions de théâtre_, ts. I, IV, 1888-92.--Marillier: _La sensibilité et l’imagination chez G. S._, 1896.--W. Karénine: _G. S._, 3 vols. 1899-1912.--R. Doumic: _G. S._, 1909.--L. Buis: _Les théories sociales de G. S._, 1910.--E. Moselly: _G. S._, 1911.

=Gérard de Nerval=, 1808-55: _Œuvres compl._, 5 vols. 1868. M. Tourneux: _G. de N._, 1867.--T. Gautier: _Portr. et souvenirs littér._, 1875.--Arvède Barine: _Les Névrosés_, 1898.--Mlle. Cartier: _Un intermédiaire entre la France et l’Allemagne, G. de N._, 1904.--Gauthier-Ferrières: _G. de N., la vie et l’œuvre_, 1906.--J. Marsan: _G. de N., lettres inédites_, 1909.--_Correspondance (1830-55)_, p. par J. Marsan, 1911.--A. Marie: _G. de N._, 1915.

=Alfred de Musset=, 1810-57: _Œuvres Complètes_ (Charpentier), 10 vols. 1866, 10 vols. (Lemerre), 1886. 9 vols. p. par E. Biré, 1907-08.--Rocheblave: _Lettres de George Sand à Musset et à Sainte-Beuve_, 1897.--_Correspondance de George Sand et d’A. de M._, p. par F. Decori, 1904.--_Correspondance d’A. de M._, p. par L. Séché, 1907.--S. de Lovenjoul: _Etude critique et bibliographique des œuvres d’A. de M._, 1867.--M. Clouard: _Bibliographie des œuvres d’A. de M._, 1883.

Biography: G. Sand: _Elle et Lui_, 1859.--P. de Musset: _Lui et Elle_, 1859. _Biographie d’A. de M._, 1877.--Louise Colet: _Lui_, 1859.--S. de Lovenjoul: _La véritable histoire de Elle et Lui_, 1897.--P. Mariéton: _Une histoire d’amour, George Sand et A. de M._, 1897.--E. Lefébure: _L’état psychique d’A. de M._, 1897.--E. Faguet: _Amours d’hommes de lettres_, 1906.--L. Séché: _A. de M._, 1907. _La Jeunesse dorée sous Louis-Philippe_, 1910.

Critical Studies: Sainte-Beuve: _Portraits Contemporains_, t. II, 1833. ✱ _Lundis_, I., 1850, XIII, 1857.--D. Nisard: _Etudes d’hist. et de lit._, 1859. _Mélanges d’hist. et de lit._, 1868.--P. Lindau: _A. de M._, 1876.--H. James: _Fr. Poets and Novelists_, 1878.--D’Ancona: _A. de M. e l’Italia_, in _Varieta Storiche e Letterarie_, 2 vols. 1883-85.--J. Lemaître: _Impr. de théâtre_, I, II (’88), VII (’93), IX (’96), X (’98).--Arvède Barine: _A. de M._, 1893.--L. P. Betz: _H. Heine und A. de M._, 1897.--L. Lafoscade: _Le théâtre d’A. de M._, 1901.--G. Crugnola: _A. de M. e la sua opera_, 2 vols. 1902-03.--J. d’Aquitaine: _A. de M., l’œuvre, le poète_, 1907.--Gauthier-Ferrières: _M., la vie de M., l’œuvre, M. et son temps_, 1909.--M. Donnay: _A. de M._, 1914.--C. L. Maurras: ✱ _Les Amants de Venise_, Nou. éd., 1917.

=Théophile Gautier=, 1811-72: _Les Jeune-France_, 1833. _Mlle. de Maupin_, 1836-36. _Emaux et Camées_, 1852. _Histoire du romantisme_, 1874. _Œuvres Compl._ (éd. Charpentier). 37 vols. 1883.--M. Tourneux: _T. G., sa bibliographie_, 1876.--S. de Lovenjoul: _Histoire des œuvres de T. G._, 2 vols. 1887.

Sainte-Beuve: _Premiers Lundis_, t. II, 1838. _Portraits Contemporains_, II. 1846. _Nouveaux Lundis_, VI, 1863.--Barbey d’Aurevilly: _Les Œuvres et les Hommes_, 1865.--Baudelaire: _L’Art romantique_, 1874.--E. Feydeau: _T. G., souvenirs intimes_, 1874.--H. James: _Fr. Poets and Novelists_, 1878.--E. Bergerat: _T. G._, 1880.--M. Du Camp: _T. G._, 1890.--E. Richet: _T. G., l’homme, la vie et l’œuvre_, 1893.

GERMAN FIELD

Bibliography: Goedeke: ✱ _Grundriss zur Geschichte der deutschen Dichtung_, 2 edn. vol. VI, 1898.--R. M. Meyer: _Grundriss der neuren deutschen Literaturgeschichte_, 2 edn. 1907.--A. Bartels: _Handbuch zur Geschichte der deutschen Literatur_, 2 edn. 1909.--_Jahresberichte für neuere deutsche Literaturgeschichte_, 1892 ff. (bibliographical notes on romanticism by O. F. Walzel).

General Studies: H. Heine: ✱ _Die romantische Schule_, 1836. Eng. trans, in _Bohn’s Library_. (Filled with political “tendency.” A brilliant attack on romanticism by a romanticist.)--J. v. Eichendorff: _Ueber die ethische und religiöse Bedeutung der neuren romantischen Poesie in Deutschland_, 1847.--J. Schmidt: _Geschichte der Romantik im Zeitalter der Reformation und der Revolution_, 2 vols. 1848-50.--H. Hettner: ✱ _Die romantische Schule in ihrem inneren Zusammenhange mit Goethe und Schiller_.--R. Haym: ✱ _Die romantische Schule_, 1870. Unrevised reprint, 1902. (Heavy reading but still the standard treatment.)--Ricarda Huch: ✱ _Blütezeit der Romantik_, 1899. ✱ _Ausbreitung und Verfall der Romantik_, 1902. (Attractively written. The point of view, like that of practically all Germans, is very romantic.)--Marie Joachimi: _Die Weltanschauung der deutschen Romantik_, 1905.--O. F. Walzel: ✱ _Deutsche Romantik_, 3 edn. 1912.--R. M. Wernaer: _Romanticism and the Romantic School in Germany_, 1909. (The outlook, which professes to be humanistic, seems to me in the main that of the beautiful soul.)--A. Farinelli: _Il romanticismo in Germania_, 1911. (Simply reeks with the “infinite” in the romantic sense. “Sono, ahimè, stoffa di ribelle anch’io.” Useful bibliographical notes.)--A. W. Porterfield: _An Outline of German Romanticism_, 1914. (Of no importance from the point of view of ideas. The bibliography is useful.)--J. Bab: _Fortinbras, oder der Kampf des 19. Jahr. mil dem Geist der Romantik_, 1912. (An attack on romanticism.)

See also A. Kobersteim: _Geschichte der deutschen Nationalliteratur_, vol. IV, pp. 543-955, 1873.--G. G. Gervinus: _Geschichte der deutschen Dichtung_, vol. V, pp. 631-816, 1874.--R. M. Meyer: _Die deutsche Literatur des 19. Jahr._, pp. 1-243, 1898.--R. v. Gottschall: _Die deutsche Nationalliteratur des 19. Jahr._, vol. I, 1901.--K. Francke: _A History of German Literature_, 1901. (The point of view is sociological rather than literary.)--W. Scherer: _Geschichte der deutschen Literatur_, pp. 614-720, 1908.--C. Thomas: _A History of German Literature_, pp. 328-76, 1909.--J. G. Robertson: _Outlines of the History of German Literature_, pp. 178-253, 1911.--A. Biese: _Deutsche Literaturgeschichte_, vol. II, pp. 288-693, 1912.

Anthologies: _Stürmer und Dränger_. An anthology ed. by A. Sauer. _Deutsche Nat. Lit._, vols. 79, 80, 81, 1883.--_Sturm und Drang. Dichtungen aus der Geniezeit_, ed. by Karl Freye.--A. Spiess: _Die deutschen Romantiker_, 1903. (Poetry and prose.)--F. Oppeln-Bronikowski and L. Jacobowski: _Die blaue Blume. Eine Anthologie romantischer Lyrik_, 1908.

Philosophy: L. Noack: _Schelling und die Philosophie der Romantik_, 2 vols. 1859.--E. Grucker: _François Hemsterhuis, sa vie et ses œuvres_, 1866.--E. Meyer: _Der Philosoph F. Hemsterhuis_, 1893.--W. Dilthey: ✱ _Leben Schleiermachers_, 1870.--J. Royce: _The Spirit of Modern Philosophy_, 1892.--L. Lévy-Bruhl: _La Philosophie de Jacobi_, 1894.--H. Höffding: _A History of Modern Philosophy_ (bk. VIII: _The Philosophy of Romanticism_), 1900.--R. Burck: _H. Steffens, Ein Beitrag zur Philosophie der Romantik_, 1906.--W. Windelband: _Geschichte der neuren Philosophie_, 4 edn. 2 vols. 1907 (Eng. trans.).

Music and painting: H. Riemann: ✱ _Geschichte der Musik seit Beethoven_, 1800-1900, pp. 106-356, 1901.--D. G. Mason: _The Romantic Composers_, 1906.--E. Istel: ✱ _Die Blütezeit der musikalischen Romantik in Deutschland_, 1909.--✱ _The Oxford History of Music_, vol. VI (_The Romantic Period_, 1905).--C. Gurlitt: _Die deutsche Kunst des 19. Jahr._, especially pp. 180-279, 1899.--A. Aubert: _Runge und die Romantik_, 1909.--R. Muther: _Geschichte der Malerei_, 3 vols. (vol. III for romantic period in Germany and other countries), 1909.

Special Topics (18th and 19th Centuries): L. Friedländer: _Ueber die Entstehung und Entwickelung des Gefühls für das Romantische in der Natur_, 1873.--J. Minor: _J. G. Hamann in seiner Bedeutung für die Sturm und Drangperiode_, 1881. _Das Schicksalsdrama._ _Deutsche Nation. Lit._, vol. 151. _Die Schicksalstragödie in ihren Hauptvertretern_, 1883.--R. Unger: ✱ _Hamann und die Aufklärung_, 1911.--G. Bonet-Maury: _Bürger et les origines anglaises de la ballade littéraire en Allemagne_, 1890.--S. Lublinski: _Die Frühzeit der Romantik_, 1899.--T. S. Baker: _The Influence of L. Sterne upon German Literature_ in _Americana Germanica_, vol. II, 1900.--R. Tombo: _Ossian in Germany_, 1902 (bibliography).--E. Ederheimer: _Jakob Boehme und die Romantiker_, 1904.--L. Hirzel: _Wieland’s Beziehungen zu den deutschen Romantikern_, 1904.--K. Joel: _Nietzsche und die Romantik_, 1904.--S. Schultze: _Die Entwickelung des Naturgefühls in der deutschen Literatur des 19. Jahr._ 1906.--M. Joachimi-Dege: _Deutsche Shakespeare-Probleme im 18. Jahr. und im Zeitalter der Romantik_, 1907.--E. Vierling: _Z. Werner: La conversion d’un romantique_, 1908.--E. Glöckner: _Studien zur romantischen Psychologie der Musik_, 1909.--R. Benz: _Märchen-Dichtung der Romantiker_, 1909.--F. Brüggemann: _Die Ironie als entwicklungsgeschichtliches Moment_, 1909.--O. F. Walzel: _Das Prometheussymbol von Shaftesbury zu Goethe_, 1910.--F. Strich: _Die Mythologie in der deutschen Literatur von Klopstock bis Wagner_, 1910.--F. G. Shneider: _Die Freimaurerei und ihr Einfluss auf die geistige Kultur in Deutschland am Ende des 18. Jahr._ 1909.--R. Buchmann: _Helden und Mächte des romantischen Kunstmärchens_, 1910.--K. G. Wendriner: _Das romantische Drama_, 1909.--O. F. Walzel and H. Hub: ✱ _Zeitschriften der Romantik_, 1904.--J. Bobeth: _Die Zeitschriften der Romantik_, 1910.--J. E. Spenlé: _Rahel, Mme. Varnhagen v. Ense. Histoire d’un salon romantique en Allemagne_, 1910.--P. Wächtler: _E. A. Poe und die deutsche Romantik_, 1910.--W. Brecht: _Heinse und das ästhetische Immoralismus_, 1911.--E. Mürmig: _Calderon und die ältere deutsche Romantik_, 1912.--G. Gabetti: _Il dramma di Z. Werner_, 1917.--J. J. A. Bertrand: _Cervantes et le Romantisme allemand_, 1917.

=J. G. Herder=, 1744-1803: _Fragmente über die neuere deutsche Literatur_, 1767. _Kritische Wälder_, 1769. _Volkslieder_, 1778. _Vom Geist der Ebräischen Poesie_, 1782. _Ideen zur Philosophie der Geschichte der Menschheit_, 1784-85. _Sämt. Werke_, ed. B. Suphan, 32 vols. 1877-99.--Joret: _Herder_, 1876.--R. Haym: _Herder nach seinem Leben und seinen Werken dargestellt_, 2 vols. 1885.--E. Kühnemann: _Herder_, 2 edn. 1907.

=J. W. v. Goethe=, 1749-1832: _Götz von Berlichingen_, 1773. _Die Leiden des jungen Werthers_, 1774. _Faust: Ein Fragment_, 1790. Collected Works (Jubiläums Ausgabe), ed. E. von der Hellen, 40 vols. 1902-12.--T. Carlyle: _Essays on G._ in Critical and Mis. Essays, vols. I, IV, 1828-32.--J. W. Appell: ✱ _Werther und seine Zeit._, 1855. 4 edn. 1896.--E. Schmidt: _Richardson, Rousseau und G._, 1875.--A. Brandl: _Die Aufnahme von G.’s Jugendwerken in England. Goethe-Jahrb._, vol. III, 1883.--R. Steig: _G. und die Gebrüder Grimm_, 1892.--J. O. E. Donner: _Der Einfluss Wilhelm Meisters auf den Roman der Romantiker_, 1893.--E. Oswald: _G. in England and America_, 1899.--A. Brandl: _Ueber das Verhältnis G.’s zu Lord Byron. Goethe-Jahrb._, vol. 20, 1900.--K. Schüddekopf and O. F. Walzel: ✱ _Goethe und die Romantik, Briefe mit Erläuterungen_, vols. 13 and 14 of the pub. of the Goethegesellschaft, 1893-94.--S. Waetzold: _G. und die Romantik_, 2 edn. 1903.--O. Baumgarten: _Carlyle und G._, 1906.--H. Röhl: _Die älteste Romantik und die Kunst des jungen G._, 1909.

=J. C. F. Schiller=, 1759-1805: _Die Räuber_, 1781. _Briefe über die ästhetische Erziehung des Menschen_, 1795. _Ueber naïve u. sentimentalische Dichtung_, 1795-96. (Trans. of these and other æsthetic treatises of S. in _Bohn’s Library_.) Collected works, ed. E. von der Hellen, 16 vols. 1904-05.--C. Alt: _S. und die Brüder Schlegel_, 1904.--E. Spenlé: _Schiller et Novalis_, in _Etudes sur Schiller publiées pour le Centenaire_, 1905.--A. Ludwig: ✱ _Schiller und die deutsche Nachwelt_ (especially pp. 52-202), 1909.

=J. P. F. Richter=, 1763-1825: _Titan_, 1803. _Flegeljahre_, 1804. _Die Vorschule der Æsthetik_, 1804. Selected works with intro. by R. Steiner, 8 vols. (Cotta, no date).--P. Nerrlich: _Jean Paul und seine Zeitgenossen_, 1876. _Jean Paul; sein Leben und seine Werke_, 1889.--J. Müller: _Jean Paul und seine Bedeutung für die Gegenwart_, 1894. _Jean Paul-Studien_, 1900.--W. Hoppe: _Das Verhältnis Jean Pauls zur Philosophie seiner Zeit_, 1901.--H. Plath: _Rousseau’s Einfluss auf Jean Paul’s “Levana”_, 1903.

=J. C. F. Hölderlin=, 1770-1843: _Gesammelte Dichtungen_. Int. by B. Litzmann, 2 vols. (Cotta, no date). _Werke_, ed. M. Joachimi-Dege, 1913. _Hölderlin’s Leben in Briefen von und an Hölderlin_, ed. K. K. T. Litzmann, 1890.--C. Müller-Rastatt: _F. H. Sein Leben und seine Dichtungen_, 1894.--W. Dilthey: ✱ _Das Erlebnis und die Dichtung_, pp. 330-455, 1907.--E. Bauer: _H. und Schiller_, 1908.--L. Bohme: _Die Landschaft in den Werken H.’s und Jean Pauls_, 1908.

=Friedrich Leopold, Freiherr von Hardenberg (Novalis)=, 1772-1801: _Die Lehrlinge zu Saïs_, 1798. _Die Christenheit oder Europa_, 1799. _Heinrich von Ofterdingen_, 1800. _Hymnen an die Nacht_, 1800. Schriften, ed. E. Heilborn, 3 vols. 1901. _Schriften_, ed. J. Minor, 4 vols. 1907. _Werke_, ed. H. Friedemann [1913].--Carlyle: N., in _Crit. Essays_, vol. II, 1829.--_Friedrich v. Hardenberg._ A collection of documents from the family archives by a member of the family, 1873.--J. Bing: _Novalis_, 1893.--C. Busse: _N.’s Lyrik_, 1898.--E. Heilborn: _N., der Romantiker_, 1901.--E. Spenlé: ✱ _Novalis_, 1904.--W. Olshausen: _F. v. Hardenbergs Beziehungen zur Naturwissenschaft seiner Zeit_, 1905.--W. Dilthey: ✱ _Das Erlebnis und die Dichtung_, pp. 201-82, 1906.--H. Lichtenberger: ✱ _Novalis_, 1912.

=A. W. v. Schlegel=, 1767-1845: _Vorlesungen über dramatische Kunst und Literatur_, 1809-11. Eng. trans. 1814. Fr. trans. 1815. Ital. trans. 1817. _Sämtliche Werke_, 12 vols. 1846-47; also _œuvres écrites en français_, 3 vols. and Opera latine scripta, 1 vol. 1846.--_Vorlesungen über schöne Literatur und Kunst_ (1801-03), ed. with intro. by J. Minor in _Literaturdenkmäler des 18. und 19. Jahrs._ nos. 17-19, 1884.--Selections with intro. by O. F. Walzel in _Deutsche Nat. lit._, vol. 143.--M. Bernays: _Zur Entstehungsgeschichte des Schlegelschen Shakespeare_, 1872.--E. Sulger-Gebing: _Die Brüder A. W. und F. Schlegel in ihrem Verhältnisse zur bildenden Kunst_, 1897.

=Friedrich v. Schlegel=, 1772-1829: Lucinde, 1799. _Ueber die Weisheit und Sprache der Indier_, 1808. _Sämt. Werke_, 15 vols. 1847. ✱ _Jugendschriften_ (1794-1802), ed. J. Minor, 1906. _F. Schlegels Philosophische Vorlesungen aus den Jahren 1804 bis 1806. Aus dem Nachlass_, von C. F. H. Windischmann, 2 vols. 1836-37.--✱ _F. Schlegel’s Briefe an seinen Brüder August Wilhelm_, ed. O. F. Walzel, 1890. Schleiermacher: _Vertraute Briefe über die Lucinde_, 1800. (New edn. ed. by R. Frank, 1907.)--I. Rouge: _F. Schlegel et la genèse du Romantisme allemand_, 1904.--_Dorothea und F. Schlegel. Briefe an die Familie Paulus_, ed. R. Unger, 1913.--C. Enders: _F. Schlegel. Die Quellen seines Wesens und Werdens_, 1913. (Attaches great importance to the influence on S. of Hemsterhuis, a philosopher of Neo-Platonic and Rousseauistic tendency.)--H. Horwitz: _Das Ich-Problem der Romantik. Die historische Stellung F. S.’s innerhalb der modernen Geistesgeschichte_, 1916.

=J. L. Tieck=, 1773-1853: _William Lovell_, 1796. _Der blonde Eckbert_, 1796. _Prinz Zerbino_, 1798. _Franz Sternbalds Wanderungen_, 1798. _Leben und Tod der heiligen Genoveva_, 1799. _Schriften_, 28 vols. 1828-54. _Ausgewählte Werke_, ed. H. Welti, 8 vols. 1888. Two of the tales trans. in Carlyle’s _German Romance_, 1841. ✱ _Briefe an Ludwig Tieck_, selected and edited by K. von Holtei, 4 vols. 1864.--H. Petrich: _Drei Kapitel vom romantischen Stil_, 1878.--J. Minor: _T. als Novellendichter_, in _Akademische Blätter_, pp. 128-61 and 193-220, 1884.--J. Ranftl: _L. T.’s Genoveva als romantische Dichtung betrachtet_, 1899.--K. Hassler: _L. T.’s Jugendroman William Lovell und der Paysan perverti_, 1902.--H. Günther: _Romantische Kritik und Satire bei L. T._, 1907.--G. H. Danton: _The Nature Sense in the Writings of L. T._, 1907.--F. Brüggemann: _Die Ironie in T.’s William Lovell und seinen Vorläufern_, 1909.--S. Krebs: _Philipp Otto Runge und L. T._, 1909.--W. Steinert: _L. T. und das Farbenempfinden der romantischen Dichtung_, 1910.--E. Schönebeck: _T. und Solger_, 1910.

=W. H. Wackenroder=, 1773-98: _Herzensergiessungen eines kunstliebenden Klosterbruders_, 1797, ed. by K. D. Jessen, 1904. _Tieck und Wackenroder (Phantasien über die Kunst)_, ed. J. Minor in _Deutsche Nat. Lit._, vol. 145.--P. Koldewey: _Wackenroder und sein Einfluss auf Tieck_, 1903.

=Friedrich Baron de La Motte Fouqué=, 1777-1843: _Undine_, 1811. _Lebensgeschichte des Baron F. de La M. Fouqué, ausgezeichnet durch ihn selbst_, 1840. _Ausgewählte Werke_, 12 vols. 1841.--W. Pfeiffer: _Ueber Fouqués Undine_, 1903.--L. Jeuthe: _Fouqué als Erzähler_, 1910.

=E. T. A. Hoffmann=, 1776-1822: _Sämt. Werke_. Intro. by E. Grisebach, 15 vols. 1899. _Ausgewählte Erzählungen._ _Bücher der Rose_ series, vol. 6, 1911. _Contes fantastiques_, trad. par Loève-Veimars, 20 vols. 1829-33. G. Ellinger: _E. T. A. H.: sein Leben und seine Werke_, 1894.--G. Thurau: _H.’s Erzählungen in Frankreich_, 1896.--A. Barine: _Poètes et Névrosés_, pp. 1-58, 1908.--P. Cobb: _The Influence of H. on the Tales of E. A. Poe_, 1908.--A. Sakheim: _Hoffmann: Studien zu seiner Persönlichkeit und seinen Werken_, 1908.--C. Schaeffer: _Die Bedeutung des Musikalischen und Akustischen in H.’s literarischen Schaffen_, 1909.--E. Kroll: _H.’s musikalische Anschauungen_, 1909.--P. Sucher: _Les sources du merveilleux chez H._, 1912.

=Heinrich v. Kleist=, 1777-1811: _Sämt. Werke_, ed. F. Muncker, 4 vols. 1893. _Werke_, ed. E. Schmidt [1905].--A. Wilbrandt: _H. v. K._, 1863.--R. Bonafous: _H. de K. Sa vie et ses œuvres_, 1894.--G. Minde-Pouet: _H. v. K. Seine Sprache und sein Stil_, 1897.--R. Steig: _K.’s Berliner Kämpfe_, 1901.--S. Rahmer: _Das Kleist-Problem_, 1903. _H. v. K. als Mensch und Dichter_, 1909.--M. Lex: _Die Idee im Drama bei Goethe, Schiller, Grillparzer, K._, 1904.--E. Kayka: _K. und die Romantik_, 1906.--W. Herzog: _H. v. K. Sein Leben und seine Werke_, 1911.--H. Meyer-Benfey: _Das Drama H. v. K.’s_, 2 vols. 1911-13.--K. Günther: _Die Entwickelung der novellistischen Kompositionstechnik K.’s bis zur Meisterschaft_, 1911.--W. Kühn: _H. v. K. und das deutsche Theater_, 1912.

=C. M. Brentano=, 1778-1842: _Gesammelte Schriften_, 9 vols. 1852-55. _Godwi_, ed. A. Ruest, 1906.--A. Kerr: _Godwi; ein Kapitel deutscher Romantik_, 1898.

=A. v. Chamisso=, 1781-38: _Peter Schlemihls wundersame Geschichte_, 1814. _Gesammelte Werke_, ed. M. Koch, 4 vols. 1883. _Werke_, ed. O. F. Walzel. _Deutsche Nat. Lit._, vol. 148, 1892. _Werke_, ed. M. Sydow, 2 vols. 1912. _Aus Chamisso’s Frühzeit. Ungedruckte Briefe_, ed. L. Geiger, 1905.--K. Fulda: _Chamisso und seine Zeit._, 1881.--X. Brun: _A. de Chamisso de Boncourt_, 1896.

=Achim v. Arnim=, 1781-1831: _Des Knaben Wunderhorn_ (first 3 vols.), 1808. Werke, ed. M. Jacobs, 2 vols. 1910. _Arnims Tröst Einsamkeit_, ed. F. Pfaff, 1883.--R. Steig and H. Grimm: ✱ _A. v. Arnim und die ihm nahe standen_, 3 vols. 1894-1904.--F. Rieser: _Des Knaben Wunderhorn und seine Quellen_, 1908.--K. Bode: _Die Bearbeitung der Vorlagen in des Knaben Wunderhorn_, 1909.

=J. L. Uhland=, 1787-1862: _Werke_, ed. H. Fischer, 6 vols. 1892. _Gedichte_, ed. E. Schmidt and J. Hartmann, 2 vols. 1898.--F. Notter: _L. U.; seine Leben und seiner Dichtungen_, 1863.--K. Mayer: _L. U.; seine Freunde und Zeitgenossen_, 1867.--A. v. Keller: _U. als Dramatiker_, 1877.--G. Schmidt _U.’s Poetik_, 1906.--W. Reinhöhl: _U. als Politiker_, 1911.

=J. v. Eichendorff=, 1788-1857: _Aus dem Leben eines Taugenichts_, 1826. _Werke_, ed. R. v. Gottschall, 4 vols. [no date].--J. Nadler: _Eichendorff’s Lyrik und ihre Geschichte_, 1908.

=Heinrich Heine=, 1797-1856: _Sämt. Werke_, ed. E. Elster, 7 vols. 1887-90. _H.’s Autobiographie, nach seinen Werken, Briefen und Gesprächen_, ed. G. Karpeles, 1888. Trans. by Arthur Dexter, 1893. _Erinnerungen an H. H. und seine Familie_ by his brother, Maximilien Heine, 1868.--A. Meissner: _H. H.: Erinnerungen_, 1856.--A. Strodtmann: _H. H.’s Leben und Werke_, 1884.--M. Arnold: ✱ _H. H._, in _Essays in Criticism_, 4th edn., 1884.--George Eliot: _German Wit: H. H._, in _Essays_, 1885.--K. R. Prölls: _H. H.: Sein Lebensgang und seine Shriften_, 1886.--G. Karpeles: _H. H. und seine Zeitgenossen_, 1888. _H. H.: Aus seinem Leben und aus seiner Zeit._, 1899.--A. Kohut: _H. H. und die Frauen_, 1888.--Wm. Sharp: _Life of H. H._ (bibliography by J. P. Anderson), 1888.--T. Odinga: _Ueber die Einflüsse der Romantik auf H. H._, 1891.--T. Gautier: _Portraits et souvenirs littéraires_, pp. 103-28, 1892.--L. P. Betz: _Die französische Litteratur im Urteile H. H.’s._, 1897. _H. H. und A. de Musset_, 1897.--J. Legras: _H. H., Poète_, 1897.--G. M. C. Brandes: _Ludwig Börne und H. H._, 2n ed. 1898.--O. zur Linde: _H. H. und die deutsche Romantik_, 1899.--F. Melchior: _H. H.’s Verhältnis zu Lord Byron_, 1903.--E. A. Schalles: _H.’s Verhältnis zu Shakespeare_, 1904.--A. W. Fischer: _Ueber die volkstümlichen Elemente in den Gedichten H.’s_, 1905.--W. Ochsenbein: _Die Aufnahme Lord Byrons in Deutschland und sein Einfluss auf den jungen H._, 1905.--R. M. Meyer: _Der Dichter des Romanzero in Gestalten und Probleme_, pp. 151-63, 1905.--A. Bartels: _H. H.: Auch ein Denkmal_, 1906.--H. Reu: _H. H. und die Bibel_, 1909.--C. Puetzfeld: _H. H.’s Verhältnis zur Religion_, 1912.

=Nikolaus Lenau=, 1802-50: _Sämt. Werke_, ed. A. Grüss [no year].--A. X. Schurz: _L.’s Leben_, 2 vols. 1855.--L. A. Frankl: _Zur Biographie L.’s._, 1885.--T. S. Baker: _L. and Young Germany in America_, 1897.--L. Roustan: _L. et son temps_, 1898.--J. Saly Stern: _La vie d’un poète, essai sur L._, 1902.--A. W. Ernst: _L.’s Frauengestalten_, 1902.--T. Gesky: _L. als Naturdichter_, 1902.--C. v. Klenze: _Treatment of Nature in the Works of N. L._, 1903.--L. Reynaud: _N. L., poète lyrique_, 1905.

FOOTNOTES

[1] See, for example, in vol. IX of the _Annales de la Société Jean-Jacques Rousseau_ the bibliography (pp. 87-276) for 1912--the year of the bicentenary.

[2] _Literature and the American College_ (1908); _The New Laokoon_ (1910); _The Masters of Modern French Criticism_ (1912).

[3] See his Oxford address _On the Modern Element in Literature_.

[4] These two tendencies in Occidental thought go back respectively at least as far as Parmenides and Heraclitus.

[5] In his _World as Imagination_ (1916) E. D. Fawcett, though ultra-romantic and unoriental in his point of view, deals with a problem that has always been the special preoccupation of the Hindu. A Hindu, however, would have entitled a similar volume _The World as Illusion_ (māyā). Aristotle has much to say of fiction in his _Poetics_ but does not even use the word imagination (φαντασία). In the _Psychology_, where he discusses the imagination, he assigns not to it, but to mind or reason the active and creative rôle (νοῦς ποιητικός). It is especially the notion of the _creative_ imagination that is recent. The earliest example of the phrase that I have noted in French is in Rousseau’s description of his erotic reveries at the Hermitage (_Confessions_, Livre IX).

[6] Essay on Flaubert in _Essais de Psychologie contemporaine_.

[7] _Le Romantisme et les mœurs_ (1910).

[8] _Annales de la Société Jean-Jacques Rousseau_, VIII, 30-31.

[9] I should perhaps say that in the case of Buddha I have been able to consult the original Pāli documents. In the case of Confucius and the Chinese I have had to depend on translations.

[10] See appendix on Chinese primitivism.

[11] See, for example, _Majjhima_ (Pāli Text Society), I, 265. Later Buddhism, especially Mahāyāna Buddhism, fell away from the positive and critical spirit of the founder into mythology and metaphysics.

[12] Buddha expressed on many occasions his disdain for the _Vedas_, the great traditional authority of the Hindus.

[13] I have explained the reasons for giving this place to Bacon in chapter II of _Literature and the American College_.

[14] _Eth. Nic._, 1179 a.

[15] I scarcely need remind the reader that the extant Aristotelian writings which have repelled so many by their form were almost certainly not meant for publication. For the problems raised by these writings as well as for the mystery in the method of their early transmission see R. Shute, _History of the Aristotelian Writings_ (1888). The writings which Aristotle prepared for publication and which Cicero describes as a “golden stream of speech” (_Acad._ II, 38, 119) have, with the possible exception of the recently recovered _Constitution of Athens_, been lost.

[16] See his _Essai sur le genre dramatique sérieux_.

[17] Quoted in Grimm’s Dictionary.

[18] Ex lectione quorundam romanticorum, i.e. librorum compositorum in gallico poeticorum de gestis militaribus, in quibus maxima pars fabulosa est.

[19] Perhaps the most romantic lines in English are found in one of Camillo’s speeches in _The Winter’s Tale_ (IV, 4):

a wild dedication of yourselves
To unpath’d waters, undream’d shores.

This “wild dedication” is, it should be noted, looked upon by Camillo with disfavor.

[20] _Pepys’s Diary_, 13 June, 1666.

[21] Thomas Shadwell, Preface to the _Sullen Lovers_, 1668.

[22] _Spectator_, 142, by Steele.

[23] Pope, 2d Epistle, _Of the Character of Women_.

[24] Cf. _Revue d’hist. litt._, XVIII, 440. For the Early French history of the word, see also the article _Romantique_ by A. François in _Annales de la Soc. J.-J. Rousseau_, V, 199-236.

[25] First edition, 1698; second edition, 1732.

[26] Cf. his _Elégie à une dame_.

Mon âme, imaginant, n’a point la patience
De bien polir les vers et ranger la science.
La règle me déplaît, j’écris confusément:
Jamais un bon esprit ne fait rien qu’aisément.
…
Je veux faire des vers qui ne soient pas contraints
…
Chercher des lieux secrets où rein ne me déplaise,
Méditer à loisir, rêver tout à mon aise,
Employer toute une heure à me mirer dans l’eau,
Ouïr, comme en songeant, la course d’un ruisseau.
Ecrire dans un bois, m’interrompre, me taire,
Composer un quatrain sans songer à le faire.

[27] _Caractères_, ch. V.

[28] His psychology of the memory and imagination is still Aristotelian. Cf. E. Wallace, _Aristotle’s Psychology_, Intr., lxxxvi-cvii.

[29] _An Essay upon Poetry_ (1682).

[30] The French Academy discriminates in its _Sentiments sur le Cid_ between two types of probability, “ordinary” and “extraordinary.” Probability in general is more especially reserved for action. In the domain of action “ordinary” probability and decorum run very close together. It is, for example, both indecorous and improbable that Chimène in the _Cid_ should marry her father’s murderer.

[31] In his _Preface_ to Shakespeare.

[32] For a similar distinction in Aristotle see _Eth. Nic._, 1143 b.

[33] The Platonic and Aristotelian reason or mind (νοῦς) contains an element of intuition.

[34] In his _Lettre à d’Alembert sur les spectacles_.

[35] _Rousseau contre Molière_, 238.

[36] _Letters on Chivalry and Romance._

[37] See verses prefixed to Congreve’s _Double-Dealer_.

[38]

Change l’état douteux dans lequel tu nous ranges,
Nature élève-nous à la clarté des anges,
Ou nous abaisse au sens des simples animaux.

_Sonnet_ (1657?).

[39] See, for example, A. Gerard’s _Essay on Genius_ (1774), _passim_.

[40] The English translation of this part of the _Critique of Judgment_, edited by J. C. Meredith, is useful for its numerous illustrative passages from these theorists (Young, Gerard, Duff, etc.).

[41] Mrs. Katharine Fullerton Gerould has dealt interestingly with this point in an article in the _Unpopular Review_ (October, 1914) entitled _Tabu and Temperament_.

[42] See _Biographia literaria_, ch. XXII.

[43] This message came to him in any case straight from German romanticism. See Walzel, _Deutsche Romantik_, 22, 151.

[44] “De tous les corps et esprits, on n’en saurait tirer un mouvement de vraie charité; cela est impossible, et d’un autre ordre, surnaturel.” _Penseés_, Article XVII. “Charité,” one should recollect, here has its traditional meaning--the love, not of man, but of God.

[45] See poem, _Ce siècle avait deux ans_ in the _Feuilles d’Automne_.

[46] For amusing details, see L. Maigron, _Le Romantisme et la mode_ (1911), ch. V.

[47] For Disraeli see Wilfrid Ward, _Men and Matters_, 54 ff. Of Bulwer-Lytton at Nice about 1850 Princess von Racowitza writes as follows in her _Autobiography_ (p. 46): “His fame was at its zenith. He seemed to me antediluvian, with his long dyed curls and his old-fashioned dress … with long coats reaching to the ankles, knee-breeches, and long colored waistcoats. Also, he appeared always with a young lady who adored him, and who was followed by a man servant carrying a harp. She sat at his feet and appeared as he did in the costume of 1830, with long flowing curls called _Anglaises_. … In society, however, people ran after him tremendously, and spoilt him in every possible way. He read aloud from his own works, and, in especially poetic passages, his ‘Alice’ accompanied him with arpeggios on the harp.”

[48] See essay by Kenyon Cox on _The Illusion of Progress_, in his _Artist and Public_.

[49] See _Creative Criticism_ by J. E. Spingarn, and my article on _Genius and Taste_, reviewing this book, in the _Nation_ (New York), 7 Feb., 1918.

[50] One should note here as elsewhere points of contact between scientific and emotional naturalism. Take, for example, the educational theory that has led to the setting up of the elective system. The general human discipline embodied in the fixed curriculum is to be discarded in order that the individual may be free to work along the lines of his bent or “genius.” In a somewhat similar way scientific naturalism encourages the individual to sacrifice the general human discipline to a specialty.

[51] See his poem _L’Art_ in _Emaux et Camées_.

[52]

Quel esprit ne bat la campagne?
Qui ne fait châteaux en Espagne?
Picrochole, Pyrrhus, la laitière, enfin tous,
Autant les sages que les fous
Chacun songe en veillant; il n’est rien de plus doux.
Une flatteuse erreur emporte alors nos âmes;
Tout le bien du monde est à nous,
Tous les honneurs, toutes les femmes.
Quand je suis seul, je fais au plus brave un défi,
Je m’écarte, je vais détrôner le sophi;
On m’élit roi, mon peuple m’aime;
Les diadèmes vont sur ma tête pleuvant:
Quelque accident fait-il que je rentre en moi-même,
Je suis gros Jean comme devant.

[53] _Rasselas_, ch. XLIV.

[54] _Nouvelle Héloïse_, Pt. II, Lettre XVII.

[55] Rostand has hit off this change in the Balcony Scene of his _Cyrano de Bergerac_.

[56] Essay on _Simple and Sentimental Poetry_.

[57] The life of Rousseau by Gerhard Gran is written from this point of view.

[58]

The world’s great age begins anew,
The golden years return, etc.

_Hellas_, vv. 1060 ff.

[59] For an excellent analysis of Shelley’s idealism see Leslie Stephen’s _Godwin and Shelley_ in his _Hours in a Library_.

[60] _Letters_, II, 292.

[61] See his letter to Wordsworth, 30 January, 1801.

[62] _Dramatic Art and Literature_, ch. I.

[63] Cf. Voltaire: On ne peut désirer ce qu’on ne connaît pas. (_Zaïre_.)

[64] Cf. Sainte-Beuve, _Causeries du lundi_. XV, 371: “Le romantique a la nostalgie, comme Hamlet; il cherche ce qu’il n’a pas, et jusque par delà les nuages; il rêve, il vit dans les songes. Au dix-neuvième siècle, il adore le moyen âge; au dix-huitième, il est déjà révolutionnaire avec Rousseau,” etc. Cf. also T. Gautier as quoted in the _Journal des Goncourt_, II, 51: “Nous ne sommes pas Français, nous autres, nous tenons à d’autres races. Nous sommes pleins de nostalgies. Et puis quand à la nostalgie d’un pays se joint la nostalgie d’un temps … comme vous par exemple du dix-huitième siècle … comme moi de la Venise de Casanova, avec embranchement sur Chypre, oh! alors, c’est complet.”

[65] See article _Goût_ in _Postscriptum de ma vie_.

[66] Schlegel’s _Dramatic Art and Literature_, Lecture XXII.

[67] For a discussion of this point see I. Rouge: _F. Schlegel et la Genèse du romantisme allemand_, 48 ff.

[68] For a development of this point of view see the essay of Novalis: _Christianity or Europe_.

[69] _Confessions_, Livre IX (1756).

[70] This is Goethe’s very classical definition of genius: Du nur, Genius, mehrst in der Natur die Natur.

[71] Greek literature, after it had lost the secret of selection and the grand manner, as was the case during the Alexandrian period, also tended to oscillate from the pole of romance to the pole of so-called realism--from the _Argonautica_ of Apollonius of Rhodes, let us say, to the _Mimes_ of Herondas.

[72] _Emile_, Livre II.

[73] _Etudes de la nature._

[74] See, for example, _Tatler_, 17 November, 31 December, 1709 (by Steele).

[75] See her letter to Gustavus III, King of Sweden, cited in _Gustave III et la cour de France_, II, 402, par A. Geffroy.

[76] See Hastings Rashdall: _Is Conscience an Emotion?_ (1914), especially ch. I. Cf. _Nouvelle Héloïse_. (Pt. VI, Lettre VII): “Saint-Preux fait de la conscience morale un sentiment, et non pas un jugement.”

[77] _Nouvelle Héloïse_, Pt. V, Lettre II.

[78] _Ibid._

[79] _Ibid._, Pt. IV, Lettre XII.

[80] Schiller’s definition is well known: “A beautiful soul we call a state where the moral sentiment has taken possession of all the emotions to such a degree that it may unhesitatingly commit the guidance of life to instinct,” etc. (_On Grace and Dignity._) Cf. Madame de Staël: “La vertu devient alors une impulsion involontaire, un mouvement qui passe dans le sang, et vous entraîne irrésistiblement comme les passions les plus impérieuses.” (_De la Littérature: Discours préliminàire._)

[81] _Avenir de la Science_, 354.

[82] _Ibid._, 179-180.

[83] _Avenir de la Science_, 476.

[84] Madame de Warens felt the influence of German pietism in her youth. See _La Jeunesse de J.-J. Rousseau_ par E. Ritter; ch. XIII.

[85] _Lettre à M. Molé_ (21 October, 1803).

[86] _Le romantisme français_, 215.

[87] See _Les Amours de Milord Bomston_ at the end of _La Nouvelle Héloïse_.

[88] _Sultan Mourad_ in _La Légende des Siècles_.

[89] _Correspondence_, III, 213 (June, 1791). The date of this letter should be noted. Several of the worst terrorists of the French Revolution began by introducing bills for the abolition of capital punishment.

[90] See Burton’s _Hume_, II, 309 (note 2).

This sentimental trait did not escape the authors of the _Anti-Jacobin_:

Sweet child of sickly Fancy--Her of yore
From her lov’d France Rousseau to exile bore;
And while midst lakes and mountains wild he ran
Full of himself and shunn’d the haunts of man,
Taught her o’er each lone vale and Alpine steep
To lisp the stories of his wrongs and weep;
Taught her to cherish still in either eye
Of tender tears a plentiful supply,
And pour them in the brooks that babbled by--
Taught her to mete by rule her feelings strong,
False by degrees and delicately wrong,
For the crush’d Beetle, _first_--the widow’d Dove,
And all the warbled sorrows of the grove,
_Next_ for poor suff’ring Guilt--and _last_ of all,
For Parents, Friends, or King and Country’s fall.

[91]

Shepherds, dwellers in the valleys, men
Whom I already loved;--not verily
For their own sakes, but for the fields and hills
Where was their occupation and abode.

_Michael_

[92]

Once more the Ass, with motion dull,
Upon the pivot of his skull
Turned round his long left ear.

“The bard who soars to elegize an ass” and the “laureate of the long-eared kind” (_English Bards and Scotch Reviewers_) is, however, not Wordsworth but Coleridge. See his poem _To a Young Ass, its mother being tethered near it_.

[93] See the poem _Acte d’accusation_ in _Les Contemplations_.

[94] _Le Crapaud_ in _La Légende des Siècles_.

[95] See _Apology_ 31D.

[96] His _Language and Wisdom of the Hindus_ appeared in 1808.

[97] See _Jugendschriften_, ed. by J. Minor, II, 362.

[98] _Dhammapada._

[99] _Sutta-Nipāta_, v. 149 (_Metta-sutta_).

[100] _Second Dialogue._

[101] _Letters_, II, 298. For Ruskin and Rousseau see _Ibid._ I, 360: “[Ruskin] said that great parts of _Les Confessions_ were so true to himself that he felt as if Rousseau must have transmigrated into his body.”

[102] “If a poet wishes an atmosphere of indistinct illusion and of moving shadow, he must use the romantic style. … Women, such as we know them, such as they are likely to be, ever prefer a delicate unreality to a true or firm art.” Essay on _Pure, Ornate, and Grotesque Art in English Poetry_ (1864).

[103] “Die Romanze auf einem Pferde” utters the following lines in the Prologue to Tieck’s _Kaiser Octavianus_:

Mondbeglänzte Zaubernacht,
Die den Sinn gefangen hält,
Wundervolle Märchenwelt
Steig’ auf in der alten Pracht.

A special study might be made of the rôle of the moon in Chateaubriand and Coleridge--even if one is not prepared like Carlyle to dismiss Coleridge’s philosophy as “bottled moonshine.”

[104] O. Walzel points out that as soon as the women in H. von Kleist’s plays become conscious they fall into error (_Deutsche Romantik_, 3. Auflage, 147).

[105] Byron, _Sardanapalus_, IV, 5. Cf. Rousseau, _Neuvième Promenade_: “Dominé par mes sens, quoi que je puisse faire, je n’ai jamais pu résister à leurs impressions, et, tant que l’objet agit sur eux, mon cœur ne cesse d’en être affecté.” Cf. also Musset, _Rolla_:

Ce n’était pas Rolla qui gouvernait sa vie,
C’étaient ses passions; il les laissait aller
Comme un pâtre assoupi regarde l’eau couler.

[106] _Modern Painters_, Part V, ch. XX.

[107] _Confessions_, Pt. II, Livre IX (1756).

[108]

With nature never do _they_ wage
A foolish strife; they see
A happy youth and their old age
Is beautiful and free.

Wordsworth: _The Fountain_.

[109] The phrase imaginative insight is, I believe, true to the spirit of Plato at his best, but it is certainly not true to his terminology. Plato puts the imagination (φαντασία) not only below intuitive reason (νοῦς) and discursive reason or understanding (διάνοια), but even below outer perception (πίστις). He recognizes indeed that it may reflect the operations of the understanding and even the higher reason as well as the impressions of sense. This notion of a superior intellectual imagination was carried much further by Plotinus and the neo-Platonists. Even the intellectual imagination is, however, conceived of as passive. Perhaps no Greek thinker, not even Plato, makes as clear as he might that reason gets its intuition of reality and the One with the aid of the imagination and, as it were, through a veil of illusion, that, in Joubert’s phrase, “l’illusion est une partie inté, grante de la réalité” (_Pensées_, Titre XI, XXXIX). Joubert again distinguishes (_ibid._, Titre III, XLVII, LI) between “l’imaginative” which is passive and “l’imagination” which is active and creative (“l’œil de l’âme”). In its failure to bring out with sufficient explicitness this _creative_ rôle of the imagination and in the stubborn intellectualism that this failure implies is to be found, if anywhere, the weak point in the cuirass of Greek philosophy.

[110] See Xenophon, _Memorabilia_, IV, 16, 3.

[111] Σωφροσύνη.

[112] See his _Lettre à d’Alembert_.

[113] _Varieties of Religious Experience_, 387.

[114] _Blütezeit der Romantik_, 126.

[115] “Parfaite illusion, réalité parfaite” (Alfred de Vigny). “Die Welt wird Traum, der Traum wird Welt” (Novalis). “This sort of dreaming existence is the best; he who quits it to go in search of realities generally barters repose for repeated disappointments and vain regrets” (Hazlitt).

[116] _Lit. Ang._, IV, 130.

[117] About 1885.

[118] _Le Théâtre en France_, 304.

[119]

Je suis une force qui va!
Agent aveugle et sourd de mystères funèbres.

[120] E.g., Lillo’s _Fatal Curiosity_ (1736) had a marked influence on the rise of the German fate tragedy.

[121]

Wo ist der, der sagen dürfe,
So will ich’s, so sei’s gemacht,
Unser Taten sind nur Würfe
In des Zufalls blinde Nacht.

_Die Ahnfrau._

[122] “So that in the first place, I put for a general inclination of all mankind, a perpetual and restless desire of Power after power, that ceaseth only in Death.” _Leviathan_, Part I, ch. XI.

[123] See _Unpopular Review_, October, 1915.

[124] E. Seillière has been tracing, in _Le Mal romantique_ and other volumes, the relation between Rousseauism and what he terms an “irrational imperialism.” His point of view is on the constructive side very different from mine.

[125] The best account of Rousseau’s German influence is still that of H. Hettner in his _Literaturgeschichte des 18. Jahrhunderts_. Compared with Rousseau’s German influence, says Professor Paul Hensel in his _Rousseau_ (1907), “his influence in France seems almost trifling.” In Germany “Rousseau became the basis not of a guillotine but of a new culture (Kultur). … We have drawn his spirit over to us, we have made it our own.” (121.) See also Professor Eugen Kühnemann, _Vom Weltreich des deutschen Geistes_ (1914), 54-62, and _passim_. German idealism is, according to Kühnemann, the monument that does the greatest honor to Rousseau.

[126]

A robin redbreast in a cage
Puts all Heaven in a rage.
…
He who shall hurt the little wren
Shall never be belov’d by men.
He who the ox to wrath has mov’d
Shall never be by woman lov’d.
…
Kill not the moth nor butterfly,
For the Last Judgment draweth nigh.

_Auguries of Innocence._

[127] See _Hart-Leap Well_.

[128] _Beyond Good and Evil_, ch. IV.

[129] “Out into distant futures, which no dream hath yet seen, into warmer souths than ever sculptor conceived. … Let this love be your new nobility,--the undiscovered in the remotest seas,” etc. (_Thus Spake Zarathustra_, translated by Thomas Common, 240, 248.)

[130] “On trouverait, en rétablissant les anneaux intermédiaires de la chaîne, qu’à Pascal se rattachent les doctrines modernes qui font passer en première ligne la connaissance immédiate, l’intuition, la vie intérieure, comme à Descartes … se rattachent plus particulièrement les philosophies de la raison pure.” _La Science française_ (1915), I, 17.

[131] Cf. Tennyson:

Fantastic beauty, such as lurks
In some wild poet when he works
Without a conscience or an aim--

[132] Addison writes:

’Twas then great Marlbro’s mighty soul was proved,
That, in the shock of changing hosts unmoved,
Amidst confusion, horror, and despair,
Examin’d all the dreadful scenes of war;
In peaceful thought the field of death survey’d.

So far as Marlborough deserved this praise he was a general in the grand manner.

[133] “Beauty resides in due proportion and order,” says Aristotle (_Poetics_, ch. VII).

[134] _A Survey of English Literature, 1780-1830_ (1912), II, 191.

[135] Confucius and the Chinese sages were if anything even more concerned than Plato or Aristotle with the ethical quality of music.

[136] Like Bishop Blougram’s his “interest’s on the dangerous edge of things.”

[137]

Does he take inspiration from the church,
Directly make her rule his law of life?
Not he: his own mere impulse guides the man.
…
Such is, for the Augustine that was once,
This Canon Caponsacchi we see now.

X, 1911-28.

[138] See X, 1367-68.

[139] Letter to Joseph d’Ortigue, January 19, 1833.

[140] Here is an extreme example from Maigron’s manuscript collection (_Le Romantisme et les mœurs_, 153). A youth forced to be absent three weeks from the woman he loves writes to her as follows: “Trois semaines, mon amour, trois semaines loin de toi! … Oh! Dieu m’a maudit! … Hier j’ai erré toute l’après-midi comme une bête fauve, une bête traquée. … Dans la forêt, j’ai hurlé, hurlé comme un démon … je me suis roulé par terre … j’ai broyé sous mes dents des branches que mes mains avaient arrachées. … Alors, de rage, j’ai pris ma main entre mes dents; j’ai serré, serré convulsivement; le sang a jailli et j’ai craché au ciel le morceau de chair vive … j’aurais voulu lui cracher mon cœur.”

[141] Maxime Du Camp asserts in his _Souvenirs littéraires_ (I, 118) that this anæmia was due in part to the copious blood-letting to which the physicians of the time, disciples of Broussais, were addicted.

[142] This perversion was not unknown to classical antiquity. Cf. Seneca, _To Lucilius_, XCIX: “Quid turpius quam captare in ipso luctu voluptatem; et inter lacrymas quoque, quod juvet, quærere?”

[143] _Nouvelle Héloïse_, Pt. III, Lettre VI.

[144] _Confessions_, Livre IV.

[145] _The New Laokoon_, ch. V.

[146] _Franciscae meæ laudes_, in _Les Fleurs du mal_.

[147] _Architecture and Painting_, Lecture II. This diatribe may have been suggested by Byron’s _Don Juan_, Canto XIII, IX-XI:

Cervantes smiled Spain’s chivalry away:
A single laugh demolished the right arm
Of his own country, etc.

[148] “Nondum amabam, et amare amabam, quærebam quid amarem, amans amare.”

[149] Cf. Shelley’s _Alastor_:

Two eyes,
Two starry eyes, hung in the gloom of thought
And seemed with their serene and azure smiles
To beckon.

[150] “Some of us have in a prior existence been in love with an Antigone, and that makes us find no full content in any mortal tie.” Shelley to John Gisborne, October 22, 1821.

[151] _Confessions_, Livre XI (1761).

[152] _Mémoires d’Outre-Tombe_, November, 1817.

[153] “Je me faisais une félicité de réaliser avec ma sylphide mes courses fantastiques dans les forêts du Nouveau Monde.”

_Mémoires d’Outre-Tombe_, December, 1821.

[154] Peacock has in mind _Childe Harold_, canto IV, CXXI ff.

[155] Rousseau plans to make a nympholept of his ideal pupil, Emile: “Il faut que je sois le plus maladroit des hommes si je ne le rends d’avance passionné sans savoir de quoi”, etc. _Emile_, Liv. IV.

[156] Cf. René’s letter to Céluta in _Les Natchez_: “Je vous ai tenue sur ma poitrine au milieu du désert, dans les vents de l’orage, lorsque, après vous avoir portée de l’autre côté d’un torrent, j’aurais voulu vous poignarder pour fixer le bonheur dans votre sein, et pour me punir de vous avoir donné ce bonheur.”

[157] The romantic lover, it should be observed, creates his dream companion even less that he may adore her than that she may adore him.

[158] Walter Bagehot has made an interesting study of the romantic imagination in his essay on a figure who reminds one in some respects of Gérard de Nerval--Hartley Coleridge.

[159] Don Juan bids his servant give a coin to the beggar not for the love of God but for the love of humanity.

[160]

Demandant aux forêts, à la mer, à la plaine,
Aux brises du matin, à toute heure, à tout lieu,
La femme de son âme et de son premier voeu!
Prenant pour fiancée un rêve, une ombre vaine,
Et fouillant dans le cœur d’une hécatombe humaine,
Prêtre désespéré, pour y trouver son Dieu.

A. de Musset, _Namouna_.

“Don Juan avait en lui cet amour pour la femme idéale; il a couru le monde serrant et brisant de dépit dans ses bras toutes les imparfaites images qu’il croyait un moment aimer; et il est mort épuisé de fatigue, consumé de son insatiable amour.” Prévost-Paradol, _Lettres_, 149.

[161] See Scott’s (2d) edition of Swift, XIII, 310.

[162]

Aimer c’est le grand point. Qu’importe la maîtresse?
Qu’importe le flacon pourvu qu’on ait l’ivresse?

[163] It has been said that in the novels of George Sand when a lady wishes to change her lover God is always there to facilitate the transfer.

[164] “Tous les hommes sont menteurs, inconstants, faux, bavards, hypocrites, orgueilleux ou lâches, méprisables et sensuels; toutes les femmes sont perfides, artificieuses, vaniteuses, curieuses et dépravées; le monde n’est qu’un égout sans fond où les phoques les plus informes rampent et se tordent sur des montagnes de fange; mais il y a au monde une chose sainte et sublime, c’est l’union de deux de ces êtres si imparfaits et si affreux. On est souvent trompé en amour; souvent blessé et souvent malheureux; mais on aime et quand on est sur le bord de sa tombe, on se retourne pour regarder en arrière, et on se dit: J’ai souffert souvent, je me suis trompé quelquefois, mais j’ai aimé. C’est moi qui ai vécu, et non pas un être factice créé par mon orgueil et mon ennui.” (The last sentence is taken from a letter of George Sand to Musset.) _On ne badine pas avec l’Amour_, II, 5.

[165] _Table-Talk. On the Past and Future._

[166] _The Plain Speaker. On Reading Old Books._

[167] _The Round Table. On the Character of Rousseau._

[168] “Aujourd’hui, jour de Pâques fleuries, il y a précisément cinquante ans de ma première connaissance avec Madame de Warens.”

[169] Even on his death-bed the hero of Browning’s _Confessions_ gives himself up to impassionated recollection:

How sad and bad and mad it was--
But then, how it was sweet.

In his _Stances à Madame Lullin_ Voltaire is at least as poetical and nearer to normal experience:

Quel mortel s’est jamais flatté
D’un rendez-vous à l’agonie?

[170] See especially _Lyceum fragment_, no. 108.

[171] A well-known example of the extreme to which the romanticists pushed their Fichtean solipsism is the following from the _William Lovell_ of the youthful Tieck: “Having gladly escaped from anxious fetters, I now advance boldly through life, absolved from those irksome duties which were the inventions of cowardly fools. Virtue is, only because I am; it is but a reflection of my inner self. What care I for forms whose dim lustre I have myself brought forth? Let vice and virtue wed. They are only shadows in the mist,” etc.

[172] _Beyond Good and Evil_, ch. IV.

[173] _On Contemporary Literature_, 206. The whole passage is excellent.

[174] M. Legouis makes a similar remark in the _Cambridge History of English Literature_ XI, 108.

[175] I scarcely need say that Wordsworth is at times genuinely ethical, but he is even more frequently only didactic. The _Excursion_, as M. Legouis says, is a “long sermon against pessimism.”

[176] “Quia fecisti nos ad te et inquietum est cor nostrum, donec requiescat in te.”

[177] _Eth. Nic._, 1177 b.

[178] Cf. the chapter on _William Law and the Mystics_ in _Cambridge History of English Literature_, IX, 341-67; also the bibliography of Boehme, _ibid._, 560-74.

[179] See _Excursion_, I, VV. 943 ff.

[180] In his attitude towards sin Novalis continues Rousseau and anticipates the main positions of the Christian Scientist.

[181]

Prune thou thy words,
The thoughts control
That o’er thee swell and throng.
They will condense within the soul
And change to purpose strong.
But he who lets his feelings run
In soft, luxurious flow,
Shrinks when hard service must be done
And faints at every foe.

[182] Wesley had no liking for Boehme and cut out from Brooke’s book the theosophy that had this origin.

[183] Writing was often associated with magic formulæ. Hence γράμμα also gave Fr. “grimoire.”

[184] _Thus Spake Zarathustra_, LXIX (The Shadow to Zarathustra).

[185] _Katha-Upanishad._ The passage is paraphrased as follows by P. E. More in his _Century of Indian Epigrams_:

Seated within this body’s car
The silent Self is driven afar,
And the five senses at the pole
Like steeds are tugging restive of control.

And if the driver lose his way,
Or the reins sunder, who can say
In what blind paths, what pits of fear
Will plunge the chargers in their mad career?

Drive well, O mind, use all thy art,
Thou charioteer!--O feeling Heart,
Be thou a bridle firm and strong!
For the Lord rideth and the way is long.

[186] See Brandes: _The Romantic School in Germany_, ch. XI.

[187] Alfred de Musset saw his double in the stress of his affair with George Sand (see _Nuit de Décembre_), Jean Valjean (_Les Misérables_) sees his double in the stress of his conversion. Peter Bell also sees his double at the emotional crisis in Wordsworth’s poem of that name.

[188] _Thus Spake Zarathustra_, LXIX.

[189] F. Schlegel: _Lyceumfragment_, no. 42.

[190] E.g., canto III, CVII-CXI.

[191] _Confessions_, Livre XII (1765).

[192] Cf. Th. Gomperz, _Greek Thinkers_, I, 402.

[193] Wordsworth: _Miscellaneous Sonnets_, XII.

[194] In much the same spirit the Japanese hermit, Kamo Chōmei (thirteenth century), expresses the fear that he may forget Buddha because of his fondness for the mountains and the moon.--See article on nature in Japan by M. Revon in _Encyclopedia of Religion and Ethics_.

[195] _Confessions_, Bk. X, ch. IX.

[196] Cf. Cicero: “Urbem, urbem, mi Rufe, cole et in ista luce vive.” (_Ad Fam._, II, 22.)

[197] March 23, 1646.

[198] It was especially easy for the poets to go for their landscapes to the painters because according to the current theory poetry was itself a form of painting (_ut pictura poesis_). Thus Thomson writes in _The Castle of Indolence_:

Sometimes the pencil, in cool airy halls,
Bade the gay bloom of vernal landskips rise,
Or autumn’s varied shades embrown the walls:
Now the black tempest strikes the astonish’d eyes;
Now down the steep the flashing torrent flies;
The trembling sun now plays o’er ocean blue,
And now rude mountains frown amid the skies;
Whate’er _Lorrain_ light touch’d with softening hue,
Or savage _Rosa_ dash’d, or learned _Poussin_ drew.

(C. I, st. 38.)

[199]

Disparaissez, monuments du génie,
Pares, jardins immortels, que Le Nôtre a plantés;
De vos dehors pompeux l’exacte symmétrie,
Etonne vainement mes regards attristés.
J’aime bien mieux ce désordre bizarre,
Et la variété de ces riches tableaux
Que disperse l’Anglais d’une main moins avare.

Bertin, 19e Elégie of _Les Amours_.

[200] Pt. IV, Lettre XI.

[201] _Nouvelle Héloïse_, Pt. IV, Lettre XI.

[202] _Ibid._

[203] _Ibid._, Pt. IV, Lettre XVII.

[204] _Confessions_, Livre V (1732).

[205] See especially _Childe Harold_, canto II, XXV ff.

[206] _Ibid._, canto II, XXXVII.

[207] _Ibid._, canto III, LXXII.

[208] _Ibid._, canto IV, CLXXVII.

[209] See _La Perception du changement_, 30.

[210] ASIA

My soul is an enchanted boat,
Which like a sleeping swan, doth float
Upon the silver waves of thy sweet singing;
And thine doth like an angel sit
Beside a helm conducting it,
Whilst all the winds with melody are ringing.
It seems to float ever, for ever
Upon that many-winding river,
Between mountains, woods, abysses,
A paradise of wildernesses!
…
Meanwhile thy spirit lifts its pinions
In music’s most serene dominions;
Catching the winds that fan that happy heaven.
And we sail on away, afar,
Without a course, without a star,
But by the instinct of sweet music driven;
Till through Elysian garden islets
By thee, most beautiful of pilots,
Where never mortal pinnace glided
The boat of my desire is guided;
Realms where the air we breathe is love--

_Prometheus Unbound_, Act II, Sc. V.

[211] “Si tu souffres plus qu’un autre des choses de la vie, il ne faut pas t’en étonner; une grande âme doit contenir plus de douleurs qu’une petite.”

[212] Cf. Shelley, _Julian and Maddalo_:

I love all waste
And solitary places; where we taste
The pleasure of believing what we see
Is boundless, as we wish our souls to be.

[213] Cf. for example, the passage of Rousseau in the seventh _Promenade_ (“Je sens des extases, des ravissements inexprimables à me fondre pour ainsi dire dans le système des êtres,” etc.) with the revery described by Wordsworth in _The Excursion_, I, 200-218.

[214] O belles, craignez le fond des bois, et leur vaste silence.

[215] _Faust_ (Miss Swanwick’s translation).

[216] _Artist and Public_, 134 ff.

[217]

Make me thy lyre, even as the forest is:
What if my leaves are falling like its own!
The tumult of thy mighty harmonies

Will take from both a deep, autumnal tone,
Sweet though in sadness. Be thou, Spirit fierce,
My spirit! Be thou me, impetuous one!
Drive my dead thoughts over the universe
Like withered leaves, etc.

Cf. Lamartine:

Quand la feuille des bois tombe dans la prairie,
Le vent du soir s’élève et l’arrache aux vallons;
Et moi, je suis semblable à la feuille flétrie;
Emportez-moi comme elle, orageux aquilons.

_L’Isolement._

[218] Cf. Hettner, _Romantische Schule_, 156.

[219] See appendix on Chinese primitivism.

[220] G. Duval has written a _Dictionnaire des métaphores de Victor Hugo_, and G. Lucchetti a work on _Les Images dans les œuvres de Victor Hugo_. So far as the ethical values are concerned, the latter title is alone justified. Hugo is, next to Chateaubriand, the great imagist.

[221] The French like to think of the symbolists as having rendered certain services to their versification. Let us hope that they did, though few things are more perilous than this transfer of the idea of progress to the literary and artistic domain. Decadent Rome, as we learn from the younger Pliny and others, simply swarmed with poets who also no doubt indulged in many strange experiments. All this poetical activity, as we can see only too plainly at this distance, led nowhere.

[222] Grant Allen writes of the laws of nature in _Magdalen Tower_: