Main Currents in Nineteenth Century Literature - 2. The Romantic School in Germany. Georg Brandes

tale by Andersen, or a vaudeville by Hostrup, will almost invariably be distinguished by such distinctly poetical qualities as fancy, feeling, whimsicality, gaiety, youthful freshness and aplomb, but the philosophy is too often as primitive as a child's. Heiberg is almost the only writer in whose works there is any sign of a philosophy based upon science, and acquiring ever more profundity from the experiences of life. Of real development there are often only faint traces. The youthful works of such authors as Oehlenschläger, Winther, and Andersen are as perfect as those of their maturity. Sometimes, as in the case of Oehlenschläger, advancing years produce in the talent a suspicion of corpulence, of unctuousness. Sometimes, as in the case of Paludan-Müller, the ideal grows more and more attenuated. When a change does take place, it rarely signifies that the author has gradually evolved for himself a new philosophy of life; no—after treading the narrow path of poetry for a time, he strikes into one of the two great highroads, either the road of middle-class respectability or the road of orthodox piety. The dressing-gown or the cassock—one or other of these garments almost inevitably supersedes the Spanish cloak of poetic youth.

      It may, then, generally speaking, be asserted that, in those cases where it is possible to compare the German Romanticists with the Danish, the former have the more original philosophy of life, and are greater as personalities, whatever they may be as poets.

      Let us look at the subject from a third point of view. To the Danish authors, as a body, may be attributed the merit of avoiding the fantastic, tasteless extravagances of which the Germans are frequently guilty. The Danes stop in time; they avoid paradox or do not carry it to its logical conclusion; they have the steadiness due to naturally well-balanced minds and naturally phlegmatic dispositions; they are hardly ever indecent, audacious, blasphemous, revolutionary, wildly fantastic, utterly sentimental, utterly unreal, or utterly sensual; they seldom run amuck, they never tilt at the clouds, and they never fall into a well. This is what makes them so popular with their own countrymen. Unerring taste and elegance, such as distinguish Heiberg's poetry and Gade's music, vigorous, healthy originality, such as characterises Oehlenschläger's and Hartmann's best works, will always be prized by Danes as the expression of noble and self-controlled art. What a contrast is presented by the overstrained, extravagant personalities peopling the Romantic hospital of Germany! A phthisical Moravian Brother with the consumptive's sensuality and the consumptive's mystic yearnings—Novalis. A satirical hypochondriac, subject to hallucinations and with morbid leanings to Catholicism—Tieck. A genius, impotent to produce, but with the propensity of genius to revolt and the imperative craving of impotence to subject itself to outward authority—Friedrich Schlegel. A dissipated fantast with the half-insane imagination of the drunkard—Hoffmann. A foolish mystic like Werner, and a genius like the suicide Kleist. Think of Hoffmann, and his pupil, Hans Andersen, and observe how sane, but also how sober and subdued, Andersen appears compared with his first master.

      It is, then, certain that there is more of the quality of harmony among the Danes. And it is easy to understand that those who regard harmony, even when meagre, as the highest quality of art, will inevitably rank the Danish literature of the first decades of this century above the German. It has, however, to a great extent attained to this harmony by means of caution, by lack of artistic courage. The Danish poets never fell, because they never mounted to a height from which there was any danger of falling. They left it to others to ascend Mont Blanc. They escaped breaking their necks, but they never gathered the Alpine flowers which only bloom on the giddy heights or on the brink of precipices. The quality in literature which, it seems to me, we Danes have never sufficiently prized, is boldness, that quality in the author which incites him, regardless of consequences, to give expression to his artistic ideal. The daring development of what is typical in his literary tendency, often constitutes the beauty of his work; or, to put it more plainly, when a literary tendency like Romanticism develops in the direction of pure fancy, that author seems to me the most interesting, who rises to the most daring heights of fantastic extravagance—as, for instance, Hoffmann. The more madly fantastic he is, the finer he is, just as the poplar is finer the taller it is, and the beech finer the more stately and wide-spreading it is. The fineness lies in the daring and vigour with which that which is typical is expressed. He who discovers a new country may, in the course of his explorations, be stranded on a reef. It is an easy matter to avoid the reef and leave the country undiscovered. The Danish Romanticists are never insane like Hoffmann, but neither are they ever dæmonic like him. They lose in thrilling, overpowering life and energy what they gain in lucidity and readableness. They appeal to a greater number and a more varied class of readers, but they do not enthral them. The more vigorous originality alarms the many, but fascinates the few. In Danish Romanticism there is none of Friedrich Schlegel's audacious immorality, but neither is there anything like that spirit of opposition which in him amounts to genius; his ardour melts, and his daring moulds into new and strange shapes, much that we accept as unalterable. Nor do the Danes become Catholic mystics. Protestant orthodoxy in its most petrified form flourishes with us: so do supernaturalism and pietism; and in Grundtvigianism we slide down the inclined plane which leads to Catholicism; but in this matter, as in every other, we never take the final step; we shrink back from the last consequences. The result is that the Danish reaction is far more insidious and covert than the German. Veiling itself as vice does, it clings to the altars of the Church, which have always been a sanctuary for criminals of every species. It is never possible to lay hold of it, to convince it then and there that its principles logically lead to intolerance, inquisition, and despotism. Kierkegaard, for example, is in religion orthodox, in politics a believer in absolutism, towards the close of his career a fanatic. Yet—and this is a genuinely Romantic trait—he all his life long avoids drawing any practical conclusions from his doctrines; one only catches an occasional glimpse of such a feeling as admiration for the Inquisition, or hatred of natural science.

      Let us take, by way of contrast, another supporter of orthodoxy and absolutism, Joseph de Maistre, as high-minded and sincere a believer as Kierkegaard, and equally philanthropic. De Maistre pursues all his theories to their clear conclusions, shirking nothing which must be regarded as a direct consequence of his beliefs. Like Kierkegaard, he is a man of brilliant parts and solid culture, but whereas Kierkegaard, when it comes to practical applications, is as afraid of "public scandal" as any old maid, De Maistre boldly accepts all necessary consequences. The famous passage in praise of the executioner in the sixth conversation of the Soirées de Saint-Petersbourg, leaves nothing to be desired in the matter of plain speaking. The executioner is a "sublime being," "the corner-stone of society;" along with him "all social order disappears." According to De Maistre's theory, two powers are required to quell the rebellious spirits—the spirit of unbelief and the spirit of disobedience—let loose by the French Revolution, and these two are the Pope and the executioner. The Pope and the executioner are the two main props of society; the one crushes the revolutionary thought with his bull, the other cuts off the revolutionary head with his axe. It is a pleasure to read such argument. Here we have vigour and determination, effectual expression of a clear thought, energetic and undisguised reaction. And De Maistre is the same in everything. He is not, like Danish reactionaries who call themselves Liberals, reactionary in social matters and religion, and liberal or half-liberal in politics. He loathes political liberty; he jeers (in his letters) at the emancipation of women; in a special essay he deliberately and warmly defends the Spanish Inquisition; and in all trueheartedness and manly seriousness he desires the reinstitution of the auto-da-fé, and is not ashamed to say it, seeing that he thinks it. Look well at such a man as this—gifted and eminent, great as a statesman, great as an author, who sacrifices his whole fortune sooner than make the least concession to the Revolution, which he abhors, or to Napoleon, whom he detests; who frankly adores the executioner as the indispensable upholder of order; who gives the gallows the most important place in his statute-book, and counsels the Church to have recourse to the axe and the faggot—there is a figure worthy of note; a proud, bold countenance, which expresses an unmistakable mental bent, and which one does not forget. This is a type one takes pleasure in, as the naturalist takes pleasure in a fine specimen of a species of which he has hitherto only met with imperfect and unsatisfactory examples. Looking at the matter from a practical point of view, it may be considered fortunate that such personalities are not to be found in Danish literature, but their absence gives a less plastic character to its history.

      It is all very well to say that we Danes only assimilated the