A History of English Romanticism in the Eighteenth Century | Page 3

to find poets like Byron and Shelly classified as romanticists, by virtue of their possession of these, or similar, characteristics, although no one could be more remote from medieval habits of thought than the author of "Don Juan" or the author of "The Revolt of Islam."
But the extension of these opposing terms to the work of writers who have so little in common with either the antique or the medieval as Wordsworth, on the one hand, and Byron, on the other, does not stop here. It is one of the embarrassments of the literary historian that nearly every word which he uses has two meanings, a critical and a popular meaning. In common speech, classic has come to signify almost anything that is good. If we look in our dictionaries we find it defined somewhat in this way: "Conforming to the best authority in literature and art; pure; chaste; refined; originally and chiefly used of the best Greek and Roman writers, but also applied to the best modern authors, or their works." "Classic, _n._ A work of acknowledged excellence and authority." In this sense of the word, "Robinson Crusoe" is a classic; the "Pilgrim's Progress" is a classic; every piece of literature which is customarily recommended as a safe pattern for young writers to form their style upon is a classic.[4]
Contrariwise the word romantic, as popularly employed, expresses a shade of disapprobation. The dictionaries make it a synonym for _sentimental, fanciful_, wild, extravagant, chimerical, all evident derivatives from their more critical definition, "pertaining or appropriate to the style of the Christian and popular literature of the Middle Ages, as opposed to the classical antique." The etymology of romance is familiar. The various dialects which sprang from the corruption of the Latin were called by the common name of romans. The name was then applied to any piece of literature composed in this vernacular instead of in the ancient classical Latin. And as the favorite kind of writing in Proven?al, Old French, and Spanish was the tale of chivalrous adventure that was called par excellence, a roman, romans, or_ romance_. The adjective romantic is much later, implying, as it does, a certain degree of critical attention to the species of fiction which it describes in order to a generalizing of its peculiarities. It first came into general use in the latter half of the seventeenth century and the early years of the eighteenth; and naturally, was marked from birth with that shade of disapproval which has been noticed in popular usage.
The feature that struck the critics most in the romances of the Middle Ages, and in that very different variety of romance which was cultivated during the seventeenth century--the prolix, sentimental fictions of La Calpren��de, Scud��ri, Gomberville, and D'Urf��--was the fantastic improbability of their adventures. Hence the common acceptation of the word romantic in such phrases as "a romantic notion," "a romantic elopement," "an act of romantic generosity." The application of the adjective to scenery was somewhat later,[5] and the abstract romanticism was, of course, very much later; as the literary movement, or the revolution in taste, which it entitles, was not enough developed to call for a name until the opening of the nineteenth century. Indeed, it was never so compact, conscious, and definite a movement in England as in Germany and France; and its baptism doubtless came from abroad, from the polemical literature which attended the career of the German _romanticismus _and the French romantisme.
While accepting provisionally Heine's definition, it will be useful to examine some of the wider meanings that have been attached to the words classic and romantic, and some of the analyses that have been attempted of the qualities that make one work of art classical and another romantic. Walter Pater took them to indicate opposite tendencies or elements which are present in varying proportions in all good art. It is the essential function of classical art and literature, he thought, to take care of the qualities of measure, purity, temperance. "What is classical comes to us out of the cool and quiet of other times, as a measure of what a long experience has shown us will, at least, never displease us. And in the classical literature of Greece and Rome, as in the classics of the last century, the essentially classical element is that quality of order in beauty which they possess, indeed, in a pre-eminent degree."[6] "The charm, then, of what is classical in art or literature is that of the well-known tale, to which we can nevertheless listen over and over again, because it is told so well. To the absolute beauty of its form is added the accidental, tranquil charm of familiarity."
On the other hand, he defines the romantic characteristics in art as consisting in "the addition of strangeness to beauty"--a