A History of English Romanticism in the Eighteenth Century | Page 4

definition which recalls Bacon's saying, "There is no excellent beauty that hath not some strangeness in the proportion." "The desire of beauty," continues Pater, "being a fixed element in every artistic organization, it is the addition of curiosity to this desire of beauty that constitutes the romantic temper." This critic, then, would not confine the terms classic and classicism to the literature of Greece and Rome and to modern works conceived in the same spirit, although he acknowledges that there are certain ages of the world in which the classical tradition predominates, _i.e._, in which the respect for authority, the love of order and decorum, the disposition to follow rules and models, the acceptance of academic and conventional standards overbalance the desire for strangeness and novelty. Such epochs are, _e.g._, the Augustan age of Rome, the _Si��cle de Louis XIV_, in France, the times of Pope and Johnson in England--indeed, the whole of the eighteenth century in all parts of Europe.
Neither would he limit the word romantic to work conceived in the spirit of the Middle Ages. "The essential elements," he says, "of the romantic spirit are curiosity and the love of beauty; and it is as the accidental effect of these qualities only, that it seeks the Middle Ages; because in the overcharged atmosphere of the Middle Age there are unworked sources of romantic effect, of a strange beauty to be won by strong imagination out of things unlikely or remote." "The sense in which Scott is to be called a romantic writer is chiefly that, in opposition to the literary tradition of the last century, he loved strange adventure and sought it in the Middle Age."
Here again the essayist is careful to explain that there are certain epochs which are predominately romantic. "Outbreaks of this spirit come naturally with particular periods: times when . . . men come to art and poetry with a deep thirst for intellectual excitement, after a long ennui." He instances, as periods naturally romantic, the time of the early Proven?al troubadour poetry: the years following the Bourbon Restoration in France (say, 1815-30); and "the later Middle Age; so that the medieval poetry, centering in Dante, is often opposed to Greek or Roman poetry, as romantic to classical poetry."
In Pater's use of the terms, then, classic and romantic do not describe particular literature, or particular periods in literary history, so much as certain counterbalancing qualities and tendencies which run through the literatures of all times and countries. There were romantic writings among the Greeks and Romans; there were classical writings in the Middle Ages; nay, there are classical and romantic traits in the same author. If there is any poet who may safely be described as a classic, it is Sophocles; and yet Pater declares that the "Philoctetes" of Sophocles, if issued to-day, would be called romantic. And he points out--what indeed has been often pointed out--that the "Odyssey"[7] is more romantic than the "Iliad:" is, in fact, rather a romance than a hero-epic. The adventures of the wandering Ulysses, the visit to the land of the lotus-eaters, the encounter with the Laestrygonians, the experiences in the cave of Polyphemus, if allowance be made for the difference in sentiments and manners, remind the reader constantly of the medieval _romans d'aventure_. Pater quotes De Stendhal's saying that all good art was romantic in its day. "Romanticism," says De Stendhal, "is the art of presenting to the nations the literary works which, in the actual state of their habits and beliefs, are capable of giving them the greatest possible pleasure: classicism, on the contrary, presents them with what gave the greatest possible pleasure to their great grand-fathers"--a definition which is epigrammatic, if not convincing.[8] De Stendhal (Henri Beyle) was a pioneer and a special pleader in the cause of French romanticism, and, in his use of the terms, romanticism stands for progress, liberty, originality, and the spirit of the future; classicism, for conservatism, authority, imitation, the spirit of the past. According to him, every good piece of romantic art is a classic in the making. Decried by the classicists of to-day, for its failure to observe traditions, it will be used by the classicists of the future as a pattern to which new artists must conform.
It may be worth while to round out the conception of the term by considering a few other definitions of romantic which have been proposed. Dr. F. H. Hedge, in an article in the _Atlantic Monthly_[9] for March, 1886, inquired, "What do we mean by romantic?" Goethe, he says, characterized the difference between classic and romantic "as equivalent to [that between] healthy and morbid. Schiller proposed 'na?ve and sentimental.'[10] The greater part [of the German critics] regarded it as identical with the difference between ancient and modern, which was partly true,