Romanticism in the Arts
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Romanticism dominated the arts in Europe from the late eighteenth century through the first decade of the twentieth century. The Romantic cult of sensibility prevailed throughout the continent but its influence and effects varied from one art to the next and from nation to nation. German Romanticism may have been the most unified movement in that, while it had many variant strains, it was provided with an intellectual base in philosophy and criticism that, in turn, promoted intensive cross-fertilization among the arts--especially between literature and music. The connections between these two arts were unusually close in nineteenth-century Germany. The early Romantic writers, many of whom were musicians, inspired composers with thematic material, provided poems that were adapted in songs, offered examples of adventurous approaches to structure, and, above all, revered music as the highest form of human expression. Although the connections between Romantic writers and composers are well known, researchers have only begun the investigation of the complex subject of how literature and ideas influenced music. The word Romantic derives from Romance, the French vernacular that produced the various poems and stories whose type became known as the Roman in German and the romaunt in English. The characteristic emphasis on adventure and imagination in such works led to the adjective "Romantic," meaning "adventurous both in subject matter and in the invention and manner of descr
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derived from the general shift in attitudes toward art. But how the specific relationship between Romantic thought and musical Romanticism generated change is a more difficult question. On the one hand, there is the "popularized aesthetics of the nineteenth century" in which, in regard to music, the principle tenet was that "music is a language of sensibility." This idea was popularized by novelists, poets, and theoreticians of Romanticism such as Ludwig Tieck, August Wilhelm Schlegel, Wilhelm Heinrich Wackenroder, and Jean Paul (Richter). It became, despite its vagueness, a guiding inspiration for musicians and poets alike. The aesthetics of Romanticism became, as Dahlhaus says, "entangled in the strange paradox that the substance of poetic writing is felt to be 'musical' and, conversely, the essence of music 'poetic.'" On the other hand, therefore, it became necessary to ask whether this paradox was mere obfuscation or whether there was, indeed, some way in which, despite the essential difference between the two arts, they can be compared and one can be shown to have had a direct, substantive influence on the other. Recently scholars have begun to elucidate the means by which literary approaches to genre and form were a
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Approximate Word count = 3433
Approximate Pages = 14 (250 words per page)
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