Goethe and Romanticism

Goethe and Romanticism
Goethe, as per the traditional German assessment, was more of a classical author, than a Romantic author. In the words of Smith (2009), “to students of German literature, it is so obvious that Goethe was un-romantic and anti-Romantic that they seldom bother to say so” (71). As per this viewpoint, his works are seen as having been influenced by diverse literary movements, i.e. Weimar Classicism and Storm and Stress. This is a viewpoint that ought to be questioned – particularly after placing his works and writings in the Romantic Movement context. This discussion argues that undeniable parallels exist between the Romanticism credo and Goethe’s works and ideology. In so doing, references will be made to Goethe’s best known works which include, but are not limited to, The Sorrows of Young Werther.
Admittedly, the debate pitting classicism against Romanticism in Goethe’s works may have been inspired (at least partly) by Goethe himself. According to Richards (2002), Goethe once made a statement to the effect that: “the classical I call healthy and the Romantic sick… Most of the new poetry is not Romantic because it is new, but because it is weak, sickly, and ill, and the old is not classical because it is old, but because it is strong, fresh, cheerful, and healthy” (458). This is essentially aesthetic dualism whereby the Romantic and Classical appear to be distinguished – with the former being representative of maturity, formality, as well as order; and the latter appearing to represent that which is immature, mystical, as well as formless. As Richards (2002) further points out, the statement, at first instance, appears to be overly critical of Romanticism. However, in the author’s own words, at the time “Goethe was reacting to Romantic literature in France after the turn of the century, not to the literature of the early Romantic movement in Germany” (458).
With his writings having been variously referred to as classical, Goethe is widely considered as one of the most dominant literary figures in German-speaking countries. From a broader perspective, he ought to be seen as the Romantic Movement representative – particularly from the broader European perspective. His involvement with Romanticism in literature is apparent from the onset. This is more so the case given his relations with Friedrich von Schlegel and August Wilhelm von Schlegel who were both Romantic theorists.
It is important to note that regardless of differing viewpoints, Goethe has variously been referred to as a Romantic writer. This is despite the fact that the question of whether or not he was a Romantic writer is likely to remain perennial (Hamilton, 2016, p. 313). However, it should also be noted that Goethe was not keen on being linked to the German Romanticism literary movement that was associated with, amongst others, Heinrich von Kleist and Ludwig Tieck. In essence, it may be that he was ideologically distant from this younger generation of writers – which could explain the fact that he was more intellectually aligned to the ideas and musings of the likes of philosopher Schelling. To the younger generation of writers, however, Goethe was a role model. Although his past works had nurtured many, the coming of age of may German Romantic writers was at a time when Goethe no longer possessed the same enthusiasm he had in his youth. As a matter of fact, Goethe, as Boyle points out, was more inclined towards the court culture by the 1980s (Richards, 2002).
According to Hamilton (2016), the Sturm and Drang period was of significant influence to Goethe – particularly in reference to his poems and plays. The inclination during the said period was on drama and comedy. Towards this end, Goethe’s writings have applied key emotions as well as moments that were of relevance during his time. A good example of this would be the play, The Sorrows of Young Werther. It is important to note that this is a piece that underlines Goethe’s literal inclination. It also happens to be one of the best known plays of his. In basic terms, the play concerns itself with the love-struck Werther and the letters he pens to Wilhelm – an acquaintance of his. Werther is deeply in love with an already engaged lady who goes by the name Charlotte. However, the said engagement does not dim Werther’s resolve to be romantically engaged or involved with Charlotte. The situation brings immense suffering to Werther who finally ends his life with a bullet. The subject of his affection does not show up at his funeral.
Goethe happens to have been especially skillful in his utilization of nature as a reflection of the various emotions as well as moods of characters. This is apparent in Die Leiden des Jungen Werthers. In this case, nature has been used as an item to reflect the emotions and mood of Werther (Hamilton, 2016). Goethe’s employment of aspects of nature to further his creative agenda is not by accidence. As Richards (2002) points out, like Friedrich von Hardenberg, Goethe has a scientific background.
In the final analysis, we ought to see Goethe as one of the European’s as well as German’s Romantic Movement most progressive figures, and not merely a classicism proponent. As far as the history of Romanticism is concerned, Goethe’s prominence cannot be overstated. As a matter of fact, some of his early works, as Hamilton (2016) further points out, inspired Novalis and Friedrich Schlegel, and may others that came to be seen as ‘real’ Romantics.
References
Hamilton, P. (Ed.). (2016). The Oxford Handbook of European Romanticism. New York, NY: Oxford University Press.
Richards, R.J. (2002). The Romantic Conception of Life: Science and Philosophy in the Age of Goethe. Chicago: University of Chicago Press.
Smith, N.H. (2009). The Anti?romanticism of Goethe. Renaissance and Modern Studies, 2(1), 69-73.