Goethe and the Romantic Movement: Classical or Romantic?

Introduction: Goethe's Literary Identity

According to the traditional German literary assessment, Goethe was more of a classical author than a Romantic one. 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" (p. 71). From this viewpoint, his works are seen as having been influenced by diverse literary movements — namely, Weimar Classicism and Storm and Stress. This is a viewpoint that ought to be questioned, particularly after placing his works and writings within the context of the Romantic Movement. 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.

Goethe's Own View of Classicism and Romanticism

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" (p. 458). This is essentially aesthetic dualism whereby the Romantic and the Classical appear to be distinguished — with the former being representative of immaturity, mysticism, and formlessness, and the latter representing maturity, formality, and order.

As Richards (2002) further points out, the statement, at first glance, 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" (p. 458). This important qualification substantially changes the meaning of Goethe's critique and weakens the case for reading him as simply anti-Romantic.

Goethe's Connections to Romantic Theorists and Writers

With his writings having been variously referred to as classical, Goethe is widely considered one of the most dominant literary figures in German-speaking countries. From a broader perspective, however, he ought to be seen as a representative of the Romantic Movement — particularly from the wider European vantage point. His involvement with Romanticism in literature is apparent from the outset, not least given his personal and intellectual relations with Friedrich von Schlegel and August Wilhelm von Schlegel, both of whom were prominent Romantic theorists.

It is important to note that, regardless of differing viewpoints, Goethe has variously been referred to as a Romantic writer — even though the question of whether or not he fully was one is likely to remain perennial (Hamilton, 2016, p. 313). However, Goethe was not keen on being linked to the German Romanticism literary movement associated with, among others, Heinrich von Kleist and Ludwig Tieck. In essence, he may have been ideologically distant from this younger generation of writers, which could explain why he was more intellectually aligned with the ideas of philosopher Schelling. To the younger generation of writers, nonetheless, Goethe was a role model. Although his earlier works had nurtured many, the coming of age of many German Romantic writers coincided with a period when Goethe no longer possessed the same enthusiasm he had in his youth. As Boyle points out, Goethe was more inclined towards court culture by the 1980s (Richards, 2002).

Conclusion: Goethe as a Romantic Movement Figure

In the final analysis, we ought to see Goethe as one of European and German Romanticism's most progressive figures, and not merely a proponent of classicism. As far as the history of Romanticism is concerned, Goethe's prominence cannot be overstated. As Hamilton (2016) further points out, some of his early works inspired Novalis and Friedrich Schlegel, and many others who came to be seen as "real" Romantics. The evidence drawn from his literary output, his intellectual relationships, and his thematic preoccupations collectively supports the argument that Goethe's place within the Romantic tradition deserves far greater recognition than the classical label alone affords.

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.