Wilhelm Meister is a work of extraordinary variety, ranging from the commonplace realism of the troupe of strolling players to the poetic romanticism of Mignon and the harper; its flashes of intuitive criticism and its weighty apothegms add to its value as a Bildungsroman in the best sense of that word.
The work was characteristic of his self-centred isolation: ultra-romantic at a time when Romanticism was already an outworn fashion, remote alike from the spirit of the age and from that of Goethe.
The historical bent thus given to the drama was continued by the versatile Mendes Leal, by Gomes da Amorim and by Pinheiro Chagas, who all however succumbed more or less to the atmosphere and machinery of ultra-Romanticism, while the plays of Antonio Ennes deal with questions of the day in a spirit of combative liberalism.
Munich is still the leading school of painting in Germany, but the romanticism of the earlier masters has been abandoned for drawing and colouring of a realistic character.
He devoted himself to the study of philosophy, hoping to regenerate the Italian people by withdrawing them from romanticism and rhetoric, and turning their attention to the positive sciences.
Though not a great poem, it is full of beautiful passages, many of which point to the riddle of life as yet unsolved, a conviction which grew ever more and more upon the poet, as the ebulliency of romanticism gave way to the calm of classic feeling.
Any type of highly wrought feeling may make a man religious, whether it be theistic or pantheistic; indeed, as a child of Romanticism, Schleiermacher puts a peculiarly high estimate upon the pantheistic type.
I admire Victor Hugo – I appreciate his genius, his brilliancy, his romanticism; though he is not one of my literary passions.
The murder of Kotzebue by Karl Sand, however, shocked him out of his extreme revolutionary views, and from this time he tended, under the influence of the writings of Hamann and Herder, more and more in the direction of conservatism and romanticism, until at last he ended, in a mood almost of pessimism, by attaching himself to the extreme right wing of the forces of reaction.
Lamartine has been extolled as a pattern of combined passion and restraint, as a model of nobility of sentiment, and as a harmonizer of pure French classicism in taste and expression with much, if not all, the better part of Romanticism itself.
In the third period, that of modern romanticism, we get true nationalism, but it is too often the literature of exile and despair.
A further development of romanticism was the so-called Ukraine school of poets, such as Malczewski, Goszczynski, and Zaleski.
In his poetry we seem to trace the steps between romanticism and the modern realistic school, such as we see in the Russian poet Nekrasov.
But the essential narrowness and timidity of his general outlook prevented him from detecting and estimating latent forces, either in politics or in matters strictly intellectual and moral; and this lack of understanding and sympathy accounts for his distrust and dislike of the passion and fancy of Shelley and Keats, and for his praise of the half-hearted and elegant romanticism of Rogers and Campbell.
The scene was laid in Bulgaria, the piece being a satire on romanticism, a destructive criticism on military "glory."
Though it is a biographical tradition that he lacked wit, Moliere and Don Quixote seem to have been his favourites; and though the utilitarian wholly crowds romanticism out of his writings, he had enough of that quality in youth to prepare to learn Gaelic in order to translate Ossian, and sent to Macpherson for the originals !
Romanticism, that reaction in which Sir Walter Scott, the Schlegels and Victor Hugo so largely figured, was as far from understanding what it admired as classicism had been from what it hated.
The last-named Persian poet was apparently one of the earliest eulogists of the Seljul~s, and it was under this Turkish dynasty Bncomiasts that lyrical romanticism rose to the highest pitch.
He was at that time profoundly affected by German Romanticism, as represented by his friend Friedrich Schlegel.
Traces of foreign influence are observable in El Moro Exposito (1833), a narrative poem dedicated to John Hookham Frere; these are still more marked in Don Alvaro o La Fuerza del sino (first played on the 22nd of March 1835), a drama of historical importance inasmuch as it established the new French romanticism in Spain.
Catholic romanticism had withered Alienation away in France, as it had in Germany.
Nikolai Frederik Severin Grundtvig (q.v.; 1783-1872), like Ohlenschldger, learned the principles of the German romanticism from the lips of Steffens.
The eminent critic, Dr Georg Brandes, had long foreseen the decline of pure romanticism, and had advocated a more objective and more exact treatment of literary phenomena.
Other writers whose names connect the age of romanticism with a later period were Meyer Aron Goldschmidt (1819-1887), author of novels and tales; Herman Frederik Ewald (1821-1908), who wrote a long series of historical novels; Jens Christian Hostrup (1818-1892), a writer of exquisite comedies; and the miscellaneous writer Erik Biigh (1822-1899).