Culture: Romanticism and Realism
Romanticism
At the end
of the eighteenth century, a new movement called romanticism emerged as a reaction against the Enlightenment. During
that period, art and literature followed classicism. The ideals of classicism
were reason, balance, and restraint in all things. Romantics went to the other
extreme. They wanted the arts to express the feeling, emotion, and imagination
of the individual artist or writer.
Many
romantic writers in England lived during the early Industrial Revolution, and
they often expressed a horror of the conditions they saw. In his novel The Old Curiosity Shop, Charles Dickens
wrote about the English mill town of Birmingham. An element of romanticism
pervaded his description:
“A
long suburb of red brick houses—some with patches of garden ground, where coal
dust and factory smoke darkened the shrinking leaves, and coarse rank flowers;
and where the struggling vegetation sickened and sank under the hot breath of
kiln and furnace…--a long, flat straggling suburb passed, they came by slow
degrees upon a cheerless region, where not a blade of grass was seen to grow,
where not a bud put forth its promise in the spring; where nothing green could
live but on the surface of the stagnant pools, which here and there lay idly
sweltering by the black roadside.”
To the romantics, the inner feelings of each person were
unique, even mysterious. Romantic novelists tended to create characters who
were misunderstood or rejected by the society around them. Isolated, their
individual feelings and ideas were their only barometer for right and wrong.
They did not bow to middle-class conventions. They wore their hair long and
grew beards. A woman might dress in a man’s pants and frock coat to show she
was a poet.
Romantics
loved to think about past ages, especially medieval times. They felt it had a
mystery and interest in the soul that their own industrial age did not.
Romantic architects revived medieval styles and designed castles, cathedrals,
railway stations, and city halls in a style called neo-Gothic. The Houses of
Parliament in London reflect this style.
Romantic
literature was also inspired by the Middle Ages. Sir Walter Scott’s Ivanhoe, for example, a best-seller in
the early 1800s, told of clashes between knights in medieval England. By
focusing on their nations’ past, many romantic writers were also reflecting the
nationalism that was so strong in the nineteenth century.
The exotic
and unfamiliar also attracted many romantics. This attraction gave rise to
Gothic literature. Chilling examples are Mary Shelley’s Frankenstein and Edgar Allan Poe’s short stories of horror. Some
romantics even sought the unusual in their own lives by exploring their dreams
and nightmares and seeking altered states of consciousness.
The
romantics viewed poetry as the direct expression of the soul. Romantic poetry
gave expression to one of the most important characteristics of the
movement—its love of nature. Romantics believed that nature served as a mirror
into which humans could look to learn about themselves.
This
feeling is especially evident in the poetry of William Wordsworth, the foremost
English romantic poet of nature. His experience of nature was almost mystical:
“One impulse from a vernal wood
May teach you more of man,
Of more evil and of good,
Than all the sages can.”
The worship of nature also caused Wordsworth
and other romantic poets to be critical of eighteenth century science, which
they believed had reduced nature to a cold object of study. To Wordsworth, the
scientists’ dry, mathematical approach left no room for the imagination or for
the human soul.
The human
soul was a source of expression for William Blake, a poet and artist connected
with romanticism, though he combined imagination with reality in a way other
romantics did not. In two of his collections of lyric poems and their
accompanying designs, Songs of Innocence and
Songs of Experience, Blake uses a
child’s point of view to capture basic human emotions. He also used that point
of view to write, “The Chimney Sweeper,” “London,” and “The Tyger.” In these
poems, he criticized the church and the state because he felt these institutions
did not bring out the best in people.
Like Blake,
many romantics were convinced that industrialization would cause people to
become alienated from their inner selves and from the natural world. This idea
shows up in Mary Shelley’s novel Frankenstein:
When science dares to try and conquer nature, a monster is created.
Like the
literary arts, the visual arts were deeply affected by romanticism. Romantic
artists shared at least two features. First, to them, all art was a reflection
of the artist’s inner feelings. A painting should mirror the artist’s vision of
the world and be the instrument of the artist’s own imagination. Second,
romantic artists abandoned classical reason for warmth and emotion.
Eugene
Delacroix was one of the most famous romantic painters from France. His
paintings showed two chief characteristics: a fascination with the exotic and a
passion for color. His works reflect his belief that “a painting should be a
feast to the eye.”
In music,
too, romantic trends dominated the first half of the nineteenth century. One of
the most famous composers of this era was Ludwig van Beethoven. Some have
called him a bridge between classical and romantic music. Others argue that he
was such a rare genius, he cannot be easily classified. His early work fell
within the classical framework. In his Third Symphony, first performed in 1805,
however, the romantic elements were in place: powerful melodies and dramatic
intensity.
In one way,
Beethoven was definitely a romantic. He thought of himself as an artist, not a
craftsman. He had an intense and difficult personality, but was committed to
writing music that reflected his deepest feelings: “I must write, for what
weighs on my heart, I must express.”
New Age of Science
The
Scientific Revolution had created a modern, rational approach to the study of
the natural world. For a long time, only the educated elite understood its
importance. By the 1830s, however, new discoveries in science had led to many
practical benefits that affected all Europeans. In 1796, for example, the
English doctor Edward Jenner had discovered a vaccine for smallpox, a
widespread disease that killed mostly infants and young children.
In biology,
the Frenchman Louis Pasteur proposed the germ theory of disease, which was
crucial to the development of modern scientific medical practices. In
chemistry, the Russian Dmitry Mendeleyev in the 1860s classified all the
material elements then known on the basis of their atomic weights. In Great
Britain, Michael Faraday put together a primitive generator that laid the
foundation for the use of electric current.
Dramatic
material benefits such as these led Europeans to have a growing faith in
science. This faith, in turn, undermined the religious faith of many people. It
is no accident that the nineteenth century was an age of increasing
secularization, indifference to or rejection of religion in the affairs of the
world. For many people, truth was now to be found in science and in the
material existence of human beings.
More than
anyone else, it was probably Charles Darwin who created the concept of humans
as beings who were part of the natural world. In 1859, Darwin published On the Origin of Species by Means of Natural
Selection. His basic theory was that each species, or kind, of plant or animal
had evolved over millions of years from earlier, simpler forms of life. Darwin
called this principle organic evolution.
How did
this natural process work? According to Darwin, in every species, “many more
individuals of each species are born than can possibly survive.” This results
in a “struggle for existence.” Darwin believed that some organisms are better
able to adapt to changes in the environment than others.
Those that
are able to survive (“survival of the fittest”) reproduce and thrive, while the
unfit do not. Darwin called this process natural selection. Survivors pass on
the variations that allowed them to survive until a new, separate species
emerges. In The Descent of Man,
published in 1871, Darwin argued that human beings had animal origins and were
not an exception to the rule governing other species.
Darwin’s
ideas raised a storm of controversy. Some people objected that his theory made
human beings ordinary products of nature, not unique creations of God. Other
people were bothered because they felt he was saying that life was a mere
struggle for survival. “Is there a place in the Darwinian world for moral
values?” they asked. Some believers felt Darwin had not granted God a role in
creation. Gradually, however, many scientists and other intellectuals came to
accept Darwinism.
Realism
The belief that the world should be viewed realistically was
closely related to the scientific outlook. In politics, Bismarck had practiced
the “politics of reality.” In the literary and visual arts, realism became a movement as well.
The
literary realists of the mid-nineteenth century rejected romanticism. They
wanted to write about ordinary characters from actual life rather than romantic
heroes in exotic settings. They also tried to avoid emotional language by using
precise description. They preferred novels to poems.
Many
literary realists combined their interest in everyday life with an examination
of social issues. These artists expressed their social views through their
characters. Although this type of realistic writing occurred worldwide, the
French led the way.
The realist
novel was perfected by the French author Gustave Flaubert, who was a leading
novelist of the 1850s and 1860s. His work Madame
Bovary presents a critical description of small-town life in France.
In Great
Britain, Charles Dickens became a huge success with novels that showed the
realities of life for the poor in the early Industrial Age. Novels like Oliver Twist and David Copperfield created a vivid picture of the brutal life of
London’s poor, as well as of their humor and humanity. In fact, his characters
were so sympathetic that they helped inspire social reform.
In art,
too, realism became dominant after 1850. Realist artists sought to show the
everyday life of ordinary people and the world of nature with photographic
realism. The French became leaders in realist painting, just as they had become
the leaders in realist writing.
Gustave
Courbet was the most famous painter of the realist school. He loved to portray
scenes from everyday life. His subjects were factory workers, peasants, and the
wives of saloon keepers. “I have never seen either angels or goddesses, so I am
not interested in painting them,” Courbet once commented.
One of
Courbet’s famous works, “The Stonebreakers,
shows two roadworkers engaged in the deadening work of breaking stones to build
a road. There were those who objected to Courbet’s “cult of ugliness” and who
found such scenes of human misery scandalous. To Courbet, however, no subject
was too ordinary, too harsh, or too ugly.
World History
Glencoe