They make the nights of winter bright and cheerful;
They spread a sense of pleasure through the frame,
And when you see some old and treasured parchments,
All heaven descends to your delighted senses!
FRIEDRICH SCHLEGEL.
His most important work is his “History of Ancient and Modern Literature.” Throughout his exposition he is a propagandist of his special ideas; but the book is of lasting importance as the earliest attempt to present a systematic view of literary development as a whole.—Sime.
Extracts from History of Literature.
Literary Influence of the Bible.—On attentively considering the influence exercised by the Bible over mediæval as well as more modern literature and poetry, and the effects of the Scriptures, viewed as a mere literary composition on language, art, and representation, two important elements engage our observation. The first of these is complete simplicity of expression or the absence of all artifice. Almost exclusively treating of God and the moral nature of man, the language of the Scriptures is throughout living and forcible, devoid of metaphysical subtleties and of those dead ideas and empty abstractions which mark the philosophy of all nations—from the Indians and Greeks down to modern Europeans—whenever they undertake to represent those exalted objects of contemplation, God and man, by the light of unassisted reason.... Corresponding simplicity or absence of affectation also mark the poetical portions of Holy Writ, notwithstanding the copiousness of noble and sublime passages with which they abound.... The second distinctive quality of the Bible, in reference to external form and mode of representation, exerting an immense influence over modern diction and poesy, is the all pervading typical and symbolic element—not only of its poetical but of the didactic and historical books. In the case of the Hebrews this peculiarity may be partially regarded as a national peculiarity, in which the Arabs, their nearest of kin, participated. It is not impossible that the prohibition concerning graven images of the Divinity contributed to cherish this propensity; the imagination restricted on one side sought an outlet in another. The same results flowed from similar causes among the followers of Mahomet. In those portions of Holy Writ in which oriental imagery is less dominant, as for instance in the books of the New Testament, symbolism nevertheless prevails. This spirit has, to a great extent, influenced the intellectual development of all Christian races.
Mediæval Gothic Architecture.—The real mediæval is nowhere so thoroughly expressed as in the memorials of the architectural style erroneously called gothic, the origin of which, as also its progressive features, may, to this day, be said to be lost in obscurity and doubt. The misnomer is now generally admitted, and it is commonly understood that this mediæval style did not originate with the Goths, but sprung up at a later date, and speedily attained its full maturity without exhibiting various gradations of formation. I allude to that style of Christian art which is distinguished by its lofty vaults and arches, its pillars which resemble bundles of reeds, and general profusion of ornament modeled after leaf and flower.... Whoever the originators, it is evident that their intention was not merely to pile up huge stone edifices, but to embody certain ideas. How excellent soever the style of a building may be, if it convey no meaning, express no sentiment, it can not strictly be considered a creation of art; for it must be remembered that this, at once the most ancient and sublime of creative arts, can not directly stimulate the feelings by means of actual appeal or faculty of representation. Hence architecture generally bears a symbolical hidden meaning, whilst the Christian architecture of mediæval Germany does so in an eminent and especial degree. First and foremost there is the expression of devotional thought towering boldly aloft from this lowly earth toward the azure skies and an omnipotent God.... The whole plan is replete with symbols of deep significance, traced and illustrated in a remarkable manner in the records of the period. The altar pointed eastward; the three principal entrances expressed the conflux of worshipers gathered together from all quarters of the globe. The three steeples corresponded to the Christian Trinity. The quire arose like a temple within a temple on an increased scale of elevation. The form of the cross had been of early establishment in the Christian church, not accidentally, as has been conjectured by some, but with a view to completeness, a constituent part of the whole. The rose will be found to constitute the radical element of all decoration in this architectural style; from it the peculiar shape of window, door and steeple is mainly derived in their manifold variety of foliated tracery. The cross and the rose are, then, the chief symbols of this mystic art. On the whole, what is sought to be conveyed is the stupendous idea of eternity, the earnest thought of death, the death of this world, wreathed in the lovely fullness of an endless blooming life in the world that is to come.
