Halleck's New English Literature

by Reuben Post Halleck

About the same time, Whitefield was preaching to the miners near Bristol. As he eloquently told them the story of salvation he brought tears to the eyes of these rude men and made many resolve to lead better lives.

This religious awakening may have been accompanied with too much appeal to the feelings and unhealthy emotional excitement; but some vigorous movement was absolutely necessary to quicken the spiritual life of a decadent age.

The American Revolution.—The second forty years of the eighteenth century witnessed another movement of great importance to the world,—the revolt of the American colonies (1775). When George III. (1760-1820) came to the throne, he determined to be the real ruler of his kingdom,—to combine in himself the offices of king, prime minister, and cabinet. He undertook to coerce public opinion at home and abroad. He repeatedly offended the American colonies by attempts to tax them and to regulate their trade. They rebelled in 1775 and signed their Declaration of Independence in 1776. Under the leadership of George Washington, and with the help of France, they achieved their independence. The battle of Yorktown (1781), won by Washington and the French navy, was the last important battle of the American Revolution. In spite of her great loss, England still retained Canada and her West India possessions and remained the first colonial power.

CHANGE IN LITERARY STANDARDS: ROMANTICISM

What is Romanticism?—In order to comprehend the dominating spirit of the next age, it is important to understand the meaning of the romantic movement. Between 1740 and 1780 certain romantic influences were at work in opposition to the teaching of the great classical writer, Dr. Samuel Johnson, who was almost the literary dictator of the age.

The best short definition of romanticism is that of Victor Hugo, who calls it "liberalism in literature." This has the merit of covering all kinds of romantic movements. "Liberalism" here means toleration of departures from fixed standards, such as the classical couplet and didactic and satiric subjects. Romanticism is characterized by less regard for form than for matter, by a return to nature, and by encouragement of deep emotion. Romanticism says: "Be liberal enough not to sneer at authors when they discard narrow rules. Welcome a change and see if variety and feeling will not add more interest to literature."

In this period and the far more glorious one that followed, romanticism made its influence felt for the better in four different ways. An understanding of each of these will make us more intelligent critics.

In the first place, the romantic spirit is opposed to the prosaic. The romantic yearns for the light that never was on sea or land and longs to attain the unfulfilled ambitions of the soul, even when these in full measure are not possible. Sometimes these ambitions are so unrelated to the possible that the romantic has in certain usage become synonymous with the impractical or the absurd; but this is not its meaning in literature. The romantic may not always be "of imagination all compact," but it has a tendency in that direction. To the romanticists a reality of the imagination is as satisfying as a reality of the prosaic reason; hence, unlike the classicists, the romanticists can enjoy The Tempest and A Midsummer Night's Dream. The imagination is the only power that can grasp the unseen. Any movements that stimulate imaginative activity must give the individual more points of contact with the part of the world that does not obtrude itself on the physical senses, and especially with many facts of existence that cold intellectual activity can never comprehend. Hence, romanticism leads to greater breadth of view.

In the second place, the romantic is the opposite of the hackneyed. Hence, too much repetition may take away a necessary quality from what was once considered romantic. The epithets "ivory" and "raven," when applied to "brow" and to "tresses," respectively, were at first romantic; but much repetition has deprived them of this quality. If an age is to be considered romantic, it must look at things from a point of view somewhat different from that of the age immediately preceding. This change may be either in the character of the thought or in the manner of its presentation, or in both. An example of the formal element of change which appeared, consists in the substitution of blank verse and the Spenserian stanza for the classical couplets of the French school. In the next age, we shall find that the subject matter is no longer chiefly of the satiric or the didactic type.

In the third place, the highest type of romanticism encourages each author to express himself in an individual way, to color the world according to his own moods. This individual element often appears in the ideals that we fashion and in our characteristic conceptions of the spiritual significance of the world and its deepest realities. Two writers of this period by investing nature with a spirit of melancholy illustrate one of the many ways in which romantic thought seeks individuality of expression.