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By Marshall Brown

This newest quantity within the celebrated Cambridge heritage of Literary feedback addresses literary feedback of the Romantic interval, mainly in Europe. Its seventeen chapters are by means of across the world revered lecturers and discover a number of key issues and issues. The publication is designed to aid readers find crucial info and to enhance methods and viewpoints for a deeper realizing of matters mentioned by way of Romantic critics or that have been basic to their works. fundamental and secondary bibliographies offer a consultant for extra examine.

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Edn, New York: AMS Press, 1967, ii: 11–12. Cambridge Histories Online © Cambridge University Press, 2008 Classical standards 19 practice more closely resembles our own, that it is the former on which he confers more dignity. There is one issue that at least arguably restores stability to the relationship between the Romantic and the Classical; and to that issue – again – I shall turn in conclusion. In the meantime, however, there is more to be said about the instability I have emphasized in contrast with the much more paradigmatic preromantic reception of the neoclassical.

Whence the title, Ansichten und Ideen von der christlichen Kunst (Opinions and ideas on Christian art, 1822–5), which Schlegel himself gives to the collection of his texts, when, in the 1820s, he unites them in the preparation of his complete works. Schlegel’s intent in these critical–artistic reflections is to define the principles of early Italian and German Christian painting, and of gothic architecture. He then contrasts these to the intellectualism – a principle decadence in art from the Renaissance on – that was responsible, in his own time, for the contrived aCectations of Mengs’s neoclassicism and of contemporary French painting.

P. 210. Cambridge Histories Online © Cambridge University Press, 2008 Classical standards 25 And so I think it fair to say after all, without much qualification, that the authority of Aristotle weakens in the Romantic period together with that of Longinus and Horace. The two Greeks were read through the eyes of an earlier generation, but without that generation’s enthusiasm; and this made them seem Roman (perhaps also because they were read frequently in Latin if not in modern languages). The neoclassical filter through which their views were strained and which also produced their forbidding image as arbiters and legislators was rarely if ever set aside.

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