by Tim Blanning
114. Jean-Jacques Rousseau, The Confessions, ed. J. M. Cohen (London, 1953), p. 167.
115. Quoted in Andrew Beattie, The Alps: A Cultural History (Oxford, 2006), p. 122.
116. Robert Darnton, The Great Cat Massacre and Other Episodes in French Cultural History (New York, 1984), p. 242.
117. Edward Chaney, “The Grand Tour and the Evolution of the Travel Book,” in Andrew Wilton and Ilaria Bignamini (eds.), Grand Tour: The Lure of Italy in the Eighteenth Century (London, 1996), p. 95.
118. William Edward Mead, The Grand Tour in the Eighteenth Century (Boston and New York, 1914), p. 104.
119. Christopher Hibbert, The Grand Tour (London, 1969), pp. 24–25. I have discussed this in “The Grand Tour and the Reception of Neo-classicism in Great Britain in the Eighteenth Century,” in Rainer Babel and Werner Paravicini (eds.), Grand Tour: Adeliges Reisen und europäische Kultur vom 14. bis zum 18. Jahrhundert (Ostfildern, 2005), pp. 541–54.
120. Quoted in Jean Clay, Romanticism (Oxford, 1981), p. 70.
121. Ibid., pp. 74–77.
122. Ibid., p. 73.
123. Ibid.
124. Beattie, The Alps, pp. 126, 130.
125. Shelley, History of a Six Weeks’ Tour, p. 12.
126. James Macpherson, The Poems of Ossian, ed. Howard Gaskill (Edinburgh, 1996), p. 5.
127. Macpherson, The Poems of Ossian, p. 7.
128. Trevor-Roper, The Invention of Scotland, p. 103.
129. Goethe, The Sufferings of Young Werther, p. 147.
130. Fiona Stafford, Introduction to Macpherson, The Poems of Ossian, p. xv. See also Michael Ferber (ed.), A Companion to European Romanticism, pp. 139–40, 184, 243, 315.
131. Fiona J. Stafford, “ ‘Dangerous Success’: Ossian, Wordsworth and English Romantic Literature,” in Howard Gaskill (ed.), Ossian Revisited (Edinburgh, 1991), p. 50.
132. Ibid., p. 87.
133. Trevor-Roper, The Invention of Scotland, p. 118.
134. Ibid., p. 171. Trevor-Roper’s conclusions have been given authoritative support by Colin Kidd in “The Calvinist International,” London Review of Books 30, 10 (May 22, 2008).
135. See Gaskill (ed.), Ossian Revisited.
136. Sassoon, The Culture of the Europeans, pp. 81–82; Ilaria Ciseri, Le romantisme 1780–1860: La naissance d’une nouvelle sensibilité (Paris, 2004), p. 55.
137. Edward Dent, The Rise of Romantic Opera, ed. Winton Dean (Cambridge, 1976), p. 87; Jean Mongrédien, “Ossian, ou Les bardes,” in The New Grove Dictionary of Opera, edited by Stanley Sadie; Grove Music Online: Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/
music/o004454, accessed July 22, 2009.
138. Fabienne Moore, “Early French Romanticism,” in Ferber (ed.), A Companion to European Romanticism, p. 184.
139. Jostein Børtnes, “The Literature of Old Russia,” in Moser (ed.), The Cambridge History of Russian Literature, pp. 16–18.
140. A. H. Sokolov, Istoriya russkoy literatury XIX veka, vol. I (Moscow, 1985), p. 50.
141. Derek Sayer, The Coasts of Bohemia: A Czech History (Princeton, 1998), p. 53.
142. A. H. Wratislaw, Introduction to Patriotism: An Ancient Lyrico-Epic Poem, Translated from the Original Slavonic (London, 1851), p. 3.
143. Ibid., pp. 7–20.
144. R. J. W. Evans, “ ‘The Manuscripts’: The Culture and Politics of Forgery in Central Europe,” in Geraint H. Jenkins (ed.), A Rattleskull Genius: The Many Faces of Iolo Morganwg (Cardiff, 2005), pp. 51–68. See also Milan Otáhal, “The Manuscript Controversy in the Czech National Revival,” Cross Currents: A Yearbook of Central European Culture 5, 3 (1986), p. 249.
145. Ibid.
146. Andrew Lass, “Romantic Documents and Political Monuments: The Meaning-Fulfillment of History in Nineteenth Century Czech Nationalism,” American Ethnologist 15, 3 (1986), p. 460.
147. Quoted in Otáhal, “The Manuscript Controversy in the Czech National Revival,” p. 253.
148. Lass, “Romantic Documents and Political Monuments,” p. 460.
149. Quoted in ibid., p. 254.
150. Václav Holzknecht, Libuše, in the booklet accompanying the recording conducted by Zdenĕk Košler, Supraphon 11 1276–2 633. See also John Tyrell, Czech Opera (Cambridge, 1988), pp. 41–49.
151. Jakob and Wilhelm Grimm, Deutsche Sagen, ed. Heinz Rölleke (Frankfurt am Main, 1994), pp. 55–56.
152. Hans-Gert Roloff, “Der Arminius des Ulrich von Hutten,” in Rainer Wiegels and Winfried Woesler (eds.), Arminius und die Varusschlacht: Geschichte, Mythos, Literatur (Paderborn, 1995), p. 214.
153. Robert Ergang, “National Sentiments in Klopstock’s Odes and Bardiete,” in Nationalism and Internationalism: Essays Inscribed to Carlton J. H. Hayes (New York, 1950); Andreas Dörner, Politischer Mythos und symbolische Politik: Sinnstiftung durch symbolische Formen am Beispiel des Hermannmythos (Opladen, 1995), p. 133.
154. Ibid., p. 132.
155. Gesa von Essen, Hermannsschlachten: Germanen-und Römerbilder in der Literatur des 18. und 19. Jahrhunderts (Göttingen, 1998), p. 128.
156. Ibid.
157. Caroline Herder, Erinnerungen aus dem Leben Johann Gottfried von Herder, ed. J. G. Müller, 2 vols. (Tübingen, 1820), vol. I, p. 221.
158. Dörner, Politischer Mythos, pp. 156–70.
159. Ibid., p. 175; Werner Hofmann, Caspar David Friedrich (London, 2000), pp. 88–93.
160. Ibid., p. 95.
161. Burke, Popular Culture in Early Modern Europe, p. 4.
162. Eckart Klessmann, Die deutsche Romantik (Cologne, 1981), p. 27. Frederick’s comment was made when declining the dedication of a collection of German medieval texts, including Parzival and Tristan—Horst Steinmetz (ed.), Friedrich II., König von Preußen und die deutsche Literatur des 18. Jahrhunderts. Texte und Dokumente (Stuttgart, 1985), p. 340.
163. Klaus Lankheit, “Nibelungen—Illustrationen der Romantik: Zur Säkularisation christlicher Bildformen im 19. Jahrhundert,” in Joachim Heinzle and Anneliese Waldschmidt (eds.), Die Nibelungen: Ein deutscher Wahn, ein deutscher Alptraum. Studien und Dokumente zur Rezeption des Nibelungenstoffs im 19. und 20. Jahrhundert (Frankfurt am Main, 1991), p. 95.
164. Ibid., p. 28.
165. W. H. Auden, Forewords and Afterwords, ed. Edward Mendelson (London, 1973), p. 245. Auden added that Wagner was also “a very bad hat indeed.”
166. Elizabeth Magee, Richard Wagner and the Nibelungs (Oxford, 1990), p. 13.
167. Robert Donington, Wagner’s “Ring” and Its Symbols, 3rd ed. (London, 1974), p. 32.
168. Dieter Borchmeyer, “Renaissance und Instrumentalisierung des Mythos. Richard Wagner und die Folgen,” Saul Friedländer and Jörn Rüsen (eds.), Richard Wagner im Dritten Reich (Munich, 2000), p. 67.
169. Quoted in Mark Berry, Treacherous Bonds and Laughing Fire: Politics and Religion in Wagner’s Ring (Aldershot, 2006), p. 21.
170. Ibid., p. 23.
171. The Poetical Works of William Wordsworth, eds. E. de Selincourt and Helen Darbishire, vol. 5 (Oxford, 1949): The Excursion, Book 6, lines 545–47, p. 203.
172. Quoted in Safranski, Romantik, p. 34.
173. Quoted in Hugh Honour, Romanticism (London, 1979), p. 218.
174. Michael Levey, Rococo to Revolution: Major Trends in Eighteenth-Century Painting (London, 1966), p. 204.
175. Ibid., pp. 32, 235–36.
176. K. Andrews, The Nazarenes: A Brotherhood of German Painters in Rome (Oxford, 1964), pp. 20–23.
177. Max Hollein and Christa Steinle (eds.), Religion Macht Kunst: Die Nazarener (Cologne, 2005), pp. 258–64. This exhibition catalog contains many excellent color reproductions.
178. Ibid., p. 130.
179. William Vaughan, German Romantic Painting (New Haven, 1980), p. 216.
180. Andrews, The Nazarenes, pp. 42–43.
181. Alexander Rauch, “Klassizismus und Romantik: Europas Malerei zwischen zwei Revolutionen,” in Rolf Toman (ed.), Klassizismus und Romantik: Architekur—Skulptur�
��Malerei—Zeichnung, 1750–1848 (Cologne, 2000), p. 421.
182. Frank Büttner, “Cornelius, Peter,” Grove Art Online; Oxford Art Online, http://www.oxfordartonline.com/subscriber/article/grove/art/t019643, accessed July 24, 2009.
183. H. S. Reiss (ed.), The Political Thought of the German Romantics (Oxford, 1955), pp. 145–46.
184. Heinrich von Kleist, Berliner Abendblätter vom Iten Oktober 1810 bis zum 30ten März 1811, facsimile reproduction (Wiesbaden, n.d.), 3, October 3, 1810, pp. 11–15.
185. Klaus Lankheit, Revolution und Restauration 1785–1855 (Cologne, 1988), p. 68.
186. Barbara Johnson, “The Lady in the Lake,” in Hollier (ed.), A New History of French Literature, p. 631.
187. Cranston, The Romantic Movement, p. 83.
188. Walter Friedländer, David to Delacroix (New York, 1968), p. 94.
189. Honoré de Balzac, Lost Illusions (Harmondsworth, 1971), p. 240.
190. Cranston, The Romantic Movement, p. 95.
191. F. W. J. Hemmings, Culture and Society in France 1789–1848 (Leicester, 1987), pp. 173–74.
192. Cranston, The Romantic Movement, p. 95.
193. Quoted in Sandy Petrey, “Romanticism and Social Vision,” in Hollier (ed.), A New History of French Literature, p. 661.
194. Quoted in Honour, Romanticism, p. 217.
195. George Heard Hamilton, “Delacroix’s Memorial to Byron,” The Burlington Magazine 94, 594 (September 1952), pp. 257–61.
196. Childe Harold’s Pilgrimage, canto II, stanza 73.
197. “The Isles of Greece,” Don Juan, canto III, following stanza 86.
198. Quoted in Peter Cochran, “Byron’s European Reception,” in Drummond Bone (ed.), The Cambridge Companion to Byron (Cambridge, 2004), p. 251.
199. Quoted in Maurice Bowra, The Romantic Imagination (Oxford, 1961), p. 149.
200. Ibid.
201. Ibid., p. 153.
202. Ibid., p. 152.
203. William St. Clair, That Greece Might Still Be Free: The Philhellenes in the War of Independence (Oxford, 1972), p. 19.
204. Jerome McGann, “Byron, George Gordon Noel, Sixth Baron Byron (1788–1824),” Oxford Dictionary of National Biography, Oxford University Press, September 2004, online ed., October 2008, http://www.oxforddnb.com/view/article/4279, accessed March 31, 2009.
205. C. M. Woodhouse, The Philhellenes (Cranbury, 1971), pp. 92–93. Jerome McGann has also written, “No English writer except Shakespeare acquired greater fame or exercised more world influence”—“Byron,” as in the previous footnote.
206. Donald H. Reiman and Neil Fraistat (eds.), Shelley’s Poetry and Prose, 2nd ed. (New York and London, 2002), p. 316.
207. Frederick Page (ed.), Byron: Poetical Works (Oxford, 1970), p. 108.
208. Quoted in P. M. S. Dawson, The Unacknowledged Legislator: Shelley and Politics (Oxford, 1980), p. 1.
209. Shelley, Poetical Works, ed. Thomas Hutchinson (London, 1904), p. 603.
210. David Kimbell, Italian Opera (Cambridge, 1991), p. 392.
211. Piero Garofalo, “Romantic Poetics in an Italian Context,” in Ferber (ed.), A Companion to European Romanticism, p. 250.
212. Roberta J. M. Olson, “Introduction: In the Dawn of Italy,” in Roberta J. M. Olson (ed.), Ottocento: Romanticism and Revolution in Nineteenth-Century Italian Painting (New York, 1992), p. 14.
213. Fernando Mazzocca, “Painting in Milan and Venice in the First Half of the Century,” in ibid., pp. 140–41.
214. David Kimbell, Verdi in the Age of Italian Romanticism (Cambridge, 1981), p. 22; John Black, The Italian Romantic Libretto: A Study of Salvadore Cammarano (Edinburgh, 1984), p. 5.
215. Quoted in John Rosselli, Music and Musicians in Nineteenth-Century Italy (London, 1991), pp. 70–71.
216. I have discussed this in greater detail in The Triumph of Music: Composers, Musicians and Their Audiences: 1700 to the Present, pp. 264–72.
217. See above, pp. 144–46.
218. James J. Sheehan, German Liberalism in the Nineteenth Century (Chicago, 1978), p. 39.
219. Joachim Köhler, Richard Wagner: The Last of the Titans (New Haven and London, 2004), pp. 225–30.
220. Stewart Spencer and Barry Millington, Wagner’s Ring of the Nibelung (London, 1993), p. 281.
221. Ibid., p. 149.
222. William Ashton Ellis, The Life of Richard Wagner, vol. IV (London, 1904), p. 442.
223. Martin Gregor-Dellin and Dietrich Mack (eds.), Cosima Wagner’s Diaries, vol. II: 1878–1883 (London, 1980), p. 631. Entry for February 25, 1881.
224. Ibid., pp. 623–24. Entry for April 19, 1873.
225. See above, p. 7. On Wagner and Rousseau, see my “Richard Wagner and Max Weber,” Wagnerspectrum 2 (2005), pp. 93–110.
CONCLUSION: DEATH AND TRANSFIGURATION
1. Bryan Gilliam and Charles Youmans, “Strauss, Richard,” in Grove Music Online; Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/
music/40117pg1, accessed August 7, 2009.
2. See above, p. 95.
3. William Vaughan, German Romantic Painting (New Haven, 1980), p. 239.
4. Jethro Bithell, An Anthology of German Poetry (London, 1947), p. x.
5. Quoted in Hans-Ulrich Wehler, Deutsche Gesellschaftsgeschichte, vol. II: Von der Reformära bis zur industriellen und politischen “Deutschen Doppelrevolution” 1815–1848/49 (Munich, 1987), p. 207.
6. Quoted in Linda Nochlin, Realism (London, 1971), p. 23.
7. Ibid., p. 41.
8. Carl E. Schorske, Fin de Siècle Vienna: Politics and Culture (Cambridge, 1981), pp. 24–25.
9. Eugen Weber, France: Fin de Siècle (Cambridge, Mass., 1986), p. 147.
10. Schorske, Fin de Siècle Vienna, p. 227.
11. Quoted in Ronald Hayman, Nietzsche: A Critical Life (London, 1995), p. 163.
12. Quoted in Martin Jay, “From Modernism to Postmodernism,” in T. C. W. Blanning (ed.), The Oxford Illustrated History of Modern Europe (Oxford, 1996), p. 262.
13. Ibid., p. 267.
14. Nikolaus Pevsner, An Outline of European Architecture, 5th ed. (Harmondsworth, 1957), p. 285. The first edition was published in 1943.
15. Quoted in Armand Mattelart, Networking the World, 1794–2000 (Minneapolis and London, 2000), p. 95.
16. Axel Körner, “Culture,” in Mary Fulbrook (ed.), Europe since 1945 (Oxford, 2001), p. 159.
SUGGESTIONS FOR
FURTHER READING
TEXTS
Miriam Allott (ed.), The Poems of John Keats (London, 1970)
Gerhard von Breuning, Memories of Beethoven: From the House of the Black-Robed Spaniards, ed. Maynard Solomon (Cambridge, 1992)
Edmund Burke, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and the Beautiful, ed. Adam Phillips (Oxford, 1990)
———, Reflections on the Revolution in France, ed. Conor Cruise O’Brien (Harmondsworth, 1968)
David Cairns (ed.), The Memoirs of Hector Berlioz (London, 1969)
Michael Charlesworth (ed.), The Gothic Revival 1720–1870: Literary Sources and Documents, 3 vols. (Mountfield, 2002)
David Charlton (ed.), E. T. A. Hoffmann’s Musical Writings: Kreisleriana, the Poet and the Composer, Music Criticism (Cambridge, 1989)
S. H. Clark (ed.), Mark Akenside, James Macpherson, Edward Young: Selected Poetry (Manchester, 1994)
Samuel Taylor Coleridge, Collected Letters of Samuel Taylor Coleridge, ed. Earl Leslie Griggs, vol. I (Oxford, 1956)
Thomas De Quincey, Confessions of an English Opium-Eater, ed. Alethea Hayter (Oxford, 1971)
Otto Erich Deutsch (ed.), Schubert: Memoirs by His Friends (London, 1958)
Lorenz Eitner, Neoclassicism and Romanticism 1750–1850, vol. I: Enlightenment/Revolution (London, 1971)
Johann Wolfgang von Goethe, Faust, Part One, trans. David Luke (Oxford, 1987), Part Two, trans. David Luke (Oxford, 1994)
———, The Sufferings of Young Werther, trans. Bayard Quincy Morgan (London, 1
957)
G. W. F. Hegel, Aesthetics: Lectures on Fine Art, trans. T. M. Knox, 2 vols. (Oxford, 1975)
H. C. Robbins Landon, Beethoven: A Documentary Study (London, 1975)
James Macpherson, The Poems of Ossian, ed. Howard Gaskill (Edinburgh, 1996)
H. S. Reiss (ed.), The Political Thought of the German Romantics (Oxford, 1955)
H. E. Rollins (ed.), The Letters of John Keats, 1814–21, 2 vols. (Cambridge, 1958)
Friedrich Wilhelm Joseph von Schelling, Ideas for a Philosophy of Nature as Introduction to the Study of This Science, trans. Errol E. Harris and Peter Heath (Cambridge, 1988)
Friedrich Schlegel, Lucinde and the Fragments, ed. Peter Virchow (Minneapolis, 1971)
Stendhal, Life of Rossini, trans. Richard N. Coe (London, 1956) Wilhelm Heinrich Wackenroder and Ludwig Tieck, Herzensergießungen eines kunstliebenden Klosterbruders, ed. A. Gillies (Oxford, 1966)
Richard Wagner, My Life (Cambridge, 1983)
Adrian Williams (ed.), Franz Liszt: Selected Letters (Oxford, 1998)
———, Portrait of Liszt by Himself and His Contemporaries (Oxford, 1990)
William Wordsworth, The Excursion, E. de Selincourt and Helen Darbishire (eds), The Poetical Works of William Wordsworth, vol. 5 (Oxford, 1940–49)
———, The Prelude: The Four Texts (1798, 1799, 1805, 1850), ed. Jonathan Wordsworth (London, 1995)
William Wordsworth and Samuel Taylor Coleridge, The Lyrical Ballads with a Few Other Poems, 1798 ed., published in facsimile (Woodstock, 1990)
Edward Young, Conjectures on Original Composition, in a Letter to the Author of Sir Charles Grandison (London, 1759)
SECONDARY WORKS
M. H. Abrams, The Mirror and the Lamp: Romantic Theory and the Critical Tradition (Oxford, 1971)
K. Andrews, The Nazarenes: A Brotherhood of German Painters in Rome (Oxford, 1964)
Joseph-Marc Bailbé, La musique en France à l’époque romantique (1830–1870) (Paris, 1991)
F. M. Barnard, Herder’s Social and Political Thought: From Enlightenment to Nationalism (Oxford, 1965)
Andrew Beattie, The Alps: A Cultural History (Oxford, 2006)
Isaiah Berlin, “The Counter-enlightenment,” in Berlin, Against the Current: Essays in the History of Ideas (London, 1979)
