Romanticism

ROMANTICISM

ROMANTICISM. Ever since A. O. Lovejoy explained the importance of "discriminating among" the strands, scholars have resisted treating "Romanticism" as a single unified historical movement. Without minimizing this variety, however, it is still possible to identify some emphases common to western Romanticisms, whether in the United States, England, or on the continent, especially in France and Germany. All celebrate the importance of the individual. Most represent human potential in terms of an organic link with the natural world. Many depict this capacity for human growth as the triumph of the intuitive over the methodical and rational. Some suppose that individual self-culture will lead to social progress, even political revolution.

The Beginnings of American Romanticism

In the United States, anticipations of Romanticism appear as early as the late eighteenth century—most notably in discussions of the sublime and the picturesque in landscape, and in the influence of the "moral sense" philosophy of such post-Lockeans as Francis Hutcheson, Dugald Stewart, and Thomas Reid. Although such proto-Romanticism can be found even in the works of Jonathan Edwards and Thomas Jefferson, it is most evident in the gothic and sentimental fictions that flourished in the late eighteenth and early nineteenth centuries. It is customary, however, to date the official beginning of American Romanticism from the rise of Bostonian "transcendentalism" in the 1830s. An outgrowth of liberal Christianity, transcendentalism began as occasional meetings among recent graduates of the Harvard Divinity School. The so-called Transcendental Club soon expanded into more inclusive discussions among men and (a few) women of general interests—primarily in philosophy, literature, and moral theology. From 1840 to 1844, the group published its own journal, The Dial. But its most important statement was one of its earliest: published in 1836, a few days before the club's first meeting, the little book Nature became the unofficial "credo" of transcendentalism, from its most influential spokesperson, Ralph Waldo Emerson.

Emerson's Nature was less concerned with the natural landscape than with the role that individual thought played in perceiving the world of substance. In his argument for the creative power of consciousness, Emerson drew not only on the Scottish moral sense philosophers, but also on European epistemology in general, with special emphasis on René Descartes, John Locke, and Immanuel Kant. He learned from Kant's Critique of Pure Reason, perhaps through intermediaries like Samuel Taylor Coleridge and Victor Cousin, to value the intuitions of Reason over the mechanical demonstrations of the Understanding. Most of the book outlined the value of idealism, with a complementary lack of interest in the material world. However radical Emerson's embrace of Kantian idealism, readers found more compelling the uplifting poetry of the prophetic final chapter "Prospects." When one's life conformed, Emerson claimed, to the "true idea" in one's mind, the influx of spirit would work a "corresponding revolution" in things. Not only did the disagreeable vanish; man, understood as a "god in ruins," once again established dominion over his kingdom.

Emerson was transcendentalism's most philosophical writer and its greatest advocate for unification with the Universal Spirit or the One. He was less interested in the practical consequences of that union. When invited to join a local reform group, he refused to lift "the siege of [my] hencoop" to "march baffled away to a pretended siege of Babylon." Most transcendentalists, however, saw spiritual purification as only the first step in political reform. Bronson Alcott and Elizabeth Palmer Peabody actively engaged in humanizing secondary education; while George Ripley put into practice the theories of French utopian Charles Fourier in his communal experiment at Brook Farm. Most influential in their politics were the two students most closely influenced by Emerson—Margaret Fuller and Henry David Thoreau. Emerson's coeditor at The Dial, Fuller was famous for her travel writing, reviews, and translations, and as part of the Italian unification movement. But her most celebrated work was "The Great Lawsuit: MAN versus MEN. WOMAN versus WOMEN," published first in The Dial in 1845 and expanded soon thereafter into the book-length Woman in the Nineteenth Century. The most influential feminist tract between those of Mary Wollstonecraft and Virginia Woolf, Woman explored gendered aspects of Emerson's sexless Universal. Just as Emerson foretold the advent of godlike American scholars and poets, so Fuller ended her work rhapsodically awaiting the second coming of woman as a daughter of God: "Would [woman] but assume her inheritance, Mary would not be the only Virgin Mother. … The soul is ever young, ever virgin."

Like Fuller, Thoreau introduced social realities into Emerson's abstract philosophy. In A Week on the Concord and Merrimack Rivers (1849), Walden, or Life in the Woods (1854), and numerous essays, he examined with microscopic attention the natural world that for Emerson remained merely ideal and phenomenal. More important, perhaps, was his early and unflinching opposition to slavery. Notorious in his age for his 1860 defense of John Brown, Thoreau has in later generations been more celebrated for his earlier piece, "Resistance to Civil Government" (1849), which under the posthumous title of "Civil Disobedience" helped shape Gandhi's and Martin Luther King Jr.'s policies of passive resistance. Taking to its logical conclusion the Emersonian proposition that society conspires against the "manhood" of its members, Thoreau announced that "that government is best which governs not at all."

Beyond Transcendentalism

Romanticism among American writers was not, however, restricted to the New England transcendentalists. Some Romantic novelists responded directly to transcendental theories—whether negatively as in Nathaniel Hawthorne's The Blithedale Romance (1852) or more ambivalently as in Herman Melville's Moby-Dick (1851). Romantic historians like George Bancroft, Francis Parkman, and William Prescott tempered fact with a gripping narrative style to celebrate a "democratic" vision of America. Most puzzling, especially in its regional allegiances with both the North and the South, was the work of Edgar Allan Poe. Continuing older literary traditions, Poe's use of the gothic superimposed on a popular commercial genre a metaphysical density that was at times indistinguishable from Emerson's—by Poe's own account a Gothicism "not of Germany, but of the Mind."

The place of Romanticism outside of literature is harder to assess. Unitarianism shared many characteristics with the transcendentalist movement it spawned, particularly its distaste for the stern Calvinist image of God, and its support for liberal political reform. It was less comfortable, however, with Emersonian notions of the divinity in man, and openly opposed the transcendentalists' rejection of both the Holy Trinity and Christ's miracles. More generally, the religious intensity of the mid-century can be seen as broadly Romantic, and in fact transcendentalism has frequently been read as a more secular form of the revivalism that swept the Midwest and the "burned-over" district of upstate New York. Here the shifting allegiances of the Beecher family may be taken as representative. Firmly grounded in a Calvinist tradition of fire-and-brimstone preaching, Lyman Beecher openly rejected the "icy" rhetoric of Boston Unitarianism. Although his gradualist approach to both salvation and abolition seemed too cautious for the more fiery imagination of the frontier preacher Charles Grandison Finney, Beecher eventually became reconciled to Finney's evangelicalism to avoid the greater dangers of Bostonian secularism. By the next generation, Lyman's son Henry Ward Beecher was able to combine traditional Presbyterianism with a philosophical outlook not far from Emerson's own.

The point of convergence between religious and more secular Romanticisms was a shared sense of the perfectibility of man. Perfectibility had been a common theme of progressive Enlightenment philosophy. In mid-nineteenth-century America, however, the religious dimensions of programs for the betterment of individuals may have also reinforced conservative politics. The attempts of such benevolence societies as the American Bible Association and the American Tract Society to enlighten the lower classes also had the effect of bringing those previously ignored groups under more careful social surveillance. A similarly uncomfortable compromise between personal advancement and social control can be seen in the period's preoccupation with institutionalization, especially the prison reform movement.

The ambiguities by which Romantic reform of the individual also bound down the underprivileged are perhaps most evident in the women's movement. The most transcendental feminists like Fuller and Peabody eschewed any group activity to focus exclusively on self-cultivation. But more mainstream proponents like Catherine Beecher located female excellence in the special characteristics of women. This argument afforded the movement great power only at the expense of reinforcing domestic stereotypes. The limitations of this position informed much of mid-century women's fiction. The heroine's triumph over adversity in best-sellers like Susan Warner's The Wide, Wide World (1851) and Maria Cummins's The Lamplighter (1854) was accomplished by obedience to authority, spiritual and patriarchal. Even in Harriet Beecher Stowe's fierce Uncle Tom's Cabin (1851– 1852), the conclusion—that slavery can be ended only through the reform of individuals into a state of "right feeling"—betrayed both its origins in Emerson's self-reliance and the insufficiency of transcendentalism as a political tool.

Eventually absorbed into the political ferment of antebellum culture, Romanticism as a movement was eclipsed by more pressing realities of secession and reconstruction. Yet the precepts of Romanticism continue to shape culture today. Modern Romanticism is most apparent in the poetic tradition, where the experiments of the late Romantic experimental poets Walt Whitman and Emily Dickinson stand as models for most subsequent poetry, not only of Ezra Pound and Wallace Stevens, but later of Elizabeth Bishop, Adrienne Rich, and John Ashbery. Even intellectual traditions like pragmatism and naturalism that define themselves in opposition to Romanticism still maintain clear links to the earlier tradition; there is as much of Emersonian individualism in William James, Theodore Dreiser, and Ernest Hemingway as in any of his Boston contemporaries. On the darker side, cynical readings of individualism and perfectibility are regularly used to justify contemporary laissez-faire economics and corporate greed. As a literary and philosophical movement, American Romanticism ended in 1865; as a cultural mentality, it is still very much with us.

BIBLIOGRAPHY

Davis, David Brion, ed. Antebellum Reform. New York: Harper and Row, 1967. Particularly fine essay by John L. Thomas on Romantic reform.

Hutchison, William R. The Transcendentalist Ministers: Church Reform in the New England Renaissance. New Haven, Conn.: Yale University Press, 1959.

Matthiessen, F. O. American Renaissance: Art and Expression in the Age of Emerson and Whitman. New York: Oxford University Press, 1941.

Packer, Barbara L. "The Transcendentalists." In The Cambridge History of American Literature, Volume II; 1820–1865. Edited by Sacvan Bercovitch. New York: Cambridge University Press, 1995.

Rose, Ann C. Transcendentalism As a Social Movement, 1830– 1850. New Haven, Conn.: Yale University Press, 1981.

Tompkins, Jane. Sensational Designs: The Cultural Work of American Fiction, 1790–1860. New York: Oxford University Press, 1985. Fine feminist account of sentimental fiction.

David Van Leer

See also Transcendentalism .