Jandy Stone ENG5374: European Romanticism Dr. Stephen Prickett !

"e#ruary $%%7 &he 'mportance o( the Su#)ime in the Romantic *esthetic &he term +Romantic, descri#es a mo-ement #oth phi)osophic and artistic. )oose)y uni(ied #y a re/ection o( neo0c)assica) aesthetic princip)es. &hou1h the Romantics did not a)2ays a1ree in the speci(ics o( their aesthetic theories. nor did a)) o( them mo-e (rom theory into practice. many o( them (ound in the idea o( the su#)ime an attracti-e a)ternati-e to the strict ru)es and (orms o( the neo0c)assica) era. &he Romantics did not create the idea o( the su#)ime. or e-en share a common conception o( it. 3o2e-er. the (act that so many o( the Romantic 2riters in Germany and En1)and especia))y. #ut a)so in "rance. approached the 4uestion o( the su#)ime in their 2ritin1s indicates ho2 per-asi-e and important a concept it 2as. *s Samue) 5onk sho2s in his semina) study The Sublime. theori6in1 on the nature. causes and e((ects o( su#)imity 2as a popu)ar pastime throu1hout the ei1hteenth century. startin1 2ith the redisco-ery o( c)assica) rhetorician 7on1inus. &he e8act de(inition o( +the su#)ime, chan1es (rom author to author. #ut most a1ree that su#)imity is marked #y 1randeur. -astness. incomprehensi#i)ity. and the po2er to cause an intense p)easure in the o#ser-er. a p)easure that has transcendent 4ua)ities. &hou1h 1rand ideas in the a#stract cou)d #e su#)ime. the concept 4uick)y #ecame associated 2ith nature: hu1e mountains. 2i)d )andscapes. or terri(ic storms. Edmund 9urke makes terror itse)( the essentia) e)ement o( the su#)ime e8perience :3!;. a (ocus mirrored #y the 1ro2in1 interest in the 1othic no-e) in the )ast (e2 decades o( the ei1hteenth century. Perhaps the most important e)ement o( the su#)ime as (ar as Romanticism is concerned is the emphasis on the e((ect the su#)ime o#/ect has on the o#ser-er. &hou1h ei1hteenth0century theorists continued to seek o#/ecti-e 4ua)ities to de(ine the su#)ime. the theory came to re)y more and more on the su#/ecti-e response to su#)imity. cu)minatin1 in 'mmanue) <ant=s e8p)anation o( the su#)ime as pure)y su#/ecti-e>that is. su#)imity +is not a 4ua)ity residin1 in the o#/ect. #ut a state o( mind a2akened #y an

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o#/ect, :5onk ?;. &his mo-e (rom o#/ecti-e to su#/ecti-e is part o( the 1enera) mo-e to2ard the emphasis on interior space 2hich a))o2ed Romanticism to come into #ein1. @hen Pierre 9oi)eau trans)ated 7on1inus into "rench in A74 and popu)ari6ed his theory o( the su#)ime. neo0c)assicism he)d the aesthetic s2ay throu1hout Europe. and 2as especia))y stron1 in "rance. 9oi)eau himse)( 2as a (irm neo0c)assicist and did not seem to ha-e a pro#)em reconci)in1 7on1inus= su#)ime 2ith his o2n (ocus on proper neo0c)assica) (orm>pro#a#)y #ecause 7on1inus (ocused much more on the su#)ime sty)e as a rhetorica) de-ice. rather than on the transcendent e((ect o( the su#)ime. 3o2e-er. soon the su#)ime #ecame e-erythin1 that 2as not neo0c)assica) in sty)e. yet had a po2er(u) emotiona) e((ect: +9eauty came to inc)ude. 1enera))y speakin1 those 4ua)ities and 1ent)e emotions that neo0c)assic art sou1ht to em#odyB su#)imity mi1ht contain anythin1 e)se that seemed suscepti#)e o( 1i-in1 aesthetic p)easure pro-ided that it 2as 1rand enou1h and mi1ht concei-a#)y Ctransport=, :5onk 55;. 3ence. the #eauti(u) and the su#)ime 2ere usua))y concei-ed as irreconci)a#)y di((erent. *s the century mo-ed to2ard Romanticism. the emphasis shi(ted more and more a2ay (rom neo0c)assica) ru)es and more to2ard an appreciation (or the su#)ime. as mediated throu1h indi-idua) perception. <ant 2as not himse)( considered a Romantic. #ut his conception o( the su#)ime as put (or2ard in The Critique of Judgement : 7!%; #oth synthesi6es ei1hteenth0century thou1ht :5onk 4; and per-ades Romantic discourse o( the su#)imeB there(ore. it is appropriate to #rie()y consider his thou1hts. 3e de(ined the su#)ime as that +2hich is 1reat #eyond a)) comparison, : 3$; and that 2hich is so po2er(u) :as in nature; that +a)) resistance 2ou)d #e comp)ete)y (uti)e, : 44;. "or <ant. the su#)ime moment occurs 2hen the ima1ination encounters an o#/ect too -ast to #e comprehended and (ai)s in the attempt. yet reason o-ercomes the o#stac)e #y reco1ni6in1 the a#surdity o( tryin1 to comprehend the tota)ity o( the -ast o#/ect and in that reco1nition. asserts itse)( as 1reater than nature :5odiano %4;. &hus. in contrast to 9urke. 2hose su#)ime 2as in the moment o( terri#)e crisis itse)(. <ant=s su#)ime is in the reso)ution o( the crisis. 2hich e)e-ates man in his po2er stru11)e 2ith nature. Samue) &ay)or Do)erid1e #e1ins his theory o( the su#)ime 2ith <ant. #ut does not (o))o2 him comp)ete)y. incorporatin1 e)ements o( Johann Gott(ried -on 3erder=s aesthetic theory 2hich did not diametrica))y oppose man and nature. Do)erid1e=s conception o( the su#)ime denies the need (or a moment o( supreme crisis. and keeps at #ay the con()ict #et2een man and nature that #oth <ant and "riedrich

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Schi))er sa2 as essentia) to the su#)ime :5odiano %?. 4;. "or Do)erid1e. the su#)ime is a transcendent

e8perience. #ut not necessari)y a terri(yin1 one. and rather than seein1 in the su#)ime moment an assertion o( human reason o-er nature. he sees an a#sorption o( the indi-idua) into the in(inite. Re(errin1 to his sense o( a2e upon enterin1 a Gothic cathedra). he says: +' am )ost to the actua)ities that surround me. and my 2ho)e #ein1 e8pands into the in(initeB earth and air. nature and art. a)) s2e)) up into eternity. and the on)y sensi#)e impression )e(t is. Cthat ' am nothin1=, :4td in 5odiano $$;. Rather than a denia) o( e8istence. thou1h. this statement is an e8pression o( transcendent unity 2ith an entity 1reater than himse)(. Do)erid1e a)so (ound su#)imity in nature. especia))y in -a1ue (orms that su11est tota)ity #ut do not e8press a -isua) 2ho)e :5odiano 5;. 3o2e-er. nature (or Do)erid1e. and more so (or his c)ose (riend @i))iam

@ords2orth. 2as not a threat to humanity. as it 2as (or <ant and Schi))er. #ut rather +appears as the medium throu1h 2hich the mind disco-ers and presents itse)(, :@eiske) A;. @ords2orth is the epitome o( the poetic su#)ime. and thou1h he 2as not the ea1er student o( German transcendenta) thou1ht that Do)erid1e 2as. it is pro#a#)e that he 1ained some kno2)ed1e o( the <antian -ie2 o( su#)imity throu1h his association 2ith Do)erid1e :5odiano $!;. *)thou1h @ords2orth=s pre(ace to Lyrical Ballads does not speci(ica))y re(er to su#)imity. it o(ten hints at concepts associated 2ith su#)imity. &he +spontaneous o-er()o2 o( po2er(u) (ee)in1s, :$73; 2ou)d certain)y #e a common reaction to a su#)ime e8perience. and his intent to +choose incidents and situations (rom common )i(e, and re)ate them in +)an1ua1e rea))y used #y men, and +at the same time. to thro2 o-er them a certain co)ourin1 o( ima1ination. 2here#y ordinary thin1s shou)d #e presented to the mind in an unusua) 2ay, :$A4; su11est that a centra) purpose o( @ords2orth=s poetic do1ma 2as to su#)imate the ordinary #y (i)terin1 it throu1h a ne2 point o( -ie2. con-enient)y enou1h. his o2n. 'n @ords2orth=s hands. the su#)ime #ecomes more intense)y su#/ecti-e than e-er #e(ore. )eadin1 many to use the term +e1otistica) su#)ime, 2hen speakin1 a#out his poetry. *ccordin1 to 5onk. #y the time the su#)ime meets the Romantic. the +indi-idua) #ecomes o( primary importanceB his perception o( -a)ues #ecomes si1ni(icant. and he is )e(t (ree to e8press them untramme))ed #y traditionB truth in aesthetic interpretation o( o#/ects #ecomes a di((erent thin1 (rom a representation. an Cimitation=B it #ecomes rather an indi-idua)istic interpretation o( 2hat the artist

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percei-es, : 55;. Dertain)y this is true o( @ords2orth. 2hose poems speak o( nature on)y as he persona))y e8perienced it. Ep unti) the ear)y ?%%s. near)y e-ery theory o( the su#)ime had care(u))y separated the #eauti(u) (rom the su#)ime. Do)erid1e. (o))o2in1 3erder. connected the t2o a )itt)e more stron1)y. thou1h he maintained a di((erentiation #ased on o#/ecti-e -ersus su#/ecti-e 4ua)ity in a 2ay -ery simi)ar to <ant. 3o2e-er. he su#t)y chan1es the re)ationship #et2een them #y ar1uin1 that any o#/ect may #ecome the occasion o( su#)imity throu1h metaphor and sym#o)ism: +&he circ)e is a #eauti(u) (i1ure in itse)(B it #ecomes su#)ime. 2hen ' contemp)ate eternity under that (i1ure>the 9eauti(u) is the per(ection. the su#)ime the suspension. o( the comparin1 po2er, :4td in 5odiano ?;. 't is perhaps a si1n o( the 2anin1

in()uence o( neo0c)assicism that Do)erid1e 2as a#)e to (ormu)ate his theory o( su#)imity such that the su#)ime #ecomes a transcendent #eauty rather than a trans1ression o( accepted (orma) structure. *t the time. "rance remained the stron1ho)d o( neo0c)assicismB much o( the theori6in1 on the su#)ime 2as done in En1)and and Germany. since. as 5onk points out mu)tip)e times. "rench 2riters tended to #e a #it skeptica) o( the su#)ime and its re/ection o( neo0c)assica) #oundaries. 'n (act. this re)uctance to mo-e a2ay (rom neo0c)assicism in "rance cou)d e8p)ain 2hy Romanticism in "rance )a11ed some t2enty or thirty years #ehind En1)and and Germany. 3o2e-er. the "renchman Fictor 3u1o 2ou)d (u))y ne1ate neo0c)assicism in his 2ork. 2hich seeks to com#ine the su#)ime 2ith the 1rotes4ue. a 1oa) 2hich re4uires a s)i1ht rede(inition o( terms. 'n the ear)y ei1hteenth0century. the terri#)e su#)ime that #ecame the 1othic no-e) cou)d #e associated 2ith u1)iness. monstrosity. and e-en the 1rotes4ue. in opposition to the per(ect)y (ormed and symmetrica) neo0c)assica) idea) o( #eauty. Get 2hen 3u1o uses the terms +su#)ime, and +1rotes4ue, he means them to #e opposite. #ut opposites that must #e #rou1ht to1ether in order to create true art. 'n his Pre(ace to the p)ay Oliver Cromwell. he states that the poetry o( the modern a1e is the drama. that the +characteristic o( the drama is the rea), and that +the rea) resu)ts (rom the natura) com#ination o( t2o types. the su#)ime and the 1rotes4ue. 2hich meet in the drama. e-en as they do in )i(e and in the creation. "or true poetry. comp)ete poetry. consists in the harmony o( contraries, :47;. 3u1o ne-er di((erentiates +#eauti(u), and +su#)ime, in the Pre(ace. #ut treats them as synonyms.

Note especia))y such passa1es as )ines !30 $ o( +7ines Domposed a "e2 5i)es *#o-e &intern *##ey, :Poems 3A%; and the cra11y c)i(( incident (ound in The Prelude ':37304$! :Prelude $40$5;.

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&he idea o( the su#)ime 1rotes4ue is o#-ious)y o( 1reat import in otre!"ame de Paris. as 3u1o )inks the 1rotes4ue Huasimodo #oth to the su#)ime occupation o( rin1in1 the hu1e church #e))s at the -ast cathedra) o( Notre0Dame and to the no-e)=s sym#o) o( the su#)ime. the 1ypsy Esmere)da. &he union o( these t2o contrary (i1ures is emphasi6ed in the (ina) )ines o( the no-e) as Huasimodo=s misshapen ske)eton is (ound ho)din1 Esmere)da=s remains a(ter her e8ecution :5%5;. &hou1h the sym#o)ism is )ess c)ear. <athryn Grossman su11ests that Les #is$rables a)so contains the /u8taposition o( the su#)ime and the 1rotes4ue. as Jean Fa)/ean success(u))y unites his crimina) past and his honora#)e present : 3;. 2hereas Ja-ert=s (ai)ure to comprehend such a union )eads to con(usion and suicide :!5;. Fa)/ean=s su#)ime moment comes 2hen the priest 9ien-enu sets him (ree a(ter Fa)/ean has ro##ed him: 3is conscience considered in turn these t2o men p)aced #e(ore it. the #ishop and Jean Fa)/ean. *nythin1 )ess than the (irst 2ou)d ha-e (ai)ed to so(ten the second. 9y one o( those sin1u)ar e((ects pecu)iar to this kind o( ecstasy. as his re-erie continued. the #ishop 1re2 )ar1er and more resp)endent to his eyesB Jean Fa)/ean shrank and (aded a2ay. "or one instant he 2as no more than a shado2. Sudden)y he disappeared. &he #ishop a)one remained. :3u1o 3;

Fa)/ean transcends his past and unites metaphorica))y 2ith the #ishop. and he is a chan1ed man a(ter this e8perience. Ja-ert. on the other hand. is una#)e to cope 2ith Fa)/ean=s trans(ormation: Enti) no2 a)) that he had a#o-e him had #een to his eyes a smooth. simp)e. )impid sur(aceB nothin1 unkno2n there. nothin1 o#scureB nothin1 that 2as not de(inite. coordinated. chained. precise. e8act. circumscri#ed. )imited. shut in. a)) (oreseenB authority 2as a p)aneB no (a)) in it. no di66iness in con(rontin1 it. :3u1o 3$7; 'n the characters o( Fa)/ean and Ja-ert. 3u1o has sho2n the need o( the neo0c)assica) to em#race the Romantic. 3e 2as no )o-er o( the ru)es set do2n #y neo0c)assica) 2riters: +7et us speak out #o)d)y. IJK 7et us take the hammer to their theories and systems and treatises. 7et us tear do2n the o)d stucco0 2ork 2hich concea)s the (aLade o( artM, :Pre(ace A?;. 'n the passa1e 4uoted a#o-e. Ja-ert is c)ear)y ru)e0 #ound. una#)e to accept -a)ues outside o( his (rame o( re(erence. Fa)/ean. on the other hand. transcends the ru)es and #ecomes a tru)y su#)ime Romantic hero.

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&hou1h the su#)ime is not a uni4ue)y Romantic concept. it pa-ed the 2ay (or Romanticism. especia))y in its emphasis on indi-idua) e8perience and #reakin1 the #oundaries o( neo0c)assica) (orm. Romantics 2riters (rom Schi))er and 3erder in Germany to Do)erid1e and @ords2orth in En1)and took the theories cu)ti-ated ear)ier in the century #y 9urke. <ant. and others and (ormed them into the #asis (or much o( their o2n se)(0e8pression. *nd appropriate)y enou1h. 3u1o modi(ied #oth German and En1)ish su#)imity in order to rea)i6e the threat to neo0c)assica) order introduced un2ittin1)y one hundred and (i(ty years ear)ier #y 9oi)eau and his trans)ation o( 7on1inus. and to mount a direct attack on neo0c)assicism.

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9i#)io1raphy *sh(ie)d. *ndre2 and Peter De 9o))a. eds. The Sublime% & 'eader in British (ighteenth!Century &esthetic Theory. Dam#rid1e: Dam#rid1e Eni-ersity Press. !!A. 9urke. Edmund. & Philosophical (nquiry )nto the Origin of Our )deas of the Sublime and Beautiful. Ed. James &. 9ou)ton. 7ondon: Rout)ed1e N <e1an Pau) 7td.. !5?. Do)erid1e. Samue) &ay)or. S*T* Coleridge Collected +or,s v* -!.% Biographica Literaria. Ed. James En1e)) and @. Jackson 9ate. Princeton: Princeton Eni-ersity Press. !?3. Grossman. <athryn 5. /iguring Transcendence in 7es 5isOra#)es: 0ugo1s 'omantic Sublime. Dar#onda)e: Southern '))inois Eni-ersity Press. !!4. 3u1o. Fictor. Les #is$rables. &rans. 7ee "ahnestock and Norman 5ac*(ee. Ne2 Gork: Si1net D)assics. !?7. 3u1o. Fictor. otre "ame de Paris. &rans. Jessie 3aynes. Ne2 Gork: P.". Do))ier N Son. !%$. 3u1o. Fictor. +Pre(ace to Cromwell., The "ramas Complete and 2nabridged of 3ictor 0ugo 3ol* )4 and 4% Oliver Cromwell. &rans. '.G. 9urnham. Phi)ade)phia: Geor1e 9arrie N Son. ?!A. 70 7. <ant. 'mmanue). The Critique of the Power of Judgement . Ed. Pau) Guyer. &rans. Pau) Guyer and Eric 5atthe2s. Dam#rid1e: Dam#rid1e Eni-ersity Press. $%%%. 5odiano. Raimonda. Coleridge and the Concept of ature. &a))ahassee: ")orida State Eni-ersity Press. !?5. 5onk. Samue) 3. The Sublime% & Study of Critical Theories in 43)))!Century (ngland. *nn *r#or: Eni-ersity o( 5ichi1an Press. !A%. Porter. 7aurence 5. 3ictor 0ugo. Ne2 Gork: &2ayne Pu#)ishers. !!!. @eiske). &homas. The 'omantic Sublime% Studies in the Structure and Psychology of Transcendence. 9a)timore: Johns 3opkins Eni-ersity Press. !7A. @ords2orth. @i))iam. The Poems. Ed. John P. 3ayden. Ne2 3a-en. Donn.: Ga)e Eni-ersity Press. !77. 000. "rom +Pre(ace to Lyrical Ballads., The orton &nthology of (nglish Literature. Ed. Jack Sti))in1er and Deirdre Shauna 7ynch. Ne2 Gork: @.@. Norton N Dompany. $%%A. $A30$74. 000. The Thirteen!Boo, Prelude. Ed. 5ark 7. Reed. 'thaca. NG: Dorne)) Eni-ersity Press. !! .