"I'm supposed to weed the flower beds."
"Let's say two o'clock, then. Can you make that?"
"I'll be there."
Alberto Knox was sitting on the step again when Sophie arrived.
"Have a seat," he said, getting straight down to work.
"Previously we spoke of the Renaissance, the Baroque period, and the Enlightenment. Today we are going to talk about Romanticism, which could be described as Europe's last great cultural epoch. We are approaching the end of a long story, my child."
"Did Romanticism last that long?"
"It began toward the end of the eighteenth century and lasted till the middle of the nineteenth. But after 1850 one can no longer speak of whole 'epochs' which comprise poetry, philosophy, art, science, and music."
"Was Romanticism one of those epochs?"
"It has been said that Romanticism was Europe's last common approach to life. It started in Germany, arising as a reaction to the Enlightenment's unequivocal emphasis on reason. After Kant and his cool intellectualism, it was as if German youth heaved a sigh of relief."
"What did they replace it with?"
"The new catchwords were 'feeling,"imagination,"experience,' and 'yearning.' Some of the Enlightenment thinkers had drawn attention to the importance of feel-ing--not least Rousseau--but at that time it was a criticism of the bias toward reason. What had been an undercurrent now became the mainstream of German culture."
"So Kant's popularity didn't last very long?"
"Well, it did and it didn't. Many of the Romantics saw themselves as Kant's successors, since Kant had established that there was a limit to what we can know of 'das Ding an sich.' On the other hand, he had underlined the importance of the ego's contribution to knowledge, or cognition. The individual was now completely free to interpret life in his own way. The Romantics exploited this in an almost unrestrained 'ego-worship,' which led to the exaltation of artistic genius."
"Were there a lot of these geniuses?"
"Beethoven was one. His music expresses his own feelings and yearnings. Beethoven was in a sense a 'free' artist--unlike the Baroque masters such as Bach and Handel, who composed their works to the glory of God, mostly in strict musical forms."
"I only know the Moonlight Sonata and the Fifth Symphony."
"But you know how romantic the Moonlight Sonata is, and you can hear how dramatically Beethoven expresses himself in the Fifth Symphony."
"You said the Renaissance humanists were individualists too."
"Yes. There were many similarities between the Renaissance and Romanticism. A typical one was the importance of art to human cognition. Kant made a considerable contribution here as well. In his aesthetics he investigated what happens when we are overwhelmed by beauty--in a work of art, for instance. When we abandon ourselves to a work of art with no other intention than the aesthetic experience itself, we are brought closer to an experience of 'das Ding an sich.' "
"So the artist can provide something philosophers can't express?"
"That was the view of the Romantics. According to Kant, the artist plays freely on his faculty of cognition. The German poet Schiller developed Kant's thought further. He wrote that the activity of the artist is like playing, and man is only free when he plays, because then he makes up his own rules. The Romantics believed that only art could bring us closer to 'the inexpressible.' Some went as far as to compare the artist to God."
"Because the artist creates his own reality the way God created the world."
"It was said that the artist had a 'universe-creating imagination.' In his transports of artistic rapture he could sense the dissolving of the boundary between dream and reality.
"Novalis, one of the young geniuses, said that 'the world becomes a dream, and the dream becomes reality.' He wrote a novel called Heinrich von Ofterdingen set in Medieval times. It was unfinished when he died in 1801, but it was nevertheless a very significant novel. It tells of the young Heinrich who is searching for the 'blue flower' that he once saw in a dream and has yearned for ever since. The English Romantic poet Coleridge expressed the same idea; saying something like this:
What if you slept?