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C. E. Norton (search for this): chapter 22
Faust; although Goethe's Werther, and Schiller's Die Rauber showed that the tendency itself was at one time indigenous everywhere. In England, Bulwer and the younger Disraeli aimed to be prose Byrons; and in Moore and Mrs. Hemans, followed by Mrs. Norton and L. E. L., we see the sentimental spirit in successive degrees of dilution. All the vocal music of forty or fifty years ago —when the great German composers were but just beginning to make their power felt in this country—was of an intenrevail, while far higher in musical quality, offer human feeling itself in a purer, simpler, and doubtless nobler form; but the die-away period had its own fascination—the period when even the military bands marched to the plaintive strains of Mrs. Norton's Love Not. In prose literature, as has been said, Bulwer and Disraeli best represented that epoch. The two fashionable novels, par excellence, of a whole generation, were Pelham and Vivian Grey. In the latter, all the heights of foppery<
Werther (search for this): chapter 22
f those who were born into it, and grew up under it. Byron had as much to do with creating it as any one in England; but more probably it goes back to Rousseau in France; hardly, I should think to Petrarch, to whom Lowell is disposed to attribute it, and who certainly exerted very little influence in the way of sentimentality on his friend Chaucer. But the Byronic atmosphere certainly spread to Germany, as may be seen by the place conceded to that poet in Goethe's Faust; although Goethe's Werther, and Schiller's Die Rauber showed that the tendency itself was at one time indigenous everywhere. In England, Bulwer and the younger Disraeli aimed to be prose Byrons; and in Moore and Mrs. Hemans, followed by Mrs. Norton and L. E. L., we see the sentimental spirit in successive degrees of dilution. All the vocal music of forty or fifty years ago —when the great German composers were but just beginning to make their power felt in this country—was of an intensely sentimental description;
Jean Paul (search for this): chapter 22
emotions; it will presently be shown that they had many advantages; but in their full and unquestioned vigor they certainly belonged to the period when men wore cravats swathed half a dozen times round the neck, and when, as the author of Pelham wrote, there was safety in a swallow-tail. It is not in the English tongue alone that this emotional tendency was expressed, for Lamartine was then much read, and even his travels in the East were saturated with it; and so were the writings of Jean Paul, who then rivalled Goethe in the affections of the newly enrolled students of German, his Siebenkas which avowedly records the life, death, and wedding of a hero who deliberately counterfeits death, that he and his mismated wife may each espouse the object of a loftier tenderness, was the climax of the sentimental; and yet this preposterous situation was so seriously and sympathetically painted, that probably no one who read the book at that day can now revert to it without emotion. But i
Thomas Moore (search for this): chapter 22
ympathy to Dr. Holmes's poem on the Moore Festival, while to the older guests the allusions seemed all very familiar and even touching. The waning of sympathy for Moore and his Irish Melodies simply shows the diminished hold of the sentimental upon us, taking that word to represent a certain rather melodramatic self-consciousness,r's Die Rauber showed that the tendency itself was at one time indigenous everywhere. In England, Bulwer and the younger Disraeli aimed to be prose Byrons; and in Moore and Mrs. Hemans, followed by Mrs. Norton and L. E. L., we see the sentimental spirit in successive degrees of dilution. All the vocal music of forty or fifty yeeir power felt in this country—was of an intensely sentimental description; delightfully so, I might add, for those who were brought up to that kind of enjoyment. Moore's songs, such as Believe Me if all those Endearing Young Charms, Fly, fly from the World, O Bessy, with Me, The Harp that once through Tara's Halls, and a score o
J. J. Rousseau (search for this): chapter 22
us, taking that word to represent a certain rather melodramatic self-consciousness, a tender introspection in the region of the heart, a kind of studious cosseting of one's finer feelings. Perhaps it is not generally recognized how much more abundant was this sort of thing forty years ago than now, and how it moulded the very temperaments of those who were born into it, and grew up under it. Byron had as much to do with creating it as any one in England; but more probably it goes back to Rousseau in France; hardly, I should think to Petrarch, to whom Lowell is disposed to attribute it, and who certainly exerted very little influence in the way of sentimentality on his friend Chaucer. But the Byronic atmosphere certainly spread to Germany, as may be seen by the place conceded to that poet in Goethe's Faust; although Goethe's Werther, and Schiller's Die Rauber showed that the tendency itself was at one time indigenous everywhere. In England, Bulwer and the younger Disraeli aimed to
Wendell Holmes (search for this): chapter 22
XXI The decline of the sentimental at a private charitable reading, held lately a in Boston, it was noticed that the younger part of the audience responded but slightly in the way of sympathy to Dr. Holmes's poem on the Moore Festival, while to the older guests the allusions seemed all very familiar and even touching. The waning of sympathy for Moore and his Irish Melodies simply shows the diminished hold of the sentimental upon us, taking that word to represent a certain rather melodramatic self-consciousness, a tender introspection in the region of the heart, a kind of studious cosseting of one's finer feelings. Perhaps it is not generally recognized how much more abundant was this sort of thing forty years ago than now, and how it moulded the very temperaments of those who were born into it, and grew up under it. Byron had as much to do with creating it as any one in England; but more probably it goes back to Rousseau in France; hardly, I should think to Petrarch, to whom
Vivian (search for this): chapter 22
ered a weakness; the exquisite German songs that now prevail, while far higher in musical quality, offer human feeling itself in a purer, simpler, and doubtless nobler form; but the die-away period had its own fascination—the period when even the military bands marched to the plaintive strains of Mrs. Norton's Love Not. In prose literature, as has been said, Bulwer and Disraeli best represented that epoch. The two fashionable novels, par excellence, of a whole generation, were Pelham and Vivian Grey. In the latter, all the heights of foppery and persiflage did but set off what was then regarded as the unsurpassable pathos of Violet Fane's death; and though the consummate dandyism of the companion book had no such relief, yet Bulwer amply made up for it by the rivers of tears that were shed over his Pilgrims of the Rhine. Not a young lover of the period who had acquired a decent sentimental education, but was sure to put a flower between the leaves of that work where the author s
Sam Weller (search for this): chapter 22
liberately counterfeits death, that he and his mismated wife may each espouse the object of a loftier tenderness, was the climax of the sentimental; and yet this preposterous situation was so seriously and sympathetically painted, that probably no one who read the book at that day can now revert to it without emotion. But it is necessary to bear all this in mind in order to understand how all this atmosphere of exaggerated feeling seemed blown away in an instant by the first appearance of Sam Weller on the scene. Dickens himself bore marked traces of the very epidemic he banished, and his Little Nells and Little Pauls were the last survival of the sentimental period; but nevertheless, it was he, more than any one else, who exorcised it; and whatever its merits, he rendered the world a service in that act of grace. Yet no one can really regret, I should say, to have been born during that earlier period; it suffused life with a certain charm; and though it may sometimes have premat
Bulwer (search for this): chapter 22
's Werther, and Schiller's Die Rauber showed that the tendency itself was at one time indigenous everywhere. In England, Bulwer and the younger Disraeli aimed to be prose Byrons; and in Moore and Mrs. Hemans, followed by Mrs. Norton and L. E. L., we the military bands marched to the plaintive strains of Mrs. Norton's Love Not. In prose literature, as has been said, Bulwer and Disraeli best represented that epoch. The two fashionable novels, par excellence, of a whole generation, were Pelhamrpassable pathos of Violet Fane's death; and though the consummate dandyism of the companion book had no such relief, yet Bulwer amply made up for it by the rivers of tears that were shed over his Pilgrims of the Rhine. Not a young lover of the perie one of us who has not known a being for whom it would seem none too wild a fantasy, to indulge such a dream? Yes, yes, Bulwer! interpreter of one's visions, everybody had known such an object of emotion; and a thousand plain Susans and Sarahs sto
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