Andrea Wulf writes:

In September 1798, one day after their poem collection Lyrical Ballads was published, the poets Samuel Taylor Coleridge and William Wordsworth sailed from Yarmouth, on the Norfolk coast, to Hamburg in the far north of the German states. Coleridge had spent the previous few months preparing for what he called ‘my German expedition’. The realisation of the scheme, he explained to a friend, was of the highest importance to ‘my intellectual utility; and of course to my moral happiness’. He wanted to master the German language and meet the thinkers and writers who lived in Jena, a small university town, southwest of Berlin. On Thomas Poole’s advice, his motto had been: ‘Speak nothing but German. Live with Germans. Read in German. Think in German.’

After a few days in Hamburg, Coleridge realised he didn’t have enough money to travel the 300 miles south to Jena and Weimar, and instead he spent almost five months in nearby Ratzeburg, then studied for several months in Göttingen. He soon spoke German. Though he deemed his pronunciation ‘hideous’, his knowledge of the language was so good that he would later translate Friedrich Schiller’s drama Wallenstein (1800) and Goethe’s Faust (1808). Those 10 months in Germany marked a turning point in Coleridge’s life. He had left England as a poet but returned with the mind of a philosopher – and a trunk full of philosophical books. ‘No man was ever yet a great poet,’ Coleridge later wrote, ‘without being at the same time a profound philosopher.’ Though Coleridge never made it to Jena, the ideas that came out of this small town were vitally important for his thinking – from Johann Gottlieb Fichte’s philosophy of the self to Friedrich Schelling’s ideas on the unity of mind and nature. ‘There is no doubt,’ one of his friends later said, ‘that Coleridge’s mind is much more German than English.’

Few in the English-speaking world will have heard of this little German town, but what happened in Jena in the last decade of the 18th century has shaped us. The Jena group’s emphasis on individual experience, their description of nature as a living organism, their insistence that art was the unifying bond between mind and the external world, and their concept of the unity of humankind and nature became popular themes in the works of artists, writers, poets and musicians across Europe and the United States. They were the first to proclaim these ideas, which rippled out into the wider world, influencing not only the English Romantics but also American writers such as Henry David Thoreau, Ralph Waldo Emerson and Walt Whitman. Many learned German to understand the works of the young Romantics in Jena in the original; others studied translations or read books about them. They were all fascinated by what Emerson called ‘this strange genial poetic comprehensive philosophy’. In the decades that followed, the Jena Set’s works were read in Italy, Russia, France, Spain, Denmark and Poland. Everybody was suffering from ‘Germanomania’, as Adam Mickiewicz, one of Poland’s leading poets, said. ‘If we cannot be original,’ Maurycy Mochnacki, one of the founders of Polish Romanticism, wrote, ‘we better imitate the great Romantic poetry of the Germans and decisively reject French models.’

This was not a fashionable craze, but a profound shift in thinking, away from Isaac Newton’s mechanistic model of nature. Despite what many people might think today, the young Romantics didn’t turn against the sciences or reason, but lamented what Coleridge described as the absence of ‘connective powers of the understanding’. [Continue reading…]