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Despite its widely acknowledged importance in and beyond the thought of the Romantic period, the distinctive concept of the symbol articulated by such writers as Goethe and F. W. J. Schelling in Germany and S. T. Coleridge in England has defied adequate historical explanation. In contrast to previous scholarship, Nicholas Halmi's study provides such an explanation by relating the content of Romantic symbolist theory - often criticized as irrationalist - to the cultural needs of its time. Because its genealogical method eschews a single disciplinary perspective, this study is able to examine the Romantic concept of the symbol in a broader intellectual context than previous scholarship, a context ranging chronologically from classical antiquity to the present and encompassing literary criticism and theory, aesthetics, semiotics, theology, metaphysics, natural philosophy, astronomy, poetry, and the origins of landscape painting. The concept is thus revealed to be a specifically modern response to modern discontents, neither reverting to pre-modern modes of thought nor secularizing Christian theology, but countering Enlightenment dualisms with means bequeathed by the Enlightenment itself. This book seeks, in short, to do for the Romantic symbol what Percy Bysshe Shelley called on poets to do for the world: to lift from it its veil of familiarity.
[...]... subordinated the interests of the former to those of the latter in his assessment of the Romantics: having posited his own denition of the symbol as demystied, he was bound to reject the Romantic denition as the opposite A subtler example of this subordination of interests occurs in Ecos presentation of the secular symbolic mode, with its atheistic theology of unlimited semiosis, as a secularized form of the. .. Dening the Romantic Symbol in the visual arts. So although it is perfectly true that the some of the Romantics used the concept of allegory as a foil for that of the symbol, as Benjamin insisted, they did not need to invent a concept for that purpose. They had only to adopt the one that lay before them in eighteenth-century aesthetic treatises Important as the concept of the symbol itself was in Romantic. .. meets the bodily sense I deem | Symbolical, or yet as in Novaliss notes for his abortive encyclopedia project: Symbolism of the human body of the animal worldof the plant world(Everything can be a symbol of something elsesymbolic function. )of natureof mineralsof atmospheric elementsof meteorsof starsof sensationsthoughtsof soulsof historyof mathematics. Such statements, which by universalizing the application... basis of an attempt to use a classicatory model to demonstrate the irrelevance of aesthetic classications to the symbol In order to comprehend this paradox, we must rst recognize how radically the Romantic concept of the symbol differs from that with which it might seem to have most in common, the pseudo-Dionysian concept of the incongruous symbol which reveals the divine in the form of the profane, the. .. characteristics of Romantic symbolist theoryits differentiation of symbol from allegory, its refusal to distinguish between image and meaning, its conation of the relations of part and whole and of identity and difference, its denial of the possibility of interpreting the symbolfollow from particular burdens that the Romantic theorists inherited from the Enlightenment: confronted with the challenge of claiming the. .. interpreted, Romantic symbolist theory had to be institutive rather than interpretive: it was itself the act of institution, or what Eco would call the act of textual production, that it denied its object It is indicative of Goethes afnity with the Romantics in this respect that a lyric from his Sturm-und-Drang period anticipated their characteristic view of nature as a collection of not-yet-interpreted symbols... summarize the argument: the theorization of the symbol in the Romantic period may be understood as an attempt, however illogical and methodologically dubious in itself, to foster a sense of the harmony of the human mind with nature, of the unity of seemingly disparate intellectual disciplines, and of the compatibility of individual freedom with a cohesive social structureall for the sake of reducing... perception, the symbolist theory of the philosophically minded Romantics, for the most part Germans, was closely related to the poetic project of English poets like Wordsworth and Shelley, who sought to reveal the extraordinary in the ordinary and thereby transform human understanding of the external world Wordsworths true afnity with the theorists of the symbol, including his collaborator on the Lyrical... Chapter 4, of the Romantic (and particularly Coleridgean) concept of the symbol as a gment of Christian theology I may have contributed to that misunderstanding myself when I proposed some years ago that the Romantics developed the concept of the symbol to compensate for allegorys loss of numinousness at the hands of Enlightenment critics (By numinousness I mean the ability to suggest the presence of hidden... fact chosen [abgestimmt] to be the dark background against which the world of the symbol would stand out brightly. Dening the Romantic Symbol 13 Hegel retained only the historical distinction, identifying the art of ancient Egypt and India as symbolic: this lack of interest in the contemporary viability of the symbol is the reason for his almost complete absence from the present study Since my purpose . hand the symbol was sup- posed to be the point of contact between the contingent and the absolute, the finite and the infinite, the sensuous and the super- sensuous, the temporal and the eternal, the. subordinated the interests of the former to those of the latter in his assessment of the Romantics: having posited his own definition of the symbol as demystified, he was bound to reject the Romantic.