Editing Romanticism (section)

===Germany===
[[File:Des Knaben Wunderhorn III (1808).jpg|thumb|Title page of Volume III of ''[[Des Knaben Wunderhorn]]'', 1808]]
An early German influence came from [[Johann Wolfgang von Goethe]], whose 1774 novel ''[[The Sorrows of Young Werther]]'' had young men throughout Europe emulating its protagonist, a young artist with a very sensitive and passionate temperament. At that time Germany was a multitude of small separate states, and Goethe's works would have a seminal influence in developing a unifying sense of [[nationalism]].{{Citation needed|date=August 2022}} Another philosophical influence came from the German idealism of [[Johann Gottlieb Fichte]] and [[Friedrich Wilhelm Joseph Schelling|Friedrich Schelling]], making [[Jena]] (where Fichte lived, as well as Schelling, [[Georg Wilhelm Friedrich Hegel|Hegel]], [[Friedrich Schiller|Schiller]] and the [[August Wilhelm Schlegel|brothers]] [[Friedrich Schlegel|Schlegel]]) a centre for early [[German Romanticism]] (also known as [[Jena Romanticism]]). Important writers were [[Ludwig Tieck]], [[Novalis]], [[Heinrich von Kleist]], [[Friedrich Hölderlin]] and [[Heinrich Heine]]. [[Heidelberg]] later became a centre of German Romanticism, where writers and poets such as [[Clemens Brentano]], [[Achim von Arnim]] and [[Joseph Freiherr von Eichendorff]] (''[[Aus dem Leben eines Taugenichts]]'') met regularly in literary circles.{{Citation needed|date=August 2022}}

Important motifs in German Romanticism are travelling, nature, for example the [[German Forest]], and [[Germanic mythology|Germanic myths]]. The later German Romanticism of, for example [[E. T. A. Hoffmann]]'s ''[[Der Sandmann]]'' (''The Sandman''), 1817, and [[Joseph Freiherr von Eichendorff]]'s ''[[The Marble Statue|Das Marmorbild]]'' (''The Marble Statue''), 1819, was darker in its motifs and has [[gothic novel|gothic]] elements. The significance to Romanticism of childhood innocence, the importance of imagination, and racial theories all combined to give an unprecedented importance to [[folk literature]], non-classical [[mythology]] and [[children's literature]], above all in Germany.{{Citation needed|date=August 2022}} Brentano and von Arnim were significant literary figures who together published ''[[Des Knaben Wunderhorn]]'' ("The Boy's Magic Horn" or [[cornucopia]]), a collection of versified folk tales, in 1806–1808. The first collection of ''[[Grimms' Fairy Tales]]'' by the [[Brothers Grimm]] was published in 1812.<ref>{{Cite book |last=Zipes |first=Jack |year=1988 |title=The Brothers Grimm: From Enchanted Forests to the Modern World |edition=1st |publisher=Routledge |isbn=978-0-415-90081-2 |pages=[https://archive.org/details/brothersgrimmfro0000zipe/page/7 7–8] |url=https://archive.org/details/brothersgrimmfro0000zipe/page/7 }}</ref> Unlike the much later work of [[Hans Christian Andersen]], who was publishing his invented tales in Danish from 1835, these German works were at least mainly based on collected [[Folklore|folk tales]], and the Grimms remained true to the style of the telling in their early editions, though later rewriting some parts. One of the brothers, [[Jacob Grimm|Jacob]], published in 1835 ''[[Deutsche Mythologie]]'', a long academic work on Germanic mythology.<ref>{{Cite book |last=Zipes |first=Jack |year=2000 |title=The Oxford Companion to Fairy Tales |publisher=Oxford University Press |pages=[https://archive.org/details/oxfordcompaniont0000zipe/page/13 13–14, 218–19] |isbn=978-0-19-860115-9 |url=https://archive.org/details/oxfordcompaniont0000zipe/page/13 }}</ref> Another strain is exemplified by Schiller's highly emotional language and the depiction of physical violence in his play ''[[The Robbers]]'' of 1781.