Editing Czech literature (section)

==19th century==
Pre-romanticism formed the transition between enlightened classicism and romanticism – the pre-romantics did not completely abandon the emphasis on poetic forms drawn from [[ancient history|antiquity]], but relaxed the strict separation between the genres and turned away from didactic genres toward more lyric, folk-inspired works (e.g. [[Ján Kollár]] and [[František Čelakovský]].) It was during this period that the idea of a truly national literature and culture developed, as a rejection of [[Bernard Bolzano]]'s vision of a bi-lingual and bi-cultural Czech-German state. The perhaps greatest figure of this era is [[Josef Jungmann]], who translated many classics of world literature and spent his life establishing Czech literature as a serious, rich literature capable of great development. [[František Palacký]] and [[Pavel Jozef Šafárik]] took up the challenge of reexamining Czech history. As part of the effort to establish a pedigree for Czech literature and culture, Czech historians of the time sought evidence of heroic epics of the Middle Ages. They appeared to find such evidence in the ''[[Manuscripts of the Queen's Court and Green Mountain|Rukopis královédvorský]]'' and ''[[Manuscripts of the Queen's Court and Green Mountain|Rukopis zelenohorský]]'' (the ''Dvůr Králové Manuscript'' and the ''Zelená Hora Manuscript'', respectively), although both were later proven forgeries.

[[File:Bozena Nemcova.jpg|thumbnail|right|[[Božena Němcová]], whose ''Babička ([[The Grandmother]])'' is considered a classic of Czech Literature]]
By the 1830s, the foundations of Czech literature were laid and authors now began to focus more on the artistic merits of their work and less on developing the idea of Czech literature and culture as a whole. During this time period two main types of literature were produced: [[Biedermeier]] literature, which strove to educate the readers and encourage them to be loyal to the [[Austro-Hungarian Empire]] (e.g. [[Karel Jaromír Erben]] and [[Božena Němcová]]), and [[romanticism]], which emphasized the freedom of the individual and focused on subjectivity and the subconscious (e.g. [[Karel Hynek Mácha]], [[Václav Bolemír Nebeský]].) These authors were generally published in either newspapers or in the literary magazine ''[[Květy]]'' (''Blossoms'') published by [[Josef Kajetán Tyl]].

The year 1848 brought to the fore a new generation of Czech authors who followed in the footsteps of Mácha, and published their work in the new almanac ''[[Máj (literary almanac)|Máj]]'' (''May'') (e.g. [[Vítězslav Hálek]], [[Karolina Světlá]] and [[Jan Neruda]]). These authors rejected the narrow ideal of a purely national culture and favored one that incorporated Czech literature into European culture and drew inspiration from the progress made outside of the Czech lands. Their work, however, also commented on the encroachment of [[industrialization]] and focused increasingly on the simple life as opposed to the unfettered romantic ideal.

The May generation was followed by the [[neo-romanticism|neo-romantics]], who continued in the romantic tradition, but also incorporated more contemporary styles: [[Literary realism|realism]], [[Symbolism (arts)|Symbolism]], and [[decadence]]. Three periods are apparent: the first reacted to the disappointment due to the lack of political and social progress during the 1870s (e.g. [[Václav Šolc]]); the second was the great return to poetry, especially epic poetry (e.g. [[Josef Václav Sládek]]); and the third focused on prose (e.g. [[Alois Jirásek]]).

In conversation with the neo-romantics, the next generation of authors leaned toward realism and [[naturalism (literature)|naturalism]], the ordinary and banal. They favored contemporary subjects over historical ones, and sought to deemphasize the personal voice of the author in comparison to the often highly colored speech of the characters. Two main topics were of interest: the exploration of the Czech village and the extent to which it remained an oasis of good morals ([[Jan Herben]], [[Karel Václav Rais]], [[Alois Mrštík]]); and [[Prague]], especially the life of the lower classes ([[Ignát Herrman]], [[Karel Matěj Čapek Chod]]).

The last literary generation of the 19th century signaled a decided break with the past and the advent of [[modernism]] – after the wave of optimism in the wake of the [[French Revolution]] at the beginning of the century, the lack of progress in implementing these ideals of freedom and brotherhood led to both a skepticism toward the possibility of ever achieving these ideals, and renewed efforts to do so. The common link between authors of this generation is their adherence to a particular style over their own voices, and their often very critical perspectives on the work of the previous generations. The modernists also inaugurated the cult of the artist, and this period saw the birth of the literary critic as an independent profession, as an ally of the artist, helping to both define and present work to the public ([[František Xaver Šalda]]). Notable poets of this period drew on the works and translations of the poet [[Jaroslav Vrchlický]] and include, among others, [[Josef Svatopluk Machar]], [[Antonín Sova]], [[Otokar Březina]], and [[Karel Hlaváček]]); prose authors include [[Vilém Mrštík]], [[Růžena Svobodová]], and [[Josef Karel Šlejhar]].