Editing Romantic nationalism (section)

==German Romantic nationalism==
The Romantic movement was essential in spearheading the upsurge of [[German nationalists|German nationalism]] in the 19th century and especially the popular movement aiding the resurgence of [[Prussia]] after its defeat to [[Napoleon]] in the 1806 [[Battle of Jena-Auerstedt|Battle of Jena]]. [[Johann Gottlieb Fichte]]'s 1808 ''[[Addresses to the German Nation]]'', [[Bernd Heinrich Wilhelm von Kleist|Heinrich von Kleist]]'s fervent patriotic stage dramas before his death, and [[Ernst Moritz Arndt]]'s [[war poet]]ry during the [[German campaign of 1813|anti-Napoleonic struggle of 1813–15]] were all instrumental in shaping the character of German nationalism for the next one-and-a-half century in a [[ethnic nationalism|racialized ethnic]] rather than [[civic nationalism|civic nationalist]] direction. Romanticism also played a role in the popularization of the [[King asleep in mountain#German-speaking realm|Kyffhäuser myth]], about the [[Frederick Barbarossa, Holy Roman Emperor|Emperor Frederick Barbarossa]] sleeping atop the [[Kyffhäuser]] mountain and being expected to rise in a given time and save Germany) and the legend of the [[Lorelei]] (by [[Clemens Brentano|Brentano]] and [[Christian Johann Heinrich Heine|Heine]]) among others.
	
The [[Nazism|Nazi movement]] later appropriated the nationalistic elements of Romanticism, with Nazi chief ideologue [[Alfred Rosenberg]] writing: "The reaction in the form of German Romanticism was therefore as welcome as rain after a long drought. But in our own era of universal [[cosmopolitanism|internationalism]], it becomes necessary to follow this racially linked Romanticism to its core, and to free it from certain nervous convulsions which still adhere to it."<ref>{{Cite book|title=The Myth of the Twentieth Century: An Evaluation of the Spiritual-Intellectual Confrontations of Our Age|last=Rosenberg|first=Alfred|publisher=Noontide Press|year=1982|orig-year=1930|publication-place=Torrance, California|chapter=Book I: The Conflict of Values, Chapter I. Race and Race Soul|chapter-url=http://www.nommeraadio.ee/meedia/pdf/RRS/Alfred%20Rosenberg%20-%20The%20Myth%20of%20the%2020th%20Century.pdf|translator-last=Bird|translator-first=Vivian}}</ref> [[Paul Joseph Goebbels|Joseph Goebbels]] told theatre directors on 8 May 1933, just two days before the [[Nazi book burnings]] in Berlin, that: "German art of the next decade will be heroic, it will be like steel, it will be Romantic, non-sentimental, factual; it will be national with great pathos, and at once obligatory and binding, or it will be nothing."<ref>{{Cite book|title=Theatre in the Third Reich, the Prewar Years: Essays on Theatre in Nazi Germany (Contributions to the Study of World History)|last=Gadberry|first=Glenn W.|publisher=Praeger Publishers|year=1995|publication-place=Westport, Connecticut|chapter=Introduction|isbn=9780313295164|chapter-url=https://books.google.com/books?id=3w9XHH534cQC&q=%22German+art+of+the+next+decade+will+be+heroic%2C+it+will+be+like+steel%2C+it%22&pg=PA9}}</ref>

Of this phenomenon, the Soviet literary scholar Naum Berkovsky wrote:
{{Blockquote|text=[[German National Socialism|German fascism]] extracted Romanticism from the naphthalene of the past, established its ideological kinship with it, included it in its canon of forerunners, and after some cleansing on [[racial policy of Nazi Germany|racial]] grounds, absorbed it into the system of its ideology and thereby gave this trend, which in its time was not apolitical, a purely political and topical meaning ... [[Friedrich Wilhelm Joseph Von Schelling|Schelling]], [[Adam Müller]] and others thanks to the fascists again became our contemporaries, though in the specific sense in which every corpse taken out of its century-old coffin for any need becomes a "contemporary". In his book ''The Tasks of National Socialist Literary Criticism'', Walther Linden, who revised the [[German literature#Periodization|history of German literature]] from a fascist point of view, considers the most valuable for fascism that stage in the development of [[German Romanticism]] when it freed itself from the influences of the [[Great French Revolution|French Revolution]] and thanks to Adam Müller, [[Johann Joseph von Goerres|Görres]], [[Achim von Arnim|Arnim]] and Schelling began to create truly German national literature on the basis of [[German art#Middle Ages|German medieval art]], religion and patriotism.<ref>{{Cite book|title=Немецкая романтическая повесть. Том I|last=Berkovsky|first=Naum Yakovlevich|publisher=[[Academia (Soviet publishing house)|Academia]]|year=1935|publication-place=Moscow and Leningrad|chapter=От издательства|chapter-url=https://imwerden.de/pdf/nemetskaya_romantichesklaya_povest_tom1_academia_1935_text.pdf}}</ref>}}
	
This made scholars and critics like [[Fritz Strich]], [[Thomas Mann]] and [[Victor Klemperer]], who before the war were supporters of Romanticism, to reconsider their stance after the war and the Nazi experience and to adopt a more anti-Romantic position.<ref>{{Cite book|title=Anasintaxi Newspaper, issue 385|year=2013|chapter=Reactionary German Romanticism|chapter-url=https://translate.google.gr/translate?hl=en&sl=el&u=https://athens.indymedia.org/post/1467916/}}</ref>

[[Christian Johann Heinrich Heine|Heinrich Heine]] parodied such Romantic modernizations of medieval folkloric myths in the "''Barbarossa''" chapter of his large 1844 poem ''[[Deutschland. Ein Wintermarchen|Germany. A Winter's Tale]]'':
	
<poem style="margin-left:1em; float:left;">Forgive, O [[Frederick Barbarossa|Barbarossa]], my hasty words!	
I do not possess a wise soul	
Like you, and I have little patience,
So, please, come back soon, after all!
 
Retain the old methods of punishment,	
If you judge the [[guillotine]] unpleasant:
The sword for the [[German nobility|nobleman]], and the cord
For the townsman and vulgar peasant.
	
But, do switch things around, now and then:	
Peasants and townsmen should die by the sword,
And noblemen should hang on a rope.
We’re all the creatures of the [[God|Lord]]!

Bring back the laws of [[Charles V, Holy Roman Emperor|Charles the Fifth]],
With the hanging courts restoration,
And divide the people, as before,
Into guild, estate and corporation.

Restore the old [[Holy Roman Empire of the German Nation|Holy Roman Empire]],	
As it was, whole and immense.
Bring back all its musty junk,
And all its foolish nonsense.

The [[Middle Ages]] I’ll endure,
If you bring back the genuine item;
Just rescue us from this bastard state,
And from its farcical system,

From that mongrel chivalry,
Such a nauseating dish
Of [[Goths|Gothic]] fancies and modern deceit,
That is neither flesh nor fish.
	
Shut down all the theatres,	
And chase their comedians pack,
Who parody the olden days.
O, Emperor, do come back!<ref>{{Cite book|title=Germany. A Winter's Tale|last=Heine|first=Heinrich|publisher=Montial|year=2007|orig-year=1844|publication-place=New York|chapter=Caput XVII|chapter-url=http://ciml.250x.com/archive/literature/english/heine/heinrich_heine_english.html|translator-last=Bowring|translator-first=Edgar Alfred}}</ref><ref>{{Cite book|title=The Destruction of Reason|last=Lukács|first=György|publisher=Merlin Press|year=1980|orig-year=1952|publication-place=London|chapter=Schelling's Later Philosophy|chapter-url=https://edisciplinas.usp.br/pluginfile.php/4179816/mod_resource/content/1/THE%20DESTRUCTION%20OF%20REASON.pdf|translator-last=Palmer|translator-first=Peter R.}}</ref><ref>{{Cite book|title=Fortschritt und Reaktion in der deutschen Literatur|last=Lukács|first=György|publisher=Aufbau-Verlag|year=1947|publication-place=Berlin|chapter=Romanticism (Die Romantik als Wendung in der deutschen Literatur)|chapter-url=https://www.marxists.org/archive/lukacs/works/1945/romanticism.htm|translator-last=P.|translator-first=Anton}}</ref></poem>{{clear|left}}