on and a firmer
belief in the spiritual foundations of experience than is shown by
their predecessors, though all Romanticism tried to penetrate the
mysteries of life and all Romanticists were seers as well as
prophets. In the later school, too, there appears a development of the
nature-sense far beyond anything shown in the first group. Indeed,
the Schlegels may be said to have been without a sense for nature; in
Tieck there is a great discrepancy between the man, his beliefs,
and his practise, and Novalis' nature-feeling is not attached to
any specific place. But Brentano loves the Rhine, and Eichendorff's
landscape is genuinely Silesian. Caroline and Dorothea know nothing of
the mood which makes Bettina throw herself prone in the grass to watch
an insect crawl over her hand.

A keener appreciation of natural beauty led to a study of natural
science; thence it was but a step to the "night-sides" of nature;
and spiritism, mesmerism, occultism, and abnormal psychology fill the
minds of such men as the Romantic philosopher Schubert, and of the
physicians Carus and Passavant. Justinus Kerner wrote of the Seeress
of Prevorst, and Clemens Brentano watched for years at the bedside
of a stigmatized nun. On the other hand, from nature comes a love for
home and country, and this love serves as a bridge to the patriotism
which was the vital force in the Wars of Liberation and which, by
well-marked gradations, destroyed the cosmopolitanism engendered by
the French Revolution. Art went hand in hand with nature; the
wild, weird landscapes of Caspar David Friedrich, fascinating and
specifically German, express the Romantic spirit fully as well as the
delicate, spiritual, and thoroughly sane fancies of Philip Otto Runge,
the artist of early Romanticism.

As the earlier men centred in Jena, so the later Romanticists
flourished in Heidelberg, that city which Eichendorff called "itself
a magnificent Romanticism." The earlier group was largely North German
and brought with it clear perception and a certain power of analysis,
an ability to dissect and to reason. With the Heidelberg group the
South begins to play a larger part, though there were a number of
North Germans in it. The richer fancy, the longer literary tradition,
now add color to their productions. It is significant, too, that
though "castle Romanticism" does not die out, a new note is struck
with the celebration of the Rhine in song, story, and legend. The
river begins wit