Romantic

The opposite of cla i (which denotes an accepted and comprehended type, in which form and spirit blend to form an harmonious whole). Romantic was an epithet originally derived from Romance poems of the early middle ages, and applied to very various products of a_ lively, gloomy, or heated imagination down tc the German revival of Romantic literature during the 18th century. All late romantic poems having something of exalted mysticism, visionary enthusi. asm, or strong subjective and senti mental emotion of an uncommon type, the term romantic was naturally trans. ferred to composers and their works that depart from the beaten track, and aim at expre ing emotion in a style and with means differing from those employed by their predece ors. Thus, old forms are broadened, new forms and types created, and also many eccentric. and ill-conceived production: brought to light. Hence it comes, too, that the Romanticists of to-day are the Cla icists of to-morrow; that Haydn and Mozart, — Beethoven, — Weber, Chopin, and Schumann,—Berlioz, Liszt, and Wagner,—are all in turn decried, listened to, tolerated, admired, worshipped,—and ‘imitated. "And the imitators of original genius are simply post-cla icists, who, in full accord with the form and mode of expre ion employed es their models, seek to elaborate and finish both in a manner suited to their own needs. It might be said, that any great original composer re mains a romanticist until he is thoroughly understood. Berlioz, Liszt, Wagner and their following are generally cla ed as the neo-romantic school.