Romantic nationalism

In the Balkans, Romantic views of a connection with classical Greece, which inspired Philhellenism infused the Greek War of Independence (1821–30), in which the Romantic poet Lord Byron died of high fever. Rossini's opera William Tell (1829) marked the onset of the Romantic opera, using the central national myth unifying Switzerland; and in Brussels, a riot (August 1830) after an opera that set a doomed romance against a background of foreign oppression (Auber's La Muette de Portici) sparked the Belgian Revolution of 1830–31, the first successful revolution in the model of Romantic nationalism. Verdi's opera choruses of an oppressed people inspired two generations of patriots in Italy, especially with "Va pensiero" (Nabucco, 1842). Under the influence of romantic nationalism, among economic and political forces, both Germany and Italy found political unity, and movements to create nations similarly based upon ethnic groups. It would flower in the Balkans (see for example, the Carinthian Plebiscite, 1920), along the Baltic Sea, and in the interior of Central Europe, where in the eventual outcome, the Habsburgs succumbed to the surge of Romantic nationalism.[5] In Norway, romanticism was embodied, not in literature, but in the movement toward a national style, both in architecture and in ethos.[6] Earlier, there was a strong romantic nationalist element mixed with Enlightenment rationalism in the rhetoric used in North America, in the American colonists' declaration of independence from Great Britain and the drafting of the U.S. Constitution of 1787, as well as the rhetoric in the wave of rebellions, inspired by new senses of localized identities, which swept the American colonies of Spain, one after the other, from the May Revolution of Argentina in 1810.

Following the ultimate collapse of the First French Empire with the fall of Napoleon, conservative elements took control in Europe, led by the Austrian noble Klemens von Metternich, ideals of the balance of power between the great powers of Europe dominated continental politics of the first half of the 19th century. Following the Congress of Vienna, and subsequent Concert of Europe system, several major empires took control of European politics. Among these were the Russian Empire, the restored French monarchy, the German Confederation, under the dominance of Prussia, the Austrian Empire, and the Ottoman Empire.

The conservative forces held sway until the Revolutions of 1848 swept across Europe and threatened the old order. Numerous movements developed around various cultural groups, who began to develop a sense of national identity. While initially, all of these revolutions failed, and reactionary forces would re-establish political control, the revolutions marked the start of the steady progress towards the end of the Concert of Europe under the dominance of a few multi-national empires and led to the establishment of the modern nation state in Europe; a process that would not be complete for over a century and a half. Central and Eastern Europe's political situation was partly shaped by the two World Wars, while many national identities in these two regions formed modern nation states when the collapse of the Soviet Union and the multinational states Yugoslavia and Czechoslovakia led to numerous new states forming during the last decade of the 20th century.

John Gast, American Progress, (circa 1872) celebrates U.S. romantic nationalism in the form of westward expansion – an idea known as "Manifest Destiny".

Romantic nationalism inspired the collection of folklore by such people as the Brothers Grimm. The view that fairy tales, unless contaminated from outside literary sources, were preserved in the same form over thousands of years, was not exclusive to Romantic Nationalists, but it fit in well with their views that such tales expressed the primordial nature of a people.

The Brothers Grimm were criticized because their first edition was insufficiently German, and they followed the advice. They rejected many tales they collected because of their similarity to tales by Charles Perrault, which they thought proved they were not truly German tales; Sleeping Beauty survived in their collection because the tale of Brynhildr convinced them that the figure of the sleeping princess was authentically German. They also altered the language used, changing each "Fee" (fairy) to an enchantress or wise woman, every "prince" to a "king's son", every "princess" to a "king's daughter".[7] Discussing these views in their third editions, they particularly singled out Giambattista Basile's Pentamerone as the first national collection of fairy tales, and as capturing the Neapolitan voice.[8]

The work of the Brothers Grimm influenced other collectors, both inspiring them to collect tales and leading them to similarly believe that the fairy tales of a country were particularly representative of it, to the neglect of cross-cultural influence. Among those influenced were the Russian Alexander Afanasyev, the Norwegians Peter Christen Asbjørnsen and Jørgen Moe, and the Australian Joseph Jacobs.[9]

"The Bard" by John Martin: a romantic vision of a single Welsh bard escaping a massacre ordered by Edward I of England, intended to destroy Welsh culture

The concept of a "national epic", an extensively mythologized legendary work of poetry of defining importance to a certain nation, is another product of Romantic nationalism. The "discovery" of Beowulf in a single manuscript, first transcribed in 1818, came under the impetus of Romantic nationalism, after the manuscript had lain as an ignored curiosity in scholars' collections for two centuries. Beowulf was felt to provide people self-identified as "Anglo-Saxon" with their missing "national epic",[10] just when the need for it was first being felt: the fact that Beowulf himself was a Geat was easily overlooked. The pseudo-Gaelic literary forgeries of "Ossian" had failed, finally, to fill the need for the first Romantic generation.

The first publication of The Tale of Igor's Campaign coincided with the rise in Russian national spirit in the wake of the Napoleonic wars and Suvorov's campaigns in Central Europe. The unseen and unheard Song of Roland had become a dim memory, until the antiquary Francisque Michel transcribed a worn copy in the Bodleian Library and put it into print in 1837; it was timely: French interest in the national epic revived among the Romantic generation. In Greece, the Iliad and Odyssey took on new urgency during the Greek War of Independence. Amongst the world's Jewish community, the early Zionists considered the Bible a more suitable national epic than the Talmud.[11]

Many other "national epics", epic poetry considered to reflect the national spirit, were produced or revived under the influence of Romantic nationalism: particularly in the Russian Empire, national minorities seeking to assert their own identities in the face of Russification produced new national poetry – either out of whole cloth, or from cobbling together folk poetry, or by resurrecting older narrative poetry. Examples include the Estonian Kalevipoeg, Finnish Kalevala, Polish Pan Tadeusz, Latvian Lāčplēsis, Armenian Sasuntzi Davit by Hovhannes Tumanyan, Georgian The Knight in the Panther's Skin and Greater Iran, Shahnameh.

At the same time, linguistic and cultural nationality, colored with pre-genetic concepts of race, bolstered two rhetorical claims used to this day: claims of primacy and claims of superiority. Primacy is the claimed inalienable right of a culturally and racially defined people to a geographical terrain, a "heartland" (a vivid expression) or homeland. Richard Wagner notoriously argued that those who were ethnically different could not comprehend the artistic and cultural meaning inherent in national culture. Identifying "Jewishness" even in musical style,[19] he specifically attacked the Jews as being unwilling to assimilate into German culture, and thus unable to truly comprehend the mysteries of its music and language. Sometimes "national epics" such as the Nibelunglied have had a galvanizing effect on social politics.

Frog Tsarevna, by Viktor Vasnetsov, 1918.

In the first two decades of the 20th century, Romantic Nationalism as an idea was to have crucial influence on political events. Following the Panic of 1873 that gave rise to a new wave of antisemitism and racism in the German Empire politically ruled by an authoritarian, militaristic conservatism under Otto von Bismarck and in parallel with the Fin de siècle (which was also reflected to a degree in the contemporary art movements of symbolism, the Decadent movement, and Art Nouveau), the racialist völkisch movement which grew out of romantic nationalism in Germany in the late 19th century.[20]

The rising nationalistic and imperialistic tensions between the European nations throughout the Fin de siècle period eventually erupted in the First World War. After Germany had lost the war and undergone the tumultuous German Revolution, the völkisch movement drastically radicalized itself in Weimar Germany under the harsh terms of the Treaty of Versailles, and Adolf Hitler would go on to say that "the basic ideas of National-Socialism are völkisch, just as the völkisch ideas are National-Socialist".

Outside of Germany, the belief among European powers was that nation-states forming around unities of language, culture and ethnicity were "natural" in some sense. For this reason President Woodrow Wilson would argue for the creation of self-determining states in the wake of the Great War. However, the belief in romantic nationalism was not reflected in subsequent politics. In redrawing the map of Europe, Yugoslavia was created as an intentional coalition state among competing, and often mutually hostile, southern Slavic peoples, and the League of Nations' mandates were often drawn, not to unify ethnic groups, but to divide them. To take one example, the nation now known as Iraq intentionally joined together three Ottoman vilayets, uniting Kurds in the north, Sunni Arabs in the center, and Shia Arabs in the south, in an effort to present a strong national buffer state between Turkey and Persia: over these was placed a foreign king from the Hashemite dynasty native to the Hijaz.