The ‘idea of absolute music’ proposed by Carl Dahlhaus has encouraged a view of German Romantic music aesthetics as preoccupied with instrumental music, and more interested in lofty metaphysics than emotion. Yet writers such as Novalis and Hoffmann saw the ‘Absolute’ precisely in emotional terms, and argued that its presentation was the task of a new, socially accessible genre of national opera. This would draw its subjects from the popular mythological and ‘romantic’ realm of fairy tale and fantasy, while ‘pure’ music – instrumental and church genres – was imagined in the sensational contemporary terms of the gothic. When instrumental genres were eventually revaluated above opera, it was because they were held to embody another popular trait valued by Hoffmann – humour. Strongly promoted by German critics in the 1830s, humour and the ‘humoristic’ posited the exploitation of emotional contrast as the highest aim of instrumental music after Beethoven.

Focussing on the 1820s and 30s, traditionally seen as transitional decades when many leading Romantic writers passed away, Chapter Fifteen analyses the effects of politics and of the cultural marketplace on literary production, arguing for a late-Romantic episteme recognisable in Britain, Germany, France, Spain, and Italy. After discussing some of problems inherent in the concept of late Romanticism, the author defines it as a series of cultural practices including improvisation, speculation, and performance that reflect the transitory nature of the period. This has been alternately labelled in German literary history as Spätromantik, Biedermeier, and Vormärz, none of which perfectly correspond. Informed by recent research in book and media history, the chapter discusses periodicals’ role in shaping the literary field, in particular Costumbrismo in Spain. These new forms of experimental and ephemeral writing reflect the period’s intense commercialism and consciousness of time, which contrast with the Romantic desire for transcendence. E. T. A. Hoffmann’s last story, ‘Des Vetters Eckfenster’ [My Cousin’s Corner Window], Walladmor, a satirical hoax in imitation of Walter Scott, and Balzac’s Colonel Chabert, serve as examples of late-Romantic tendencies.

Giovanni Baptista Morgagni (1682–1771), Professor of Anatomy at Padua, produced the most important studies in the eighteenth century on the De Medicina of the Roman encyclopediast A. Cornelius Celsus.  Morgagni’s intensive reading of Celsus combined his own medical experience with philological emendation.  Morgagni contextualized Celsus’ text within a theoretical framework of an empirically ordered transhistorical investigation of the structure, function, and pathology of the human body.  Here ancient and modern disciplinary authorities engaged with the same evidence available to the senses.  Morgagni’s argument in part contrasted Celsus’ humoralist evidence that bladder stones originate in the substance of the urine with Friedrich Hoffmann’s (1660–1742) argument that bladder stones originate in the iatromechanist action of the kidneys.  Morgagni’s emendations continue to mark our own contemporary editions of Celsus’ Latin text.

Best known for her links to Italy, where she moved at eighteen, Vernon Lee was a Pan-European who viewed western Europe as a single entity unified by shared culture and history despite local languages and customs. Born into an expatriate family, she learned multiple languages as her family shifted residences during her youth, including stays in Germany and Switzerland. More important, Vernon Lee’s wonder and imagination were awakened by her German-speaking Bernese governess who taught her German fairy tales and legends as well as history and literature; the governess also imparted a profound experience of female love. This chapter posits Lee’s foundational German-related childhood experiences as key to her psychological, sexual, and imaginative formation; her supernatural and historical writing; and her sexuality. After demonstrating the Anglo–German conversation of Lee’s supernatural tales, especially ‘Prince Alberic and the Snake Woman’, with German lore and the romantic tales of E.T.A. Hoffmann, the chapter focuses on the novella Ottilie (1883) as a site of Lee’s conceptualisation of haunted historical narrative. It concludes with a feminist reading of Ottilie and proposes the novella’s suitability as an imagined history of Ottilie von Goethe.