The group of later Romanticists is distinguished from the earlier pioneers by less emphasis on speculative philosophy, by greater spontaneity, and by more creative ability.  The later school was less interested in questions primarily esthetic and was more democratic.  Both groups were enemies of the aristocratic Enlightenment of the eighteenth century; but where the earlier group worked with the Kantian understanding and with a supersensuous philosophy, the younger men lived in the world and were of it; they used the people to carry on their propaganda.  Thus, though later Romanticism contains nearly all the ideas of earlier Romanticism, it displays in addition also, political, national, and social tendencies which were in the main foreign to the earlier writers.

There was in the later group a deeper sense of religion 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.