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[949

Predrag Krsti
The Truth of a Child: Romantic Critique
of the Enlightenment Vision of Growing Up
Summary
The work primarily detects and exposes rival models of understanding of
growing up. In the rationalist tradition of the Enlightenment, marks and criteria of
the successfulness of maturation are the independence of thought, gaining advanced
and finally complete autonomy. Maturation is, especially in Kant, interwoven with
the pathos of freedom, resistance to tutors and every patronage, but also with pointing out the responsibility, legality and purposefulness of the freedom that equally
resists enthusiastic enticement and the rhapsodic craze.
It is different, however, with the romantic and religious visions of growing up.
Being an adult here means exactly to overcome childrens diseases, to eradicate
the sound and the fury, to cure oneself from selfishness. Maturation is nothing
but a deviation from the illusion of self-sufficiency and self-creation and conciliation with the insight that we are determined by units that rise above us. Those units,
much older, more fundamental and more important than us, are the structures we are
inexorably woven into and structures that primarily define us. Growing up means
gaining awareness about the respect that we owe to entities we inevitably depend on,
which enables and constitutes us, rather than defying it.
In the late eighteenth and early nineteenth century, this orientation had its
significant representatives. Hamans evocation of the Gospel image of maturity as
sacred innocence is followed by the romantic redivinisation of sourcefulness, the affirmation of innocence, joy, and the focus and investment in the image of the child.
Wordsworth, Blake and Shelley on the island side, and Friedrich Schlegel, Novalis and Schleiermacher, while articulating and profiling German Romanticism,
celebrate childhood (and traits they attributed to it) in their writings. Immediacy, innocence, joy, personified in the image of the child, become keywords that oppose
the methodical and graduate ascent, chain of argumentation, endless mediations, and
old-age-seriousness of the philosophy of the Enlightenment. The research passion of
the prudent adult who self-legislatively and responsibly builds him/herself through
his/her own history, gives way to the existence of compelling self-sufficiency of
childhood. Such an existence is not becoming, and such self-sufficiency is not only
a possibility, but is itself a complete realization of the self.
Through the motif of the truth of the child, characteristic for at least one
major stream of the movement, romanticism thus openly rebels against the truth
of the adult autonomous subject, which Enlightenment declared as its aim and password. The uprising, as befitting, is not expressed by means of scientific or philosophical elaboration, but by poetic images, imagination and unfettered textual play.
Therefore, however, it is not less coherent within itself, nor with less claims to the
validity of its concept of growing up. In any case, the Enlightenment vision of childhood as a self-evident point of resistance, as well as addressee of the call to come out
of immaturity, even in Kants and, especially, in Coleridges time, is challenged with
an image according to which self-legislative exit from the minority and enlightened
rational order are not desirable notions of the state in which the already suspected
rebellion against all tutors ends. The Child is a symbol warning and therefore at
least an instructive corrective of the hypertrophied rationality.
Key words: Enlightenment, Romanticism, child, immaturity, innocence, originality, housing.

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