Life Without and Life Within; or, Reviews, Narratives, Essays, and Poems.

The acting out the mystery into life, the calmness of survey, and the passionateness of feeling, above all the ironical baffling at the end, and want of point to a tale got up with such an eye to effect as he goes along, mark well the man that was to be. Even so did he demand in Werther; even so resolutely open the door in the first part of Faust; even so seem to play with himself and his contemporaries in the second part of Faust and Wilhelm Meister. Yet was he deeply earnest in his play, not for men, but for himself. To himself as a part of nature it was important to grow, to lift his head to the light. In nature he had all confidence; for man, as a part of nature, infinite hope; but in him as an individual will, seemingly, not much trust at the earliest age. The history of his intimacies marks his course; they were entered into with passionate eagerness, but always ended in an observation of the intellect, and he left them on his road, as the snake leaves his skin. The first man he met of sufficient force to command a large share of his attention was Herder, and the benefit of this intercourse was critical, not genial. Of the good Lavater he soon perceived the weakness. Merck, again, commanded his respect; but the force of Merck also was cold. But in the Grand Duke of Weimar he seems to have met a character strong enough to exercise a decisive influence upon his own. Goethe was not so politic and worldly that a little man could ever have become his Maecenas. In the Duchess Amelia and her son he found that practical sagacity, large knowledge of things as they are, active force, and genial feeling, which he had never before seen combined. The wise mind of the duchess gave the first impulse to the noble course of Weimar. But that her son should have availed himself of the foundation she laid is praise enough, in a world where there is such a rebound from parental influence that it generally seems that the child makes use of the directions given by the parent only to avoid the prescribed path. The duke availed himself of guidance, though with a perfect independence in action. The duchess had the unusual wisdom to know the right time for giving up the reins, and thus maintained her authority as far as the weight of her character was calculated to give it. Of her Goethe was thinking when he wrote, "The admirable woman is she, who, if the husband dies, can be a father to the children." The duke seems to have been one of those characters which are best known by the impression their personal presence makes on us, resembling an elemental and pervasive force, rather than wearing the features of an individuality. Goethe describes him as "_Daemonische_," that is, gifted with an instinctive, spontaneous force, which at once, without calculation or foresight, chooses the right means to an end. As these beings do not calculate, so is their influence incalculable. Their repose has as much influence over other beings as their action, even as the thunder cloud, lying black and distant in the summer sky, is not less imposing than when it bursts and gives forth its quick lightnings. Such men were Mirabeau and Swift. They had also distinct talents, but their influence was from a perception in the minds of men of this spontaneous energy in their natures. Sometimes, though rarely, we see such a man in an obscure position; circumstances have not led him to a large sphere; he may not have expressed in words a single thought worth recording; but by his eye and voice he rules all around him. He stands upon his feet with a firmness and calm security which make other men seem to halt and totter in their gait. In his deep eye is seen an infinite comprehension, an infinite reserve of power. No accent of his sonorous voice is lost on any ear within hearing; and, when he speaks, men hate or fear perhaps the disturbing power they feel, but never dream of disobeying. But hear Goethe himself. "The boy believed in nature, in the animate and inanimate the intelligent and unconscious, to discover somewhat which manifested itself only through contradiction, and therefore could not be comprehended by any conception, much less defined by a word. It was not divine, for it seemed without reason; not human, because without understanding; not devilish, because it worked to good; not angelic, because it often betrayed a petulant love of mischief. It was like chance, in that it proved no sequence; it suggested the thought of Providence, because it indicated connection. To this all our limitations seem penetrable; it seemed to play at will with all the elements of our being; it compressed time and dilated space. Only in the impossible did it seem to delight, and to cast the possible aside with disdain. "This existence which seemed to mingle with others, sometimes to separate, sometimes to unite, I called the Daemonische, after the example of the ancients, and others who have observed somewhat similar."--_Dichtung und Wahrheit._ "The Daemonische is that which cannot be explained by reason or understanding; it lies not in my nature, but I am subject to it. "Napoleon was a being of this class, and in so high a degree that scarce any one is to be compared with him. Also our late grand duke was such a nature, full of unlimited power of action and unrest, so that his own dominion was too little for him, and the greatest would have been too little. Demoniac beings of this sort the Greeks reckoned among their demigods."--_Conversations with Eckermann._[3] This great force of will, this instinctive directness of action, gave the duke an immediate ascendency over Goethe which no other person had ever possessed. It was by no means mere sycophancy that made him give up the next ten years, the prime of his manhood, to accompanying the grand duke in his revels, or aiding him in his schemes of practical utility, or to contriving elegant amusements for the ladies of the court. It was a real admiration for the character of the genial man of the world and its environment. Whoever is turned from his natural path may, if he will, gain in largeness and depth what he loses in simple beauty; and so it was with Goethe. Faust became a wiser if not a nobler being. Werther, who must die because life was not wide enough and rich enough in love for him, ends as the Meister of the Wanderjahre, well content to be one never inadequate to the occasion, "help-full, comfort-full." A great change was, during these years, perceptible to his friends in the character of Goethe. From being always "either too volatile or infatuated," he retreated into a self-collected state, which seemed at first even icy to those around him. No longer he darted about him the lightnings of his genius, but sat Jove-like and calm, with the thunderbolts grasped in his hand, and the eagle gathered to his feet. His freakish wit was subdued into a calm and even cold irony; his multiplied relations no longer permitted him to abandon himself to any; the minister and courtier could not expatiate in the free regions of invention, and bring upon paper the signs of his higher life, without subjecting himself to an artificial process of isolation. Obliged to economy of time and means, he made of his intimates not objects of devout tenderness, of disinterested care, but the crammers and feeders of his intellect. The world was to him an arena or a studio, but not a temple. "Ye cannot serve God and Mammon." Had Goethe entered upon practical life from the dictate of his spirit, which bade him not be a mere author, but a living, loving man, that had all been well. But he must also be a man of the world, and nothing can be more unfavorable to true manhood than this ambition. The citizen, the hero, the general, the poet, all these are in true relations; but what is called being a man of the world is to truckle to it, not truly to serve it. Thus fettered in false relations, detained from retirement upon the centre of his being, yet so relieved from the early pressure of his great thoughts as to pity more pious souls for being restless seekers, no wonder that he wrote,-- "Es ist dafuer gesorgt dass die Baeume nicht in den Himmel wachsen." "Care is taken that the trees grow not up into the heavens." Ay, Goethe, but in proportion to their force of aspiration is their height. Yet never let him be confounded with those who sell all their birthright. He became blind to the more generous virtues, the nobler impulses, but ever in self-respect was busy to develop his nature. He was kind, industrious, wise, gentlemanly, if not manly. If his genius lost sight of the highest aim, he is the best instructor in the use of means; ceasing to be a prophet poet, he was still a poetic artist. From this time forward he seems a listener to nature, but not himself the highest product of nature,--a priest to the soul of nature. His works grow out of life, but are not instinct with the peculiar life of human resolve, as are Shakspeare's or Dante's. Faust contains the great idea of his life, as indeed there is but one great poetic idea possible to man--the progress of a soul through the various forms of existence. All his other works, whatever their miraculous beauty of execution, are mere chapters to this poem, illustrative of particular points. Faust, had it been completed in the spirit in which it was begun, would have been the Divina Commedia of its age. But nothing can better show the difference of result between a stern and earnest life, and one of partial accommodation, than a comparison between the Paridiso and that of the second part of Faust. In both a soul, gradually educated and led back to God, is received at last not through merit, but grace. But O the difference between the grandly humble reliance of old Catholicism, and the loophole redemption of modern sagacity! Dante was a _man_, of vehement passions, many prejudices, bitter as much as sweet. His knowledge was scanty, his sphere of observation narrow, the objects of his active life petty, compared with those of Goethe. But, constantly retiring to his deepest self, clearsighted to the limitations of man, but no less so to the illimitable energy of the soul, the sharpest details in his work convey a largest sense, as his strongest and steadiest flights only direct the eye to heavens yet beyond. Yet perhaps he had not so hard a battle to wage, as this other great poet. The fiercest passions are not so dangerous foes to the soul as the cold scepticism of the understanding. The Jewish demon assailed the man of Uz with physical ills, the Lucifer of the middle ages tempted his passions; but the Mephistopheles of the eighteenth century bade the finite strive to compass the infinite, and the intellect attempt to solve all the problems of the soul. This path Faust had taken: it is that of modern necromancy. Not willing to grow into God by the steady worship of a life, men would enforce his presence by a spell; not willing to learn his existence by the slow processes of their own, they strive to bind it in a word, that they may wear it about the neck as a talisman. Faust, bent upon reaching the centre of the universe through the intellect alone, naturally, after a length of trial, which has prevented the harmonious unfolding of his nature, falls into despair. He has striven for one object, and that object eludes him. Returning upon himself, he finds large tracts of his nature lying waste and cheerless. He is too noble for apathy, too wise for vulgar content with the animal enjoyments of life. Yet the thirst he has been so many years increasing is not to be borne. Give me, he cries, but a drop of water to cool my burning tongue. Yet, in casting himself with a wild recklessness upon