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

the impulses of his nature yet untried, there is a disbelief that any thing short of the All can satisfy the immortal spirit. His first attempt was noble, though mistaken, and under the saving influence of it, he makes the compact, whose condition cheats the fiend at last. Kannst du mich schmeichelnd je beluegen Dass ich mir selbst gefallen mag, Kannst du mich mit Genuss betruegen: Das sey fuer mich der letzte Tag. Werd ich zum Augenblicke sagen: Verweile doch! du bist so schoen! Dann magst du mich in Fesseln schlagen, Dann will ich gern zu Grunde gehen. Canst thou by falsehood or by flattery Make me one moment with myself at peace, Cheat me into tranquillity? Come then And welcome, life's last day. Make me but to the moment say, O fly not yet, thou art so fair, Then let me perish, &c. But this condition is never fulfilled. Faust cannot be content with sensuality, with the charlatanry of ambition, nor with riches. His heart never becomes callous, nor his moral and intellectual perceptions obtuse. He is saved at last. With the progress of an individual soul is shadowed forth that of the soul of the age; beginning in intellectual scepticism; sinking into license; cheating itself with dreams of perfect bliss, to be at once attained by means no surer than a spurious paper currency; longing itself back from conflict between the spirit and the flesh, induced by Christianity, to the Greek era with its harmonious development of body and mind; striving to reembody the loved phantom of classical beauty in the heroism of the middle age; flying from the Byron despair of those who die because they cannot soar without wings, to schemes however narrow, of practical utility,--redeemed at last through mercy alone. The second part of Faust is full of meaning, resplendent with beauty; but it is rather an appendix to the first part than a fulfilment of its promise. The world, remembering the powerful stamp of individual feeling, universal indeed in its application, but individual in its life, which had conquered all its scruples in the first part, was vexed to find, instead of the man Faust, the spirit of the age,--discontented with the shadowy manifestation of truths it longed to embrace, and, above all, disappointed that the author no longer met us face to face, or riveted the ear by his deep tones of grief and resolve. When the world shall have got rid of the still overpowering influence of the first part, it will be seen that the fundamental idea is never lost sight of in the second. The change is that Goethe, though the same thinker, is no longer the same person. The continuation of Faust in the practical sense of the education of a man is to be found in Wilhelm Meister. Here we see the change by strongest contrast. The mainspring of action is no longer the impassioned and noble seeker, but a disciple of circumstance, whose most marked characteristic is a taste for virtue and knowledge. Wilhelm certainly prefers these conditions of existence to their opposites, but there is nothing so decided in his character as to prevent his turning a clear eye on every part of that variegated world-scene which the writer wished to place before us. To see all till he knows all sufficiently to put objects into their relations, then to concentrate his powers and use his knowledge under recognized conditions,--such is the progress of man from Apprentice to Master. 'Tis pity that the volumes of the Wanderjahre have not been translated entire, as well as those of the Lehrjahre, for many, who have read the latter only, fancy that Wilhelm becomes a master in that work. Far from it; he has but just become conscious of the higher powers that have ceaselessly been weaving his fate. Far from being as yet a Master, he but now begins to be a Knower. In the Wanderjahre we find him gradually learning the duties of citizenship, and hardening into manhood, by applying what he has learned for himself to the education of his child. He converses on equal terms with the wise and beneficent; he is no longer duped and played with for his good, but met directly mind to mind. Wilhelm is a master when he can command his actions, yet keep his mind always open to new means of knowledge; when he has looked at various ways of living, various forms of religion and of character, till he has learned to be tolerant of all, discerning of good in all; when the astronomer imparts to his equal ear his highest thoughts, and the poor cottager seeks his aid as a patron and counsellor. To be capable of all duties, limited by none, with an open eye, a skilful and ready hand, an assured step, a mind deep, calm, foreseeing without anxiety, hopeful without the aid of illusion,--such is the ripe state of manhood. This attained, the great soul should still seek and labor, but strive and battle never more. The reason for Goethe's choosing so negative a character as Wilhelm, and leading him through scenes of vulgarity and low vice, would be obvious enough to a person of any depth of thought, even if he himself had not announced it. He thus obtained room to paint life as it really is, and bring forward those slides in the magic lantern which are always known to exist, though they may not be spoken of to ears polite. Wilhelm cannot abide in tradition, nor do as his fathers did before him, merely for the sake of money or a standing in society. The stage, here an emblem of the ideal life as it gleams before unpractised eyes, offers, he fancies, opportunity for a life of thought as distinguished from one of routine. Here, no longer the simple citizen, but Man, all Men, he will rightly take upon himself the different aspects of life, till poet-wise, he shall have learned them all. No doubt the attraction of the stage to young persons of a vulgar character is merely the brilliancy of its trappings; but to Wilhelm, as to Goethe, it was this poetic freedom and daily suggestion which seemed likely to offer such an agreeable studio in the greenroom. But the ideal must be rooted in the real, else the poet's life degenerates into buffoonery or vice. Wilhelm finds the characters formed by this would-be ideal existence more despicable than those which grew up on the track, dusty and bustling and dull as it had seemed, of common life. He is prepared by disappointment for a higher ambition. In the house of the count he finds genuine elegance, genuine sentiment, but not sustained by wisdom, or a devotion to important objects. This love, this life, is also inadequate. Now, with Teresa he sees the blessings of domestic peace. He sees a mind sufficient for itself, finding employment and education in the perfect economy of a little world. The lesson is pertinent to the state of mind in which his former experiences have left him, as indeed our deepest lore is won from reaction. But a sudden change of scene introduces him to the society of the sage and learned uncle, the sage and beneficent Natalia. Here he finds the same virtues as with Teresa, and enlightened by a larger wisdom. A friend of mine says that his ideal of a friend is a worthy aunt, one who has the tenderness without the blindness of a mother, and takes the same charge of the child's mind as the mother of its body. I don't know but this may have a foundation in truth, though, if so, auntism, like other grand professions, has sadly degenerated. At any rate, Goethe seems to be possessed with a similar feeling. The Count de Thorane, a man of powerful character, who made a deep impression on his childhood, was, he says, "reverenced by me as an uncle." And the ideal wise man of this common life epic stands before us as "The Uncle." After seeing the working of just views in the establishment of the uncle, learning piety from the Confessions of a Beautiful Soul, and religious beneficence from the beautiful life of Natalia, Wilhelm is deemed worthy of admission to the society of the Illuminati, that is, those who have pierced the secret of life, and know what it is to be and to do. Here he finds the scroll of his life "drawn with large, sharp strokes," that is, these truly wise read his character for him, and "mind and destiny are but two names for one idea." He now knows enough to enter on the Wanderjahre. Goethe always represents the highest principle in the feminine form. Woman is the Minerva, man the Mars. As in the Faust, the purity of Gretchen, resisting the demon always, even after all her faults, is announced to have saved her soul to heaven; and in the second part she appears, not only redeemed herself, but by her innocence and forgiving tenderness hallowed to redeem the being who had injured her. So in the Meister, these women hover around the narrative, each embodying the spirit of the scene. The frail Philina, graceful though contemptible, represents the degradation incident to an attempt at leading an exclusively poetic life. Mignon, gift divine as ever the Muse bestowed on the passionate heart of man, with her soft, mysterious inspiration, her pining for perpetual youth, represents the high desire that leads to this mistake, as Aurelia, the desire for excitement; Teresa, practical wisdom, gentle tranquillity, which seem most desirable after the Aurelia glare. Of the beautiful soul and Natalia we have already spoken. The former embodies what was suggested to Goethe by the most spiritual person he knew in youth--Mademoiselle von Klettenberg, over whom, as he said, in her invalid loneliness the Holy Ghost brooded like a dove. Entering on the Wanderjahre, Wilhelm becomes acquainted with another woman, who seems the complement of all the former, and represents the idea which is to guide and mould him in the realization of all the past experience. This person, long before we see her, is announced in various ways as a ruling power. She is the last hope in cases of difficulty, and, though an invalid, and living in absolute retirement, is consulted by her connections and acquaintance as an unerring judge in all their affairs. All things tend towards her as a centre; she knows all, governs all, but never goes forth from herself. Wilhelm at last visits her. He finds her infirm in body, but equal to all she has to do. Charity and counsel to men who need her are her business, astronomy her pleasure. After a while, Wilhelm ascertains from the Astronomer, her companion, what he had before suspected, that she really belongs to the solar system, and only appears on earth to give men a feeling of the planetary harmony. From her youth up, says the Astronomer, till she knew me, though all recognized in her an unfolding of the highest moral and intellectual qualities, she was supposed to be sick at her times of clear vision. When her thoughts were not in the heavens, she returned and acted in obedience to them on earth; she was then said to be well. When the Astronomer had observed her long enough, he confirmed her inward consciousness of a separate existence and peculiar union with the heavenly bodies. Her picture is painted with many delicate traits, and a gradual preparation leads the reader to acknowledge the truth; but, even in the slight indication here given, who does not recognize thee, divine Philosophy, sure as the planetary orbits, and inexhaustible as the fountain of light, crowning the faithful Seeker at last with the privilege to possess his own soul. In all that is said of Macaria,[4] we recognize that no thought is too religious for the mind of Goethe. It was indeed so; you can deny him nothing, but only feel that his works are not instinct and glowing with the central fire, and, after catching a glimpse pf the highest truth, are forced again to find him too much afraid of losing sight of the