Autobiography of Johann Wolfgang von Goethe | Page 2

acting, as we think, in the contrary direction. That pitiful enough desire for 'originality' which lurks and acts in all minds, will rather, we imagine, lead the critic of Foreign Literature to adopt the negative than the affirmative with regard to Goethe. If a writer indeed feel that he is writing for England alone, invisibly and inaudibly to the rest of the Earth, the temptations may be pretty equally balanced; if he write for some small conclave, which he mistakenly thinks the representative of England, they may sway this way or that, as it chances. But writing in such isolated spirit is no longer possible. Traffic, with its swift ships, is uniting all nations into one; Europe at large is becoming more and more one public; and in this public, the voices for Goethe, compared with those against him, are in the proportion, as we reckon them, both as to the number and value, of perhaps a hundred to one. We take in, not Germany alone, but France and Italy; not the Schlegels and Schellings, but the Manzonis and De Staels. The bias of originality, therefore, may lie to the side of censure; and whoever among us shall step forward, with such knowledge as our common critics have of Goethe, to enlighten the European public, by contradiction in this matter, displays a heroism, which, in estimating his other merits, ought nowise to be forgotten.
Our own view of the case coincides, we confess, in some degree with that of the majority. We reckon that Goethe's fame has, to a considerable extent, been deserved; that his influence has been of high benefit to his own country; nay more, that it promises to be of benefit to us, and to all other nations. The essential grounds of this opinion, which to explain minutely were a long, indeed boundless task, we may state without many words. We find, then, in Goethe, an Artist, in the high and ancient meaning of that term; in the meaning which it may have borne long ago among the masters of Italian painting, and the fathers of Poetry in England; we say that we trace in the creations of this man, belonging in every sense to our own time, some touches of that old, divine spirit, which had long passed away from among us, nay which, as has often been laboriously demonstrated, was not to return to this world any more.
Or perhaps we come nearer our meaning, if we say that in Goethe we discover by far the most striking instance, in our time, of a writer who is, in strict speech, what Philosophy can call a Man. He is neither noble nor plebeian, neither liberal nor servile, nor infidel nor devotee; but the best excellence of all these, joined in pure union; 'a clear and universal Man.' Goethe's poetry is no separate faculty, no mental handicraft; but the voice of the whole harmonious manhood: nay it is the very harmony, the living and life-giving harmony of that rich manhood which forms his poetry. All good men may be called poets in act, or in word; all good poets are so in both. But Goethe besides appears to us as a person of that deep endowment, and gifted vision, of that experience also and sympathy in the ways of all men, which qualify him to stand forth, not only as the literary ornament, but in many respects too as the Teacher and exemplar of his age. For, to say nothing of his natural gifts, he has cultivated himself and his art, he has studied how to live and to write, with a fidelity, an unwearied earnestness, of which there is no other living instance; of which, among British poets especially, Wordsworth alone offers any resemblance. And this in our view is the result. To our minds, in these soft, melodious imaginations of his, there is embodied the Wisdom which is proper to this time; the beautiful, the religious Wisdom, which may still, with something of its old impressiveness, speak to the whole soul; still, in these hard, unbelieving utilitarian days, reveal to us glimpses of the Unseen but not unreal World, that so the Actual and the Ideal may again meet together, and clear Knowledge be again wedded to Religion, in the life and business of men.
Such is our conviction or persuasion with regard to the poetry of Goethe. Could we demonstrate this opinion to be true, could we even exhibit it with that degree of clearness and consistency which it has attained in our own thoughts, Goethe were, on our part, sufficiently recommended to the best attention of all thinking men. But, unhappily, it is not a subject susceptible of demonstration: the merits and characteristics of a Poet are not to be set forth by logic; but to