Autobiography: Truth and Fiction Relating to My Life

This subject had, indeed, the internal defect, that it was only pomp and show, from which no real action could result. None except the very first distinguished themselves; and, even if they had done so, the poet could not render any one conspicuous lest he should offend the others. He had to consult the "Court and State Calendar;" and the delineation of the persons therefore went off pretty dryly, – nay, even his contemporaries very strongly reproached him with having described the horses better than the men. But should not this redound to his credit, that he showed his art just where an object for it presented itself? The main difficulty, too, seems soon to have manifested itself to him, – since the poem never advanced beyond the first canto.

Amidst such studies and reflections, an unexpected event surprised me, and frustrated my laudable design of becoming acquainted with our new literature from the beginning. My countryman, John George Schlosser, after spending his academical years with industry and exertion, had repaired to Frankfort-on-the-Main, in the customary profession of an advocate; but his mind, aspiring and seeking after the universal, could not reconcile itself to this situation for many reasons. He accepted, without hesitation, an office as private secretary to the Duke Ludwig of Wurtemberg, who resided in Treptow; for the prince was named among those great men who, in a noble and independent manner, purposed to enlighten themselves, their families, and the world, and to unite for higher aims. It was this Prince Ludwig who, to ask advice about the education of his children, had written to Rousseau, whose well-known answer began with the suspicious-looking phrase, "/Si j'avais le malheur d'être né prince/."

Not only in the affairs of the prince, but also in the education of his children, Schlosser was now willingly to assist in word and deed, if not to superintend them. This noble young man, who harbored the best intentions and strove to attain a perfect purity of morals, would have easily kept men from him by a certain dry austerity, if his fine and rare literary cultivation, his knowledge of languages, and his facility at expressing himself by writing, both in verse and prose, had not attracted every one, and made living with him more agreeable. It had been announced to me that he would pass through Leipzig, and I expected him with longing. He came and put up at a little inn or wine-house that stood in the /Brühl/ (Marsh), and the host of which was named Schönkopf. This man had a Frankfort woman for his wife; and although he entertained few persons during the rest of the year, and could lodge no guests in his little house, yet at fair-time he was visited by many Frankforters, who used to eat, and, in case of need, even take quarters, there also. Thither I hastened to find Schlosser, when he had sent to inform me of his arrival. I scarcely remembered having seen him before, and found a young, well-formed man, with a round, compressed face, without the features losing their sharpness on that account. The form of his rounded forehead, between black eyebrows and locks, indicated earnestness, sternness, and perhaps obstinacy. He was, in a certain measure, the opposite of myself; and this very thing doubtless laid the foundation of our lasting friendship. I had the greatest respect for his talents, the more so as I very well saw, that, in the certainty with which he acted and produced, he was completely my superior. The respect and the confidence which I showed him confirmed his affection, and increased the indulgence he was compelled to have for my lively, impetuous, and ever-excitable disposition, in such contrast with his own. He studied the English writers diligently: Pope, if not his model, was his aim; and, in opposition to that author's "Essay on Man," he had written a poem in like form and measure, which was to give the Christian religion the triumph over the deism of the other work. From the great store of papers which he carried with him, he showed me poetical and prose compositions in all languages, which, as they challenged me to imitation, once more gave me infinite disquietude. Yet I contrived to get over it immediately by activity. I wrote German, French, English, and Italian poems, addressed to him, the subject-matter of which I took from our conversations, which were always important and instructive.

Schlosser did not wish to leave Leipzig without having seen face to face the men who had a name. I willingly took him to those I knew: with those whom I had not yet visited, I in this way became honorably acquainted; since he was received with distinction as a well-informed man of education, of already established character, and well knew how to pay for the outlay of conversation. I cannot pass over our visit we paid to Gottsched, as it exemplifies the character and manners of that man. He lived very respectably in the first story of the Golden Bear, where the elder Breitkopf, on account of the great advantage which Gottsched's writings, translations, and other aids had brought to the trade, had promised him a lodging for life.

We were announced. The servant led us into a large chamber, saying his master would come immediately. Now, whether we misunderstood a gesture which he made, I cannot say: it is enough, we thought he directed us into an adjoining room. We entered, to witness a singular scene: for, on the instant, Gottsched, that tall, broad, gigantic man, came in at the opposite door in a morning-gown of green damask lined with red taffeta; but his monstrous head was bald and uncovered. This, however, was to be immediately provided for: the servant rushed in at a side-door with a great full-bottomed wig in his hand (the curls came down to the elbows), and handed the head-ornament to his master with gestures of terror. Gottsched, without manifesting the least vexation, raised the wig from the servant's arm with his left hand, and, while he very dexterously swung it up on his head, gave the poor fellow such a box on the ear with his right paw, that the latter, as often happens in a comedy, went spinning out at the door; whereupon the respectable old grandfather invited us quite gravely to be seated, and kept up a pretty long discourse with good grace.

As long as Schlosser remained in Leipzig, I dined daily with him, and became acquainted with a very pleasant set of boarders. Some Livonians, and the son of Hermann (chief court-preacher in Dresden), afterwards burgomaster in Leipzig, and their tutor, Hofrath Pfeil, author of the "Count von P.," a continuation of Gellert's "Swedish Countess;" Zachariä, a brother of the poet; and Krebel, editor of geographical and genealogical manuals, – all these were polite, cheerful, and friendly men. Zachariä was the most quiet; Pfeil, an elegant man, who had something almost diplomatic about him, yet without affectation, and with great good humor; Krebel, a genuine Falstaff, tall, corpulent, fair, with prominent, merry eyes, as bright as the sky, always happy and in good spirits. These persons all treated me in the most handsome manner, partly on Schlosser's account – partly, too, on account of my own frank good humor and obliging disposition; and it needed no great persuasion to make me partake of their table in future. In fact, I remained with them after Schlosser's departure, deserted Ludwig's table, and found myself so much the better off in this society, which was limited to a certain number, as I was very well pleased with the daughter of the family, a very neat, pretty girl, and had opportunities to exchange friendly glances with her, – a comfort which I had neither sought nor found by accident since the mischance with Gretchen. I spent the dinner- hours with my friends cheerfully and profitably. Krebel, indeed, loved me, and continued to tease me and stimulate me in moderation: Pfeil, on the contrary, showed his earnest affection for me by trying to guide and settle my judgment upon many points.

During this intercourse, I perceived through conversation, through examples, and through my own reflections, that the first step in delivering ourselves from the wishy-washy, long-winded, empty epoch, could be taken only by definiteness, precision, and brevity. In the style which had hitherto prevailed, one could not distinguish the commonplace from what was better; since all were brought down to a level with each other. Authors had already tried to escape from this wide- spread disease, with more or less success. Haller and Ramler were inclined to compression by nature: Lessing and Wieland were led to it by reflection. The former became by degrees quite epigrammatical in his poems, terse in "Minna," laconic in "Emilia Galotti," – it was not till afterwards that he returned to that serene /naiveté/ which becomes him so well in "Nathan." "Wieland, who had been occasionally prolix in "Agathon," "Don Sylvio," and the "Comic Tales," becomes condensed and precise to a wonderful degree, as well as exceedingly graceful in "Musarion" and "Idris." Klopstock, in the first cantos of "The Messiah," is not without diffuseness: in his "Odes" and other minor poems he appears compressed, as also in his tragedies. By his emulation of the ancients, especially Tacitus, he sees himself constantly forced into narrower limits, by which he at last becomes obscure and unpalatable. Gerstenberg, a fine but eccentric talent, also distinguishes himself: his merit is appreciated, but on the whole he gives little pleasure. Gleim, diffuse and easy by nature, is scarcely once concise in his war- songs. Ramler is properly more a critic than a poet. He begins to collect what the Germans have accomplished in lyric poetry. He now finds, that scarcely one poem fully satisfies him: he must leave out, arrange, and alter, that the things may have some shape or other. By this means he makes himself almost as many enemies as there are poets and amateurs; since every one, properly speaking, recognizes himself only in his defects: and the public interests itself sooner for a faulty individuality than for that which is produced or amended according to a universal law of taste. Rhythm lay yet in the cradle, and no one knew of a method to shorten its childhood. Poetical prose came into the ascendant. Gessner and Klopstock excited many imitators: others, again, still demanded an intelligible metre, and translated this prose into rhythm. But even these gave nobody satisfaction, for they were obliged to omit and add; and the prose original always passed for the better of the two. But the more, with all this, conciseness is aimed at, the more does a judgment become possible; since that which is important, being more closely compressed, allows a certain comparison at last. It happened, also, at the same time, that many kinds of truly poetical forms arose; for, as they tried to represent only what was necessary in the objects they wished to imitate, they were forced to do justice to every one of these: and in this manner, though no one did it consciously, the modes of representation multiplied themselves, among which, indeed, were some which were really caricatures, while many an attempt proved unsuccessful.

Without question, Wieland possessed the finest natural gifts of all. He had early cultivated himself thoroughly in those ideal regions where youth so readily lingers; but when, by what is called experience, by the events of the world, and women, these were rendered distasteful to him, he threw himself on the side of the actual, and pleased himself and others with the contest of the two worlds, where, in light skirmishing between jest and earnest, his talent displayed itself most beautifully. How many of his brilliant productions fall into the time of my academic years! "Musarion" had the most effect upon me; and I can yet remember the place and the very spot where I got sight of the first proof-sheet, which Oeser gave me. Here it was that I believed I saw antiquity again living and fresh. Every thing that is plastic in Wieland's genius here showed itself in its highest perfection; and when that Phanias-Timon, condemned to an unhappy insipidity, finally reconciles himself to his mistress and to the world, one can well, with him, live through the misanthropical epoch. For the rest, we readily conceded to these works a cheerful aversion from those exalted sentiments, which, by reason of their easy misapplication to life, are often open to the suspicion of dreaminess. We pardoned the author for prosecuting with ridicule what we held as true and reverend, the more readily as he thereby gave us to understand that it caused him continual trouble.

How miserably criticism then received such labors may be seen from the first volumes of "The Universal German Library." Of "The Comic Tales" there is honorable mention, but there is no trace of any insight into the character of the kind of poetry. The reviewer, like every one at that time, had formed his taste by examples. He never takes it into consideration, that, in a judgment of such parodistical works, one must first of all have before one's eyes the original noble, beautiful object, in order to see whether the parodist has really gotten from it a weak and comical side, whether he has borrowed any thing from it, or, under the appearance of such an imitation, has perhaps given us an excellent invention of his own. Of all this there is not a notion, but the poems are praised and blamed by passages. The reviewer, as he himself confesses, has marked so much that pleased him, that he cannot quote it all in print. When they even meet the highly meritorious translation of Shakespeare with the exclamation, "By rights, a man like Shakespeare should not have been translated at all!" it will be understood, without further remark, how infinitely "The Universal German Library" was behind-hand in matters of taste, and that young people, animated by true feeling, had to look about them for other guiding stars.

The material which, in this manner, more or less determined the form, the Germans sought everywhere. They had handled few national subjects, or none at all. Schlegel's "Hermann" only showed the way. The idyllic tendency extended itself without end. The want of distinctive character with Gessner, with all his great gracefulness and child-like heartiness, made every one think that he could do something of the same kind. Just in the same manner, out of the more generally human, some snatch those poems which should have portrayed a foreign nationality, as, for instance, the Jewish pastoral poems, those on the patriarchs altogether, and whatever else related to the Old Testament. Bodmer's "Noachide" was a perfect symbol of the watery deluge that swelled high around the German Parnassus, and which abated but slowly. The leading-strings of Anacreon likewise allowed innumerable mediocre geniuses to reel about at large. The precision of Horace compelled the Germans, though but slowly, to conform to him. Comic heroic poems, mostly after the model of Pope's "Rape of the Lock," did not serve to bring in a better time.

I must here mention a delusion, which operated as seriously as it must be ridiculous when one examines it more closely. The Germans had now sufficient historical knowledge of all the kinds of poetry in which the different nations had distinguished themselves. This pigeon-hole work, which, properly speaking, totally destroys the inner conception of poetry, had been already pretty completely hammered together by Gottsched in his "Critical Art of Poetry;" and it had been shown at the same time that German poets, too, had already known how to fill up all the rubrics with excellent works. And thus it ever went on. Each year the collection was more considerable, but every year one work pushed another out of the place in which it had hitherto shone. We now possessed, if not Homers, yet Virgils and Miltons; if not a Pindar, yet a Horace; of Theocrituses there was no lack: and thus they weighed themselves by comparisons from without; whilst the mass of poetical works always increased, so that at last there could be a comparison from within.

Now though matters of taste stood on a very uncertain footing, there could be no dispute but that, within the Protestant part of Germany and of Switzerland, what is generally called common sense began to stir briskly at that epoch. The scholastic philosophy – which always has the merit of propounding according to received axioms, in a favorite order, and under fixed rubrics, every thing about which man can at all inquire-had, by the frequent darkness and apparent uselessness of its subject- matter, by its unseasonable application of a method in itself respectable, and by its too great extension over so many subjects, made itself foreign to the mass, unpalatable, and at last superfluous. Many a one became convinced that nature had endowed him with as great a portion of good and straightforward sense as, perchance, he required to form such a clear notion of objects that he could manage them and turn them to his own profit, and that of others, without laboriously troubling himself about the most universal problems, and inquiring how the most remote things which do not particularly affect us may hang together. Men made the trial, opened their eyes, looked straight before them, observant, industrious, active, and believed, that, when one judges and acts correctly in one's own circle, one may well presume to speak of other things also, which lie at a greater distance.

In accordance with such a notion, every one was now entitled, not only to philosophize, but also by degrees to consider himself a philosopher. Philosophy, therefore, was more or less sound, and practised common sense, which ventured to enter upon the universal, and to decide upon inner and outer experiences. A clear-sighted acuteness and an especial moderation, while the middle path and fairness to all opinions was held to be right, procured respect and confidence for writings and oral statements of the sort; and thus at last philosophers were found in all the faculties, – nay, in all classes and trades.

In this way the theologians could not help inclining to what is called natural religion; and, when the discussion was how far the light of nature may suffice to advance us in the knowledge of God and the improving and ennobling of ourselves, they commonly ventured to decide in its favor without much scruple. According to the same principle of moderation, they then granted equal rights to all positive religions, by which they all became alike indifferent and uncertain. For the rest, they let every thing stand; and since the Bible is so full of matter, that, more than any other book, it offers material for reflection and opportunity for meditation on human affairs, it could still, as before, be always laid as the foundation of all sermons and other religious treatises.

But over this work, as well as over the whole body of profane writers, was impending a singular fate, which, in the lapse of time, was not to be averted. Hitherto it had been received as a matter of implicit faith, that this book of books was composed in one spirit; that it was even inspired, and, as it were, dictated by the Divine Spirit. Yet for a long time already the discrepancies of the different parts of it had been now cavilled at, now apologized for, by believers and unbelievers. English, French, and Germans had attacked the Bible with more or less violence, acuteness, audacity, and wantonness; and just as often had it been taken under the protection of earnest, sound-thinking men of each nation. As for myself, I loved and valued it; for almost to it alone did I owe my moral culture: and the events, the doctrines, the symbols, the similes, had all impressed themselves deeply upon me, and had influenced me in one way or another. These unjust, scoffing, and perverting attacks, therefore, disgusted me; but people had already gone so far as very willingly to admit, partly as a main ground for the defense of many passages, that God had accommodated himself to the modes of thought and power of comprehension in men; that even those moved by the Spirit had not on that account been able to renounce their character, their individuality, and that Amos, a cow-herd, did not use the language of Isaiah, who is said to have been a prince.

Out of such views and convictions, especially with a constantly increasing knowledge of languages, was very naturally developed that kind of study by which it was attempted to examine more accurately the Oriental localities, nationalities, natural products, and phenomena, and in this manner to make present to one's self that ancient time. Michaelis employed the whole strength of his talents and his knowledge on this side. Descriptions of travels became a powerful help in explaining the Holy Scriptures; and later travellers, furnished with numerous questions, were made, by the answers to them, to bear witness for the prophets and apostles.

But whilst they were on all sides busied to bring the Holy Scriptures to a natural intuition, and to render peculiar modes of thought and representation in them more universally comprehensible, that by this historico-critical aspect many an objection might be removed, many offensive things effaced, and many a shallow scoffing be made ineffective, there appeared in some men just the opposite disposition, since these chose the darkest, most mysterious, writings as the subject of their meditations, and wished, if not to elucidate them, yet to confirm them through internal evidence, by means of conjectures, calculations, and other ingenious and strange combinations, and, so far as they contained prophecies, to prove them by the results, and thus to justify a faith in what was next to be expected.

The venerable Bengel had procured a decided reception for his labors on the Revelation of St. John, from the fact that he was known as an intelligent, upright, God-fearing, blameless man. Deep minds are compelled to live in the past as well as in the future. The ordinary movements of the world can be of no importance to them, if they do not, in the course of ages up to the present, revere prophecies which have been revealed, and in the immediate, as well as in the most remote futurity, predictions still veiled. Hence arises a connection that is wanting in history, which seems to give us only an accidental wavering backwards and forwards in a necessarily limited circle. Doctor Crusius was one of those whom the prophetic part of Scripture suited more than any other, since it brings into action the two most opposite qualities of human nature, the affections, and the acuteness of the intellect. Many young men had devoted themselves to this doctrine, and already formed a respectable body, which attracted the more attention, as Ernesti with his friends threatened, not to illuminate, but completely to disperse, the obscurity in which these delighted. Hence arose controversies, hatred, persecution, and much that was unpleasant. I attached myself to the lucid party, and sought to appropriate to myself their principles and advantages; although I ventured to forebode, that by this extremely praiseworthy, intelligent method of interpretation, the poetic contents of the writings must at last be lost along with the prophetical.

But those who devoted themselves to German literature and the /belles- lettres/ were more nearly concerned with the efforts of such men, who, as Jerusalem, Zollikofer, and Spalding, tried, by means of a good and pure style in their sermons and treatises, to gain, even among persons of a certain degree of sense and taste, applause and attachment for religion, and for the moral philosophy which is so closely related to it. A pleasing manner of writing began to be necessary everywhere; and since such a manner must, above all, be comprehensible, so did writers arise, on many sides, who undertook to write about their studies and their professions clearly, perspicuously, and impressively, and as well for the adepts as for the multitude.

After the example of Tissot, a foreigner, the physicians also now began to labor zealously for the general cultivation. Haller, Unzer, Zimmerman, had a very great influence; and whatever may be said against them in detail, especially the last, they produced a very great effect in their time. And mention should be made of this in history, but particularly in biography; for a man remains of consequence, not so far as he leaves something behind him, but so far as he acts and enjoys, and rouses others to action and enjoyment.

The jurists, accustomed from their youth upward to an abstruse style, which, in all legal papers, from the petty court of the Immediate Knight up to the Imperial Diet at Ratisbon, was still maintained in all its quaintness, could not easily elevate themselves to a certain freedom, the less so as the subjects of which they had to treat were most intimately connected with the external form, and consequently also with the style. But the younger Von Moser had already shown himself an independent and original writer; and Putter, by the clearness of his delivery, had also brought clearness into his subject, and the style in which he was to treat it. All that proceeded from his school was distinguished by this. And even the philosophers, in order to be popular, now found themselves compelled to write clearly and intelligibly. Mendelssohn and Garve appeared, and excited universal interest and admiration.

With the cultivation of the German language and style in every department, the capacity for forming a judgment also increased, and we admire the reviews then published of works upon religious and moral, as well as medical, subjects; while, on the contrary, we remark that the judgments of poems, and of whatever else may relate to the /belles- lettres/, will be found, if not pitiful, at least very feeble. This holds good of the "Literary Epistles" ("Literaturbriefen"), and of "The Universal German Library," as well as of "The Library of the Belles- Lettres," notable instances of which could easily be produced.

No matter in how motley a manner all this might be confused, still, for every one who contemplated producing any thing from himself, – who would not merely take the words and phrases out of the mouths of his predecessors, – there was nothing further left but, early and late, to look about him for some subject-matter which he might determine to use. Here, too, we were much led astray. People were constantly repeating a saying of Kleist, which we had to hear often enough. He had sportively, ingeniously, and truly replied to those who took him to task on account of his frequent, lonely walks, "that he was not idle at such times, – he was going to the image-hunt." This simile was very suitable for a nobleman and soldier, who by it placed himself in contrast with the men of his rank, who did not neglect going out, with their guns on their shoulders, hare-hunting and partridge-shooting, as often as an opportunity presented itself. Hence we find in Kleist's poems many such individual images, happily seized, although not always happily elaborated, which, in a kindly manner, remind us of nature. But now they also recommended us, quite seriously, to go out on the image-hunt, which did not at last leave us wholly without fruit; although Apel's garden, the kitchen-gardens, the Rosenthal, Golis, Raschwitz, and Konnewitz, would be the oddest ground to beat up poetical game in. And yet I was often induced by that motive to contrive that my walk should be solitary; and because many objects neither beautiful nor sublime met the eye of the beholder, and, in the truly splendid Rosenthal, the gnats, in the best season of the year, allowed no tender thoughts to arise, so did I, by unwearied, persevering endeavor, become extremely attentive to the small life of nature (I would use this word after the analogy of "still life"); and, since the pretty events which one perceives within this circle represent but little in themselves, so I accustomed myself to see in them a significance, which inclined now towards the symbolical, now towards the allegorical, side, accordingly as intuition, feeling, or reflection had the preponderance. I will relate one incident in place of many.

I was, after the fashion of humanity, in love with my name, and, as young, uneducated people commonly do, wrote it down everywhere. Once I had carved it very handsomely and accurately on the smooth bark of a linden-tree of moderate age. The following autumn, when my affection for Annette was in its fullest bloom, I took the trouble to cut hers above it. Towards the end of the winter, in the mean time, like a capricious lover, I had wantonly sought many opportunities to tease her and cause her vexation: in the spring I chanced to visit the spot; and the sap, which was rising strongly in the trees, had welled out through the incisions which formed her name, and which were not yet crusted over, and moistened with innocent vegetable tears the already hardened traces of my own. Thus to see her here weeping over me, – me, who had so often called up her tears by my ill conduct, filled me with confusion. At the remembrance of my injustice and of her love, even the tears came into my eyes; I hastened to implore pardon of her, doubly and trebly: and I turned this incident into an idyl,[26 - Die Laune des Verliebten, translated as The Lover's Caprice, see p. 241.] which I never could read to myself without affection, or to others without emotion.

While I now, like a shepherd on the Pleisse, was absorbed childishly enough in such tender subjects, and always chose only such as I could easily recall into my bosom, provision from a greater and more important side had long been made for German poets.

The first true and really vital material of the higher order came into German poetry through Frederick the Great and the deeds of the Seven Years' War. All national poetry must be shallow or become shallow which does not rest on that which is most universally human, – upon the events of nations and their shepherds, when both stand for one man. Kings are to be represented in war and danger, where, by that very means, they appear as the first, because they determine and share the fate of the very least, and thus become much more interesting than the gods themselves, who, when they have once determined the fates, withdraw from all participation in them. In this view of the subject, every nation, if it would be worth any thing at all, must possess an epopee, to which the precise form of the epic poem is not necessary.

The war-songs started by Gleim maintain so high a rank among German poems, because they arose with and in the achievements which are their subject; and because, moreover, their felicitous form, just as if a fellow-combatant had produced them in the loftiest moments, makes us feel the most complete effectiveness.

Ramler sings the deeds of his king in a different and most noble manner. All his poems are full of matter, and occupy us with great, heart- elevating objects, and thus already maintain an indestructible value.

For the internal matter of the subject treated is the beginning and end of art. It will not, indeed, be denied that genius, that thoroughly cultivated artistical talent, can make every thing out of every thing by its method of treatment, and can subdue the most refractory material. But, when closely examined, the result is rather a trick of art than a work of art, which should rest upon a worthy object, that the treatment of it, by skill, pains, and industry, may present to us the dignity of the subject-matter only the more happily and splendidly.

The Prussians, and with them Protestant Germany, acquired thus for their literature a treasure which the opposite party lacked, and the want of which they have been able to supply by no subsequent endeavors. Upon the great idea which the Prussian writers might well entertain of their king, they first established themselves, and the more zealously as he, in whose name they did it all, wished once for all to know nothing about them. Already before this, through the French colony, afterwards through the king's predilection for the literature of that nation and for their financial institutions, had a mass of French civilization come into Prussia, which was highly advantageous to the Germans, since by it they were challenged to contradiction and resistance; thus the very aversion of Frederick from German was a fortunate thing for the formation of its literary character. They did every thing to attract the king's attention, not indeed to be honored, but only noticed, by him; yet they did it in German fashion, from an internal conviction; they did what they held to be right, and desired and wished that the king should recognize and prize this German uprightness. That did not and could not happen; for how can it be required of a king, who wishes to live and enjoy himself intellectually, that he shall lose his years in order to see what he thinks barbarous developed and rendered palatable too late? In matters of trade and manufacture, he might indeed force upon himself, but especially upon his people, very moderate substitutes instead of excellent foreign wares; but here every thing comes to perfection more rapidly, and it needs not a man's life-time to bring such things to maturity.

But I must here, first of all, make honorable mention of one work, the most genuine production of the Seven Years' War, and of perfect North- German nationality: it is the first theatrical production caught from the important events of life, one of specific, temporary value, and one which therefore produced an incalculable effect, – "Minna von Barnhelm." Lessing, who, in opposition to Klopstock and Gleim, was fond of casting off his personal dignity, because he was confident that he could at any moment grasp and take it up again, delighted in a dissipated life in taverns and the world, as he always needed a strong counterpoise to his powerfully laboring interior; and for this reason, also, he had joined the suite of Gen. Tauentzien. One easily discovers how the above- mentioned piece was generated betwixt war and peace, hatred and affection. It was this production which happily opened the view into a higher, more significant, world, from the literary and citizen world in which poetic art had hitherto moved.

The intense hatred in which the Prussians and Saxons stood towards each other during this war could not be removed by its termination. The Saxon now first felt, with true bitterness, the wounds which the upstart Prussian had inflicted upon him. Political peace could not immediately re-establish a peace between their dispositions. But this was to be brought about symbolically by the above-mentioned drama. The grace and amiability of the Saxon ladies conquer the worth, the dignity, and the stubbornness of the Prussians; and, in the principal as well as in the subordinate characters, a happy union of bizarre and contradictory elements is artistically represented.

If I have put my reader in some perplexity by these cursory and desultory remarks on German literature, I have succeeded in giving them a conception of that chaotic condition in which my poor brain found itself, when, in the conflict of two epochs so important for the literary fatherland, so much that was new crowded in upon me before I could come to terms with the old, so much that was old yet made me feel its right over me, when I believed I had already cause to venture on renouncing it altogether. I will at present try to impart, as well as possible, the way I entered on to extricate myself from this difficulty, if only step by step.

The period of prolixity into which my youth had fallen, I had labored through with genuine industry, in company with so many worthy men. The numerous quarto volumes of manuscript which I left behind with my father might serve for sufficient witnesses of this; and what a mass of essays, rough draughts, and half-executed designs, had, more from despondency than conviction, gone up in smoke! Now, through conversation, through instruction in general, through so many conflicting opinions, but especially through my fellow-boarder Hofrath Pfeil, I learned to value more and more the importance of the subject-matter and the conciseness of the treatment; without, however, being able to make it clear to myself where the former was to be sought, or how the latter was to be attained. For, what with the great narrowness of my situation; what with the indifference of my companions, the reserve of the professors, the exclusiveness of the educated inhabitants; and what with the perfect insignificance of the natural objects, – I was compelled to seek for every thing within myself. Whenever I desired a true basis in feeling or reflection for my poems, I was forced to grasp into my own bosom; whenever I required for my poetic representation an immediate intuition of an object or an event, I could not step outside the circle which was fitted to teach me, and inspire me with an interest. In this view I wrote at first certain little poems, in the form of songs or in a freer measure: they are founded on reflection, treat of the past, and for the most part take an epigrammatic turn.

And thus began that tendency from which I could not deviate my whole life through; namely, the tendency to turn into an image, into a poem, every thing that delighted or troubled me, or otherwise occupied me, and to come to some certain understanding with myself upon it, that I might both rectify my conceptions of external things, and set my mind at rest about them. The faculty of doing this was necessary to no one more than to me, for my natural disposition whirled me constantly from one extreme to the other. All, therefore, that has been confessed by me, consists of fragments of a great confession; and this little book is an attempt which I have ventured on to render it complete.

My early affection for Gretchen I had now transferred to one Annette (/Aennchen/), of whom I can say nothing more than that she was young, handsome, sprightly, loving, and so agreeable that she well deserved to be set up for a time in the shrine of the heart as a little saint, that she might receive all that reverence which it often causes more pleasure to bestow than to receive. I saw her daily without hinderance; she helped to prepare the meals I enjoyed; she brought, in the evening at least, the wine I drank; and indeed our select club of noon-day boarders was a warranty that the little house, which was visited by few guests except during the fair, well merited its good reputation. Opportunity and inclination were found for various kinds of amusement. But, as she neither could nor dared go much out of the house, the pastime was somewhat limited. We sang the songs of Zachariä; played the "Duke Michael" of Krüger, in which a knotted handkerchief had to take the place of the nightingale; and so, for a while, it went on quite tolerably. But since such connections, the more innocent they are, afford the less variety in the long run, I was seized with that wicked distemper which seduces us to derive amusement from the torment of a beloved one, and to domineer over a girl's devotedness with wanton and tyrannical caprice. My ill humor at the failure of my poetical attempts, at the apparent impossibility of coming to a clear understanding about them, and at every thing else that might pinch me here and there, I thought I might vent on her, because she truly loved me with all her heart, and did whatever she could to please me. By unfounded and absurd fits of jealousy, I destroyed our most delightful days, both for myself and her. She endured it for a time with incredible patience, which I was cruel enough to try to the uttermost. But, to my shame and despair, I was at last forced to remark that her heart was alienated from me, and that I might now have good ground for the madness in which I had indulged without necessity and without cause. There were also terrible scenes between us, in which I gained nothing; and I then first felt that I had truly loved her, and could not bear to lose her. My passion grew, and assumed all the forms of which it is capable under such circumstances; nay, at last I even took up the /rôle/ which the girl had hitherto played. I sought every thing possible in order to be agreeable to her, even to procure her pleasure by means of others; for I could not renounce the hope of winning her again. But it was too late! I had lost her really; and the frenzy with which I revenged my fault upon myself, by assaulting in various frantic ways my physical nature, in order to inflict some hurt on my moral nature, contributed very much to the bodily maladies under which I lost some of the best years of my life: indeed, I should perchance have been completely ruined by this loss, had not my poetic talent here shown itself particularly helpful with its healing power.

Already, at many intervals before, I had clearly enough perceived my ill conduct. I really pitied the poor child, when I saw her so thoroughly wounded by me, without necessity. I pictured to myself so often and so circumstantially her condition and my own, and, as a contrast, the contented state of another couple in our company, that at last I could not forbear treating this situation dramatically, as a painful and instructive penance. Hence arose the oldest of my extant dramatic labors, the little piece entitled, "Die Laune des Verliebten" ("The Lover's Caprice"), in the simple nature of which one may at the same time perceive the impetus of a boiling passion.

But, before this, a deep, significant, impulsive world had already interested me. Through my adventure with Gretchen and its consequences, I had early looked into the strange labyrinths by which civil society is undermined. Religion, morals, law, rank, connections, custom, all rule only the surface of city existence. The streets, bordered by splendid houses, are kept neat; and every one behaves himself there properly enough: but, indoors, it often seems only so much the more disordered; and a smooth exterior, like a thin coat of mortar, plasters over many a rotten wall that tumbles together overnight, and produces an effect the more frightful, as it comes into the midst of a condition of repose. A great many families, far and near, I had seen already, either overwhelmed in ruin or kept miserably hanging on the brink of it, by means of bankruptcies, divorces, seduced daughters, murders, house- robberies, poisonings; and, young as I was, I had often, in such cases, lent a hand for help and preservation. For as my frankness awakened confidence; as my secrecy was proved; as my activity feared no sacrifice, and loved best to exert itself in the most dangerous affairs, – I had often enough found opportunity to mediate, to hush up, to divert the lightning-flash, with every other assistance of the kind; in the course of which, as well in my own person as through others, I could not fail to come to the knowledge of many afflicting and humiliating facts. To relieve myself I designed several plays, and wrote the arguments[27 - "/Exposition/," in a dramatic sense, properly means a statement of the events which take place before the action of the play commences. – TRANS.] of most of them. But since the intrigues were always obliged to be painful, and almost all these pieces threatened a tragical conclusion, I let them drop one after another. "Die Mitschuldigen" ("The Accomplices") is the only one that was finished, the cheerful and burlesque tone of which upon the gloomy family-ground appears as if accompanied by something causing anxiety; so that, on the whole, it is painful in representation, although it pleases in detached passages. The illegal deeds, harshly expressed, wound the aesthetic and moral feeling, and the piece could therefore find no favor on the German stage; although the imitations of it, which steered clear of those rocks, were received with applause.

Both the above-mentioned pieces were, however, written from a more elevated point of view, without my having been aware of it. They direct us to a considerate forbearance in casting moral imputations, and in somewhat harsh and coarse touches sportively express that most Christian maxim, /Let him who is without sin among you cast the first stone/.

Through this earnestness, which cast a gloom over my first pieces, I committed the mistake of neglecting very favorable materials which lay quite decidedly in my natural disposition. In the midst of these serious, and, for a young man, fearful, experiences, was developed in me a reckless humor, which feels itself superior to the moment, and not only fears no danger, but rather wantonly courts it. The reason of this lay in the exuberance of spirits in which the vigorous time of life so much delights, and which, if it manifests itself in a frolicsome way, causes much pleasure, both at the moment and in remembrance. These things are so usual, that, in the vocabulary of our young university friends, they are called /Suites/; and, on account of the close similarity of signification, to say "play /suites/," means just the same as to "play pranks."[28 - The real meaning of the passage is, that the idiom "Possen reissen" is used also with the university word "Suite," so that one can say "Suiten reissen." – TRANS.]

Such humorous acts of daring, brought on the theatre with wit and sense, are of the greatest effect. They are distinguished from intrigue, inasmuch as they are momentary, and that their aim, whenever they are to have one, must not be remote. Beaumarchais has seized their full value, and the effects of his "Figaro" spring pre-eminently from this. Whereas such good-humored roguish and half-knavish pranks are practised with personal risk for noble ends, the situations which arise from them are aesthetically and morally considered of the greatest value for the theatre; as, for instance, the opera of "The Water-Carrier" treats perhaps the happiest subject which we have ever yet seen upon the stage.

To enliven the extreme tedium of daily life, I played off numberless tricks of the sort, partly without any aim at all, partly in the service of my friends, whom I liked to please. For myself, I could not say that I had once acted in this designedly, nor did I ever happen to consider a feat of the kind as a subject for art. Had I, however, seized upon and elaborated such materials, which were so close at hand, my earliest labors would have been more cheerful and available. Some incidents of this kind occur indeed later, but isolated and without design. For since the heart always lies nearer to us than the head, and gives us trouble, whereas the latter knows how to set matters to rights, the affairs of the heart had always appeared to me as the most important. I was never weary of reflecting upon the transient nature of attachments, the mutability of human character, moral sensuality, and all the heights and depths, the combination of which in our nature may be considered as the riddle of human life. Here, too, I sought to get rid of that which troubled me, in a song, an epigram, in some kind of rhyme; which, since they referred to the most private feelings and the most peculiar circumstances, could scarcely interest any one but myself.

In the mean time, my external position had very much changed after the lapse of a short time. Madame Böhme, after a long and melancholy illness, had at last died: she had latterly ceased to admit me to her presence. Her husband could not be very much satisfied with me: I seemed to him not sufficiently industrious, and too frivolous. He especially took it very ill of me, when it was told him, that at the lectures on German Public Law, instead of taking proper notes, I had been drawing on the margin of my note-book the personages presented to our notice in them, such as the President of the Chamber, the Moderators and Assessors, in strange wigs; and by this drollery had disturbed my attentive neighbors and set them laughing. After the loss of his wife he lived still more retired than before, and at last I shunned him in order to avoid his reproaches. But it was peculiarly unfortunate that Gellert would not use the power which he might have exercised over us. Indeed, he had not time to play the father-confessor, and to inquire after the character and faults of everybody: he therefore took the matter very much in the lump, and thought to curb us by means of the church forms. For this reason he commonly, when he admitted us to his presence, used to lower his little head, and, in his weeping, winning voice, to ask us whether we went regularly to church, who was our confessor, and whether we took the holy communion? If we came off badly at this examination, we were dismissed with lamentations: we were more vexed than edified, yet could not help loving the man heartily.

On this occasion I cannot forbear recalling somewhat of my earlier youth, in order to make it obvious that the great affairs of the ecclesiastical religion must be carried on with order and coherence, if they are to prove as fruitful as is expected. The Protestant service has too little fulness and consistency to be able to hold the congregation together; hence it easily happens that members secede from it, and either form little congregations of their own, or, without ecclesiastical connection, quietly carry on their citizen-life side by side. Thus for a considerable time complaints were made that church- goers were diminishing from year to year, and, just in the same ratio, the persons who partook of the Lord's Supper. With respect to both, but especially the latter, the cause lies close at hand; but who dares to speak it out? We will make the attempt.

In moral and religious, as well as in physical and civil, matters, man does not like to do any thing on the spur of the moment; he needs a sequence from which results habit; what he is to love and to perform, he cannot represent to himself as single or isolated; and, if he is to repeat any thing willingly, it must not have become strange to him. If the Protestant worship lacks fulness in general, so let it be investigated in detail, and it will be found that the Protestant has too few sacraments, – nay, indeed, he has only one in which he is himself an actor, – the Lord's Supper; for baptism he sees only when it is performed on others, and is not greatly edified by it. The sacraments are the highest part of religion, the symbols to our senses of an extraordinary divine favor and grace. In the Lord's Supper earthly lips are to receive a divine Being embodied, and partake of a heavenly under the form of an earthly nourishment. This import is the same in all kinds of Christian churches: whether the sacrament is taken with more or less submission to the mystery, with more or less accommodation as to that which is intelligible, it always remains a great, holy thing, which in reality takes the place of the possible or the impossible, the place of that which man can neither attain nor do without. But such a sacrament should not stand alone: no Christian can partake of it with the true joy for which it is given, if the symbolical or sacramental sense is not fostered within him. He must be accustomed to regard the inner religion of the heart and that of the external church as perfectly one, as the great universal sacrament, which again divides itself into so many others, and communicates to these parts its holiness, indestructibleness, and eternity.

Here a youthful pair join hands, not for a passing salutation or for the dance: the priest pronounces his blessing upon them, and the bond is indissoluble. It is not long before this wedded pair bring a likeness to the threshold of the altar: it is purified with holy water, and so incorporated into the church, that it cannot forfeit this benefit but through the most monstrous apostasy. The child in the course of life goes on progressing in earthly things of his own accord, in heavenly things he must be instructed. Does it prove on examination that this has been fully done, he is now received into the bosom of the church as an actual citizen, as a true and voluntary professor, not without outward tokens of the weightiness of this act. Now, only, he is decidedly a Christian, now for the first time he knows his advantages and also his duties. But, in the mean time, a great deal that is strange has happened to him as a man: through instruction and affliction he has come to know how critical appears the state of his inner self, and there will constantly be a question of doctrines and of transgressions; but punishment shall no longer take place. For here, in the infinite confusion in which he must entangle himself, amid the conflict of natural and religious claims, an admirable expedient is given him, in confiding his deeds and misdeeds, his infirmities and doubts, to a worthy man, appointed expressly for that purpose, who knows how to calm, to warn, to strengthen him, to chasten him likewise by symbolical punishments, and at last, by a complete washing away of his guilt, to render him happy, and to give him back, pure and cleansed, the tablet of his manhood. Thus prepared, and purely set at rest by several sacramental acts, which on closer examination branch forth again into minuter sacramental traits, he kneels down to receive the host; and, that the mystery of this high act may be still enhanced, he sees the chalice only in the distance: it is no common eating and drinking that satisfies, it is a heavenly feast, which makes him thirst after heavenly drink.

Yet let not the youth believe that this is all he has to do; let not even the man believe it. In earthly relations we are at last accustomed to depend on ourselves; and, even there, knowledge, understanding, and character will not always suffice: in heavenly things, on the contrary, we have never finished learning. The higher feeling within us, which often finds itself not even truly at home, is, besides, oppressed by so much from without, that our own power hardly administers all that is necessary for counsel, consolation, and help. But, to this end, that remedy is instituted for our whole life; and an intelligent, pious man is continually waiting to show the right way to the wanderers, and to relieve the distressed.

And what has been so well tried through the whole life, is now to show forth all its healing power with tenfold activity at the gate of Death. According to a trustful custom, inculcated from youth upwards, the dying man receives with fervor those symbolical, significant assurances; and there, where every earthly warranty fails, he is assured, by a heavenly one, of a blessed existence for all eternity. He feels perfectly convinced that neither a hostile element nor a malignant spirit can hinder him from clothing himself with a glorified body, so that, in immediate relation with the Godhead, he may partake of the boundless happiness which flows forth from him.

Then, in conclusion, that the whole may be made holy, the feet also are anointed and blessed. They are to feel, even in the event of possible recovery, a repugnance to touching this earthly, hard, impenetrable soil. A wonderful elasticity is to be imparted to them, by which they spurn from under them the clod of earth which hitherto attracted them. And so, through a brilliant cycle of equally holy acts, the beauty of which we have only briefly hinted at, the cradle and the grave, however far asunder they may chance to be, are joined in one continuous circle.

But all these spiritual wonders spring not, like other fruits, from the natural soil, where they can neither be sown nor planted nor cherished. We must supplicate for them from another region, – a thing which cannot be done by all persons nor at all times. Here we meet the highest of these symbols, derived from pious tradition. We are told that one man may be more favored, blessed, and sanctified from above than another. But, that this may not appear as a natural gift, this great boon, bound up with a heavy duty, must be communicated to others by one authorized person to another; and the greatest good that a man can attain, without his having to obtain it by his own wrestling or grasping, must be preserved and perpetuated on earth by spiritual inheritance. In the very ordination of the priest is comprehended all that is necessary for the effectual solemnizing of those holy acts by which the multitude receive grace, without any other activity being needful on their part than that of faith and implicit confidence. And thus the priest joins the line of his predecessors and successors, in the circle of those anointed with him, representing the highest source of blessings, so much the more gloriously, as it is not he, the priest, whom we reverence, but his office: it is not his nod to which we bow the knee, but the blessing which he imparts, and which seems the more holy, and to come the more immediately from heaven, because the earthly instrument cannot at all weaken or invalidate it by its own sinful, nay, wicked, nature.