The wonder of the book is its superior intelligence. In the menstruum of this man's wit, the past and the present ages, and their religions, politics, and modes of thinking, are dissolved into archetypes and ideas. What new mythologies sail through his head! The Greeks said, that Alexander went as far as Chaos; Goethe went, only the other day, as far; and one step farther he hazarded, and brought himself safe back. There is a heart-cheering freedom in his speculation. The immense horizon which journeys with us lends its majesty to trifles, and to matters of convenience and necessity, as to solemn and festal performances. He was the soul of his century. If that was learned, and had become, by population, compact organization, and drill of parts, one great Exploring Expedition, accumulating a glut of facts and fruits too fast for any hitherto-existing savans to classify, this man's mind had ample chambers for the distribution of all. He had a power to unite the detached atoms again by their own law. He has clothed our modern existence with poetry. Amid littleness and detail, he detected the Genius of life, the old cunning Proteus, nestling close beside us, and showed that the dulness and prose we ascribe to the age was only another of his masks:

"His very flight is presence in disguise":

66

that he had put off a gay uniform for a fatigue dress, and was not a whit less vivacious or rich in Liverpool, or the Hague, than once in Rome or Antioch. He sought him in public squares and main streets, in boulevards and hotels; and, in the solidest kingdom of routine and the senses, he showed the lurking demonic power; that, in actions of routine, a thread of mythology and fable spins itself: and this, by tracing the pedigree of every usage and practice, every institution, utensil, and means, home to its origin in the structure of man. He had an extreme impatience of conjecture and of rhetoric. have guesses enough of my own; if a man write a book, let him set down only what he knows." He writes in the plainest and lowest tone, omitting a great deal more than he writes, and putting ever a thing for a word. He has explained the distinction between the antique and the modern spirit and art. He has defined art, its scope and laws. He has said the best things about nature that ever were said. He treats nature as the old philosophers, as the seven wise masters did, — and, with whatever loss of French tabulation and dissection, poetry and humanity remain to us; and they have some doctoral

skill. Eyes are better, on the whole, than telescopes or microscopes. He has contributed a key to many parts of nature, through the rare turn for unity and simplicity in his mind. Thus Goethe suggested the leading idea of modern botany, that a leaf, or the eye of a leaf, is the unit of botany, and that every part of the plant is only a transformed leaf to meet a new condition; and, by varying the conditions, a leaf may be converted into any other organ; and any other organ into a leaf. In like manner, in osteology, he assumed that one vertebra of the spine might be considered the unit of the skeleton: the head was only the uppermost vertebra transformed. "The plant goes from knot to knot, closing, at last, with the flower and the seed. So the tape-worm, the caterpillar, goes from knot to knot, and closes with the head. Man and the higher animals are built up through the vertebræ, the powers being concentrated in the head." In optics, again, he rejected the artificial theory of seven colors, and considered that every color was the mixture of light and darkness in new proportions. It is really of very little consequence what topic he writes upon. He sees at every pore, and has a certain gravitation towards truth. He will realize what you say. He hates to be trifled with, and to be made to say over again some old wife's fable, that has had possession of men's faith these thousand years. He may as well see if it is true as another. He sifts it. I am here, he would say, to be the measure and judge of these things. Why should I take them on trust? And, therefore, what he says of religion, of passion, of marriage, of manners, of property, of paper money, of periods of belief, of omens, of luck, or whatever else, refuses to be forgotten.

Take the most remarkable example that could occur of this tendency to verify every term in popular use. The Devil had played an important part in mythology in all times. Goethe would have no word that does not cover a thing. The same measure will still serve: "I have never heard of any crime which I might not have committed." So he flies at the throat of this imp. He shall be real; he shall be modern; he shall be European; he shall dress like a gentleman, and accept the manners, and walk in the streets, and be well initiated in the life of Vienna, and of Heidelberg, in 1820, -or he shall not exist. Accordingly, he stripped him of mythologic gear, of horns, cloven foot, harpoon tail, brimstone, and blue-fire, and, instead of looking in books and pictures, looked for him in his own mind, in every shade of coldness,

selfishness, and unbelief that, in crowds, or in solitude, darkens over the human thought, and found that the portrait gained reality and terror by everything he added, and by everything he took away. He found that the essence of this hobgoblin, which had hovered in shadow about the habitations of men, ever since there were men, was pure intellect, applied as always there is a tendency—to the service of the senses : and he flung into literature, in his Mephistopheles, the first organic figure that has been added for some ages, and which will remain as long as the Prometheus.

I have no design to enter into any analysis of his numerous works. They consist of translations, criticisms, dramas, lyric and every other description of poems, literary journals, and portraits of distinguished men. Yet I cannot omit to specify Wilhelm Meister.

Wilhelm Meister is a novel in every sense, the first of its kind, called by its admirers the only delineation of modern society, as if other novels, those of Scott, for example, dealt with costume and condition, this with the spirit of life. It is a book over which some veil is still drawn. It is read by very intelligent persons with wonder and delight. It is preferred by some such to Hamlet, as a work of genius. I suppose, no book of this century can compare with it in its delicious sweetness, so new, so provoking to the mind, gratifying it with so many and so solid thoughts, just insights into life, and manners, and characters; so many good hints for the conduct of life, so many unexpected glimpses into a higher sphere, and never a trace of rhetoric or dulness. A very provoking book to the curiosity of young men of genius, but a very unsatisfactory one. Lovers of light reading, those who look in it for the entertainment they find in a romance, are disappointed. On the other hand, those who begin it with the higher hope to read in it a worthy history of genius, and the just award of the laurel to its toils and denials, have also reason to complain. We had an English romance here, not long ago, professing to embody the hope of a new age, and to unfold the political hope of the party called 'Young England,' in which the only reward of virtue is a seat in parliament, and a peerage. Goethe's romance has a conclusion as lame and immoral. George Sand, in Consuelo and its continuation, has sketched a truer and more dignified picture. In the progress of the story, the characters of the hero and heroine expand at a rate that shivers the porcelain chess-table of aristo

cratic convention: they quit the society and habits of their rank; they lose their wealth; they become the servants of great ideas, and of the most generous social ends; until, at last, the hero, who is the centre and fountain of an association for the rendering of the noblest benefits to the human race, no longer answers to his own titled name: it sounds foreign and remote in his ear. "I am only man," he says; "I breathe and work for man," and this in poverty and extreme sacrifices. Goethe's hero, on the contrary, has so many weaknesses and impurities, and keeps such bad company, that the sober English public, when the book was translated, were disgusted. And yet it is so crammed with wisdom, with knowledge of the world, and with knowledge of laws; the persons so truly and subtly drawn, and with such few strokes, and not a word too much, the book remains ever so new and unexhausted, that we must even let it go its way, and be willing to get what good from it we can, assured that it has only begun its office, and has millions of readers yet to serve.

The argument is the passage of a democrat to the aristocracy, using both words in their best sense. And this passage is not made in any mean or creeping way, but through the hall door. Nature and character assist, and the rank is made real by sense and probity in the nobles. No generous youth can escape this charm of reality in the book, so that it is highly stimulating to intellect and courage.

The ardent and holy Novalis characterized the book as "thoroughly modern and prosaic; the romantic is completely levelled in it; so is the poetry of nature; the wonderful. The book treats only of the ordinary affairs of men: it is a poeticized civic and domestic story. The wonderful in it is expressly treated as fiction and enthusiastic dreaming": and yet, what is also characteristic, Novalis soon returned to this book, and it remained his favorite reading to the end of his life.

What distinguishes Goethe for French and English readers, is, a property which he shares with his nation, an habitual reference to interior truth. In England and in America, there is a respect for talent; and, if it is exerted in support of any ascertained or intelligible interest or party, or in regular opposition to any, the public is satisfied. In France, there is even a greater delight in intellectual brilliancy, for its own sake. And, in all these countries, men of talent write from talent. It is enough if the understanding is occupied, the taste propitiated, so many columns, so many hours, filled in

a lively and creditable way. The German intellect wants the French sprightliness, the fine practical understanding of the English, and the American adventure; but it has a certain probity, which never rests in a superficial performance, but asks steadily, To what end? A German public asks for a controlling sincerity. Here is activity of thought; but what is it for? What does the man mean? Whence, whence all these thoughts?

Talent alone cannot make a writer. There must be a man behind the book; a personality which, by birth and quality, is pledged to the doctrines there set forth, and which exists to see and state things so, and not otherwise; holding things because they are things. If he cannot rightly express himself to-day, the same things subsist, and will open themselves tomorrow. There lies the burden on his mind, the burden of truth to be declared, more or less understood; and it constitutes his business and calling in the world, to see those facts through, and to make them known. What signifies that he trips and stammers; that his voice is harsh or hissing; that his method or his tropes are inadequate? That message will find method and imagery, articulation and melody. Though he were dumb, it would speak. If not, if there be no such God's word in the man, what care we how adroit, how fluent,

how brilliant he is?

It makes a great difference to the force of any sentence, whether there be a man behind it, or no. In the learned journal, in the influential newspaper, I discern no form: only some irresponsible shadow; oftener some moneyed corporation, or some dangler, who hopes, in the mask and robes of his paragraph, to pass for somebody. But, through every clause and part of speech of a right book, I meet the eyes of the most determined of men; his force and terror inundate every word: the commas and dashes are alive; so that the writing is athletic and nimble, can go far and live long.

In England and America, one may be an adept in the writings of a Greek or Latin poet, without any poetic taste or fire. That a man has spent years on Plato and Proclus, does not afford a presumption that he holds heroic opinions, or undervalues the fashions of his town. But the German nation have the most ridiculous good faith on these subjects; the student out of the lecture-room, still broods on the lessons; and the professor cannot divest himself of the fancy, that the truths of philosophy have some application to Berlin and Munich.