FOURTH DIVISION.

CONCERNING THE SOUL OF ARTISTS AND AUTHORS.

145.

The Perfect Should Not Have Grown.—With regard to everything that is perfect we are accustomed to omit the question as to how perfection has been acquired, and we only rejoice in the present as if it had sprung out of the ground by magic. Probably with regard to this matter we are still under the effects of an ancient mythological feeling. It still almost seems to us (in such a Greek temple, for instance, as that of Pæstum) as if one morning a god in sport had built his dwelling of such enormous masses, at other times it seems as if his spirit had suddenly entered into a stone and now desired to speak through it. The artist knows that his work is only fully effective if it arouses the belief in an improvisation, in a marvellous instantaneousness of origin; and thus he assists this illusion and introduces into art those elements of inspired unrest, of blindly groping disorder, of listening dreaming at the beginning of creation, as a means of deception, in order so to influence the soul of the spectator or hearer that it may believe in the sudden appearance of the perfect. It is the business of the science of art to contradict this illusion most decidedly, and to show up the mistakes and pampering of the intellect, by means of which it falls into the artist's trap.

146.

The Artist's Sense of Truth.—With regard to recognition of truths, the artist has a weaker morality than the thinker; he will on no account let himself be deprived of brilliant and profound interpretations of life, and defends himself against temperate and simple methods and results. He is apparently fighting for the higher worthiness and meaning of mankind; in reality he will not renounce the most effective suppositions for his art, the fantastical, mythical, uncertain, extreme, the sense of the symbolical, the over-valuation of personality, the belief that genius is something miraculous,—he considers, therefore, the continuance of his art of creation as more important than the scientific devotion to truth in every shape, however simple this may appear.

147.

Art As Raiser of the Dead.—Art also fulfils the task of preservation and even of brightening up extinguished and faded memories; when it accomplishes this task it weaves a rope round the ages and causes their spirits to return. It is, certainly, only a phantom-life that results therefrom, as out of graves, or like the return in dreams of our beloved dead, but for some moments, at least, the old sensation lives again and the heart beats to an almost forgotten time. Hence, for the sake of the general usefulness of art, the artist himself must be excused if he does not stand in the front rank of the enlightenment and progressive civilisation of humanity; all his life long he has remained a child or a youth, and has stood still at the point where he was overcome by his artistic impulse; the feelings of the first years of life, however, are acknowledged to be nearer to those of earlier times than to those of the present century. Unconsciously it becomes his mission to make mankind more childlike; this is his glory and his limitation.

148.

Poets As the Lighteners of Life.—Poets, inasmuch as they desire to lighten the life of man, either divert his gaze from the wearisome present, or assist the present to acquire new colours by means of a life which they cause to shine out of the past. To be able to do this, they must in many respects themselves be beings who are turned towards the past, so that they can be used as bridges to far distant times and ideas, to dying or dead religions and cultures. Actually they are always and of necessity epigoni. There are, however, certain drawbacks to their means of lightening life,—they appease and heal only temporarily, only for the moment; they even prevent men from labouring towards a genuine improvement in their conditions, inasmuch as they remove and apply palliatives to precisely that passion of discontent that induces to action.

149.

The Slow Arrow of Beauty.—The noblest kind of beauty is that which does not transport us suddenly, which does not make stormy and intoxicating impressions (such a kind easily arouses disgust), but that which slowly filter into our minds, which we take away with us almost unnoticed, and which we encounter again in our dreams; but which, however, after having long lain modestly on our hearts, takes entire possession of us, fills our eyes with tears and our hearts with longing. What is it that we long for at the sight of beauty? We long to be beautiful, we fancy it must bring much happiness with it. But that is a mistake.

150.

The Animation of Art.—Art raises its head where creeds relax. It takes over many feelings and moods engendered by religion, lays them to its heart, and itself becomes deeper, more full of soul, so that it is capable of transmitting exultation and enthusiasm, which it previously was not able to do. The abundance of religious feelings which have grown into a stream are always breaking forth again and desire to conquer new kingdoms, but the growing enlightenment has shaken the dogmas of religion and inspired a deep mistrust,—thus the feeling, thrust by enlightenment out of the religious sphere, throws itself upon art, in a few cases into political life, even straight into science. Everywhere where human endeavour wears a loftier, gloomier aspect, it may be assumed that the fear of spirits, incense, and church-shadows have remained attached to it.

151.

How Rhythm Beautifies.—Rhythm casts a veil over reality; it causes various artificialities of speech and obscurities of thought; by the shadow it throws upon thought it sometimes conceals it, and sometimes brings it into prominence. As shadow is necessary to beauty, so the "dull" is necessary to lucidity. Art makes the aspect of life endurable by throwing lover it the veil of obscure thought.

152.

The Art of the Ugly Soul.—Art is confined within too narrow limits if it be required that only the orderly, respectable, well-behaved soul should be allowed to express itself therein. As in the plastic arts, so also in music and poetry: there is an art of the ugly soul side by side with the art of the beautiful soul; and the mightiest effects of art, the crushing of souls, moving of stones and humanising of beasts, have perhaps been best achieved precisely by that art.

153.

Art Makes Heavy the Heart of the Thinker.—How strong metaphysical need is and how difficult nature renders our departure from it may be seen from the fact that even in the free spirit, when he has cast off everything metaphysical, the loftiest effects of art can easily produce a resounding of the long silent, even broken, metaphysical string,—it may be, for instance, that at a passage in Beethoven's Ninth Symphony he feels himself floating above the earth in a starry dome with the dream of immortality in his heart; all the stars seem to shine round him, and the earth to sink farther and farther away.—If he becomes conscious of this state, he feels a deep pain at his heart, and sighs for the man who will lead back to him his lost darling, be it called religion or metaphysics. In such moments his intellectual character is put to the test.

154.

Playing With Life.—The lightness and frivolity of the Homeric imagination was necessary to calm and occasionally to raise the immoderately passionate temperament and acute intellect of the Greeks. If their intellect speaks, how harsh and cruel does life then appear! They do not deceive themselves, but they intentionally weave lies round life. Simonides advised his countrymen to look upon life as a game; earnestness was too well-known to them as pain (the gods so gladly hear the misery of mankind made the theme of song), and they knew that through art alone misery might be turned into pleasure. As a punishment for this insight, however, they were so plagued with the love of romancing that it was difficult for them in everyday life to keep themselves free from falsehood and deceit; for all poetic nations have such a love of falsehood, and yet are innocent withal. Probably this occasionally drove the neighbouring nations to desperation.

155.

The Belief in Inspiration.—It is to the interest of the artist that there should be a belief in sudden suggestions, so-called inspirations; as if the idea of a work of art, of poetry, the fundamental thought of a philosophy shone down from heaven like a ray of grace. In reality the imagination of the good artist or thinker constantly produces good, mediocre, and bad, but his judgment, most clear and practised, rejects and chooses and joins together, just as we now learn from Beethoven's notebooks that he gradually composed the most beautiful melodies, and in a manner selected them, from many different attempts. He who makes less severe distinctions, and willingly abandons himself to imitative memories, may under certain circumstances become a great improvisatore; but artistic improvisation ranks low in comparison with serious and laboriously chosen artistic thoughts. All great men were great workers, unwearied not only in invention but also in rejection, reviewing, transforming, and arranging.

156.

Inspiration Again.—If the productive power has been suspended for a length of time, and has been hindered in its outflow by some obstacle, there comes at last such a sudden out-pouring, as if an immediate inspiration were taking place without previous inward working, consequently a miracle. This constitutes the familiar deception, in the continuance of which, as we have said, the interest of all artists is rather too much concerned. The capital has only accumulated, it has not suddenly fallen down from heaven. Moreover, such apparent inspirations are seen elsewhere, for instance in the realm of goodness, of virtue and of vice.

157.

The Suffering of Genius and Its Value.—The artistic genius desires to give pleasure, but if his mind is on a very high plane he does not easily find any one to share his pleasure; he offers entertainment but nobody accepts it. This gives him, in certain circumstances, a comically touching pathos; for he has really no right to force pleasure on men. He pipes, but none will dance: can that be tragic? Perhaps.—As compensation for this deprivation, however, he finds more pleasure in creating than the rest of mankind experiences in all other species of activity. His sufferings are considered as exaggerated, because the sound of his complaints is louder and his tongue more eloquent; and yet sometimes his sufferings are really very great; but only because his ambition and his envy are so great. The learned genius, like Kepler and Spinoza, is usually not so covetous and does not make such an exhibition of his really greater sufferings and deprivations. He can reckon with greater certainty on future fame and can afford to do without the present, whilst an artist who does this always plays a desperate game that makes his heart ache. In very rare cases, when in one and the same individual are combined the genius of power and of knowledge and the moral genius, there is added to the above-mentioned pains that species of pain which must be regarded as the most curious exception in the world; those extra- and super-personal sensations which are experienced on behalf of a nation, of humanity, of all civilisation, all suffering existence, which acquire their value through the connection with particularly difficult and remote perceptions (pity in itself is worth but little). But what standard, what proof is there for its genuineness? Is it not almost imperative to be mistrustful of all who talk of feeling sensations of this kind?

158.

The Destiny of Greatness.—Every great phenomenon is followed by degeneration, especially in the world of art. The example of the great tempts vainer natures to superficial imitation or exaggeration; all great gifts have the fatality of crushing many weaker forces and germs, and of laying waste all nature around them. The happiest arrangement in the development of an art is for several geniuses mutually to hold one another within bounds; in this strife it generally happens that light and air are also granted to the weaker and more delicate natures.

159.

Art Dangerous For the Artist.—When art takes strong hold of an individual it draws him back to the contemplation of those times when art flourished best, and it has then a retrograde effect. The artist grows more and more to reverence sudden inspirations; he believes in gods and dæmons, he spiritualises all nature, hates science, is changeable in his moods like the ancients, and longs for an overthrow of all existing conditions which are not favourable to art, and does this with the impetuosity and unreasonableness of a child. Now, in himself, the artist is already a backward nature, because he halts at a game that belongs properly to youth and childhood; to this is added the fact that he is educated back into former times. Thus there gradually arises a fierce antagonism between him and his contemporaries, and a sad ending; according to the accounts of the ancients, Homer and Æschylus spent their last years, and died, in melancholy.

160.

Created Individuals.—When it is said that the dramatist (and the artist above all) creates real characters, it is a fine deception and exaggeration, in the existence and propagation of which art celebrates one of its unconscious but at the same time abundant triumphs. As a matter of fact, we do not understand much about a real, living man, and we generalise very superficially when we ascribe to him this and that character; this very imperfect attitude of ours towards man is represented by the poet, inasmuch as he makes into men (in this sense "creates") outlines as superficial as our knowledge of man is superficial. There is a great deal of delusion about these created characters of artists; they are by no means living productions of nature, but are like painted men, somewhat too thin, they will not bear a close inspection. And when it is said that the character of the ordinary living being contradicts itself frequently, and that the one created by the dramatist is the original model conceived by nature, this is quite wrong. A genuine man is something absolutely necessary (even in those so-called contradictions), but we do not always recognise this necessity. The imaginary man, the phantasm, signifies something necessary, but only to those who understand a real man only in a crude, unnatural simplification, so that a few strong, oft-repeated traits, with a great deal of light and shade and half-light about them, amply satisfy their notions. They are, therefore, ready to treat the phantasm as a genuine, necessary man, because with real men they are accustomed to regard a phantasm, an outline, an intentional abbreviation as the whole. That the painter and the sculptor express the "idea" of man is a vain imagination and delusion; whoever says this is in subjection to the eye, for this only sees the' surface, the epidermis of the human body,—the inward body, however, is equally a part of the idea. Plastic art wishes to make character visible on the surface; histrionic art employs speech for the same purpose, it reflects character in sounds. Art starts from the natural ignorance of man about his interior condition (in body and character); it is not meant for philosophers or natural scientists.

161.

The Over-valuation of Self in the Belief in Artists and Philosophers.—We are all prone to think that the excellence of a work of art or of an artist is proved when it moves and touches us. But there our own excellence in judgment and sensibility must have been proved first, which is not the case. In all plastic art, who had greater power to effect a charm than Bernini, who made a greater effect than the orator that appeared after Demosthenes introduced the Asiatic style and gave it a predominance which lasted throughout two centuries? This predominance during whole centuries is not a proof of the excellence and enduring validity of a style; therefore we must not be too certain in our good opinion of any artist,—this is not only belief in the truthfulness of our sensations but also in the infallibility of our judgment, whereas judgment or sensation, or even both, may be too coarse or too fine, exaggerated or crude. Neither are the blessings and blissfulness of a philosophy or of a religion proofs of its truth; just as little as the happiness which an insane person derives from his fixed idea is a proof of the reasonableness of this idea.

162.

The Cult of Genius For the Sake of Vanity.—Because we think well of ourselves, but nevertheless do not imagine that we are capable of the conception of one of Raphael's pictures or of a scene such as those of one of Shakespeare's dramas, we persuade ourselves that the faculty for doing this is quite extraordinarily wonderful, a very rare case, or, if we are religiously inclined, a grace from above. Thus the cult of genius fosters our vanity, our self-love, for it is only when we think of it as very far removed from us, as a miraculum, that it does not wound us (even Goethe, who was free from envy, called Shakespeare a star of the farthest heavens, whereby we are reminded of the line "die Sterne, die begehrt man nicht".[1]) But, apart from those suggestions of our vanity, the activity of a genius does not seem so radically different from the activity of a mechanical inventor, of an astronomer or historian or strategist. All these forms of activity are explicable if we realise men whose minds are active in one special direction, who make use of everything as material, who always eagerly study their own inward life and that of others, who find types and incitements everywhere, who never weary in the employment of their means. Genius does nothing but learn how to lay stones, then to build, always to seek for material and always to work upon it. Every human activity is marvellously complicated, and not only that of genius, but it is no "miracle." Now whence comes the belief that genius is found only in artists, orators, and philosophers, that they alone have "intuition" (by which we credit them with a kind of magic glass by means of which they see straight into one's "being")? It is clear that men only speak of genius where the workings of a great intellect are most agreeable to them and they have no desire to feel envious. To call any one "divine" is as much as saying "here we have no occasion for rivalry." Thus it is that everything completed and perfect is stared at, and everything incomplete is undervalued. Now nobody can see how the work of an artist has developed; that is its advantage, for everything of which the development is seen is looked on coldly The perfected art of representation precludes all thought of its development, it tyrannises as present perfection. For this reason artists of representation are especially held to be possess of genius, but not scientific men. In reality, however, the former valuation and the latter under-valuation are only puerilities of reason.

163.

The Earnestness of Handicraft.—Do not talk of gifts, of inborn talents! We could mention great men of all kinds who were but little gifted. But they obtained greatness, became "geniuses" (as they are called), through qualities of the lack of which nobody who is conscious of them likes to speak. They all had that thorough earnestness for work which learns first how to form the different parts perfectly before it ventures to make a great whole; they gave themselves time for this, because they took more pleasure in doing small, accessory things well than in the effect of a dazzling whole. For instance, the recipe for becoming a good novelist is easily given, but the carrying out of the recipe presupposes qualities which we are in the habit of overlooking when we say, "I have not sufficient talent." Make a hundred or more sketches of novel-plots, none more than two pages long, but of such clearness that every word in them is necessary; write down anecdotes every day until you learn to find the most pregnant, most effective form; never weary of collecting and delineating human types and characters; above all, narrate things as often as possible and listen to narrations with a sharp eye and ear for the effect upon other people present; travel like a landscape painter and a designer of costumes; take from different sciences everything that is artistically effective, if it be well represented; finally, meditate on the motives for human actions, scorn not even the smallest point of instruction on this subject, and collect similar matters by day and night. Spend some ten years in these various exercises: then the creations of your study may be allowed to see the light of day. But what do most people do, on the contrary? They do not begin with the part, but with the whole. Perhaps they make one good stroke, excite attention, and ever afterwards their work grows worse and worse, for good, natural reasons. But sometimes, when intellect and character are lacking for the formation of such an artistic career, fate and necessity take the place of these qualities and lead the future master step by step through all the phases of his craft.

164.

The Danger and the Gain in the Cult of Genius.—The belief in great, superior, fertile minds is not necessarily, but still very frequently, connected with that wholly or partly religious superstition that those spirits are of superhuman origin and possess certain marvellous faculties, by means of which they obtained their knowledge in ways quite different from the rest of mankind. They are credited with having an immediate insight into the nature of the world, through a peep-hole in the mantle of the phenomenon as it were, and it is believed that, without the trouble and severity of science, by virtue of this marvellous prophetic sight, they could impart something final and decisive about mankind and the world. So long as there are still believers in miracles in the world of knowledge it may perhaps be admitted that the believers themselves derive a benefit therefrom, inasmuch as by their absolute subjection to great minds they obtain the best discipline and schooling for their own minds during the period of development. On the other hand, it may at least be questioned whether the superstition of genius, of its privileges and special faculties, is useful for a genius himself when it implants itself in him. In any case it is a dangerous sign when man shudders at his own self, be it that famous Cæsarian shudder or the shudder of genius which applies to this case, when the incense of sacrifice, which by rights is offered to a God alone, penetrates into the brain of the genius, so that he begins to waver and to look upon himself as something superhuman. The slow consequences are: the feeling of irresponsibility, the exceptional rights, the belief that mere intercourse with him confers a favour, and frantic rage at any attempt to compare him with others or even to place him below them and to bring into prominence whatever is unsuccessful in his work. Through the fact that he ceases to criticise himself one pinion after another falls out of his plumage,—that superstition undermines the foundation of his strength and even makes him a hypocrite after his power has failed him. For great minds it is, therefore, perhaps better when they come to an understanding about their strength and its source, when they comprehend what purely human qualities are mingled in them, what a combination they are of fortunate conditions: thus once it was continual energy, a decided application to individual aims, great personal courage, and then the good fortune of an education, which at an early period provided the best teachers, examples, and methods. Assuredly, if its aim is to make the greatest possible effect, abstruseness has always done much for itself and that gift of partial insanity; for at all times that power has been admired and envied by means of which men were deprived of will and imbued with the fancy that they were preceded by supernatural leaders. Truly, men are exalted and inspired by the belief that some one among them is endowed with supernatural powers, and in this respect insanity, as Plato says, has brought the greatest blessings to mankind. In a few rare cases this form of insanity may also have been the means by which an all-round exuberant nature was kept within bounds; in individual life the imaginings of frenzy frequently exert the virtue of remedies which are poisons in themselves; but in every "genius" that believes in his own divinity the poison shows itself at last in the same proportion as the "genius" grows old; we need but recollect the example of Napoleon, for it was most assuredly through his faith in himself and his star, and through his scorn of mankind, that he grew to that mighty unity which distinguished him from all modern men, until at last, however, this faith developed into an almost insane fatalism, robbed him of his quickness of comprehension and penetration, and was the cause of his downfall.

165.

Genius and Nullity.—It is precisely the original artists, those who create out of their own heads, who in certain circumstances can bring forth complete emptiness and husk, whilst the more dependent natures, the so-called talented ones, are full of memories of all manner of goodness, and even in a state of weakness produce something tolerable. But if the original ones are abandoned by themselves, memory renders them no assistance; they become empty.

166.

The Public.—The people really demands nothing more from tragedy than to be deeply affected, in order to have a good cry occasionally; the artist, on the contrary, who sees the new tragedy, takes pleasure in the clever technical inventions and tricks, in the management and distribution of the material, in the novel arrangement of old motives and old ideas. His attitude is the æsthetic attitude towards a work of art, that of the creator; the one first described, with regard solely to the material, is that of he people. Of the individual who stands between the two nothing need be said: he is neither "people" nor artist, and does not know what he wants—therefore his pleasure is also clouded and insignificant.

167.

The Artistic Education of the Public.—If the same motif is not employed in a hundred ways by different masters, the public never learns to get beyond their interest in the subject; but at last, when it is well acquainted with the motif through countless different treatments, and no longer finds in it any charm of novelty or excitement, it will then begin to grasp and enjoy the various shades and delicate new inventions in its treatment.

168.

The Artist and His Followers Must Keep in Step.—The progress from one grade of style to another must be so slow that not only the artists but also the auditors and spectators can follow it and know exactly what is going on. Otherwise there will suddenly appear that great chasm between the artist, who creates his work upon a height apart, and the public, who cannot rise up to that height and finally sinks discontentedly deeper. For when the artist no longer raises his public it rapidly sinks downwards, and its fall is the deeper and more dangerous in proportion to the height to which genius has carried it, like the eagle, out of whose talons a tortoise that has been borne up into the clouds falls to its destruction.

169.

The Source of the Comic Element.—If we consider that for many thousands of years man was an animal that was susceptible in the highest degree to fear, and that everything sudden and unexpected had to find him ready for battle, perhaps even ready for death; that even later, in social relations, all security was based on the expected, on custom in thought and action, we need not be surprised that at everything sudden and unexpected in word and deed, if it occurs without danger or injury, man becomes exuberant and passes over into the very opposite of fear—the terrified, trembling, crouching being shoots upward, stretches itself: man laughs. This transition from momentary fear into short-lived exhilaration is called the Comic. On the other hand, in the tragic phenomenon, man passes quickly from great enduring exuberance into great fear; but as amongst mortals great and lasting exuberance is much rarer than the cause for fear, there is far more comedy than tragedy in the world; we laugh much offener than we are agitated.

170.

The Artist's Ambition.—The Greek artists, the tragedians for instance, composed in order to conquer; their whole art cannot be imagined without rivalry,—the good Hesiodian Eris, Ambition, gave wings to their genius. This ambition further demanded that their work should achieve the greatest excellence in their own eyes, as they understood excellence, without any regard for the reigning taste and the general opinion about excellence in a work of art; and thus it was long before Æschylus and Euripides achieved any success, until at last they educated judges of art, who valued their work according to the standards which they themselves appointed. Hence they strove for victory over rivals according to their own valuation, they really wished to be more excellent; they demanded assent from without to this self-valuation, the confirmation of this verdict. To achieve honour means in this case "to make one's self superior to others, and to desire that this should be recognised publicly." Should the former condition be wanting, and the latter nevertheless desired, it is then called vanity. Should the latter be lacking and not missed, then it is named pride.

171.

What Is Needful to a Work of Art.—Those who talk so much about the needful factors of a work of art exaggerate; if they are artists they do so in majorem artis gloriam, if they are laymen, from ignorance. The form of a work of art, which gives speech to their thoughts and is, therefore, their mode of talking, is always somewhat uncertain, like all kinds of speech. The sculptor can add or omit many little traits, as can also the exponent, be he an actor or, in music, a performer or conductor. These many little traits and finishing touches afford him pleasure one day and none the next, they exist more for the sake of the artist than the art; for he also has occasionally need of sweetmeats and playthings to prevent him from becoming morose with the severity and self-restraint which the representation of the dominant idea demands from him.

172.

To Cause the Master to Be Forgotten.—The pianoforte player who executes the work of a master will have played best if he has made his audience forget the master, and if it seemed as if he were relating a story from his own life or just passing through some experience. Assuredly, if he is of no importance, every one will abhor the garrulity with which he talks about his own life. Therefore he must know how to influence his hearer's imagination favourably towards himself. Hereby are explained all the weaknesses and follies of "the virtuoso."

173.

Corriger La Fortune.—There are unfortunate accidents in the lives of great artists, which compel the painter, for instance, to sketch out his most important picture only as a passing thought, or such as obliged Beethoven to leave behind him only the insufficient pianoforte score of many great sonatas (as in the great B flat). In these cases the artist of a later day must endeavour to fill out the life of the great man,—of all orchestral effects, would call into life that symphony which has fallen into the piano-trance.

174.

Reducing.—Many things, events, or persons, cannot bear treatment on a small scale. The Laocoon group cannot be reduced to a knick-knack; great size is necessary to it. But more seldom still does anything that is naturally small bear enlargement; for which reason biographers succeed far oftener in representing a great man as small than a small one as great.

175.

Sensuousness in Present-day Art.—Artists nowadays frequently miscalculate when they count on the sensuous effect of their works, for their spectators or hearers have no longer a fully sensuous nature, and, quite contrary to the artist's intention, his work produces in them a "holiness" of feeling which is closely related to boredom. Their sensuousness begins, perhaps, just where that of the artist ceases; they meet, therefore, only at one point at the most.

176.

Shakespeare As a Moralist.—Shakespeare meditated much on the passions, and on account of his temperament had probably a close acquaintance with many of them (dramatists are in general rather wicked men). He could, however not talk on the subject, like Montaigne, but put his observations thereon into the mouths of impassioned figures, which is contrary to nature, certainly, but makes his dramas so rich in thought that they cause all others to seem poor in comparison and readily arouse a general aversion to them. Schiller's reflections (which are almost always based on erroneous or trivial fancies) are just theatrical Reflections, and as such are very effective; whereas Shakespeare's reflections do honour to his model, Montaigne, and contain quite serious thoughts in polished form, but on that account are too remote and refined for the eyes of the theatrical public, and are consequently ineffective.

177.

Securing a Good Hearing.—It is not sufficient to know how to play well; one must also know how to secure a good hearing. A violin in the hand of the greatest master gives only a little squeak when the place where it is heard is too large; the master may then be mistaken for any bungler.

178.

The Incomplete As the Effective.—Just as figures in relief make such a strong impression on the imagination because they seem in the act of emerging from the wall and only stopped by some sudden hindrance; so the relief-like, incomplete representation of a thought, or a whole philosophy, is sometimes more effective than its exhaustive amplification,—more is left for the investigation of the onlooker, he is incited to the further study of that which stands out before him in such strong light and shade; he is prompted to think out the subject, and even to overcome the hindrance which hitherto prevented it from emerging clearly.

179.

Against the Eccentric.—When art arrays itself in the most shabby material it is most easily recognised as art.

180.

Collective Intellect.—A good author possesses not only his own intellect, but also that of his friends.

181.

Different Kinds of Mistakes.—The misfortune of acute and clear authors is that people consider them as shallow and therefore do not devote any effort to them; and the good fortune of obscure writers is that the reader makes an effort to understand them and places the delight in his own zeal to their credit.

182.

Relation to Science.—None of the people have any real interest in a science, who only begin to be enthusiastic about it when they themselves lave made discoveries in it.

183.

The Key.—The single thought on which an eminent man sets a great value, arousing the derision and laughter of the masses, is for him a key to hidden treasures; for them, however, it is nothing more than a piece of old iron.

184.

Untranslatable.—It is neither the best nor the worst parts of a book which are untranslatable.

185.

Authors' Paradoxes.—The so-called paradoxes of an author to which a reader objects are often not in the author's book at all, but in the reader's head.

186.

WIT.—The wittiest authors produce a scarcely noticeable smile.

187.

Antithesis.—Antithesis is the narrow gate through which error is fondest of sneaking to the truth.

188.

Thinkers As Stylists.—Most thinkers write badly, because they communicate not only their thoughts, but also the thinking of them.

189.

Thoughts in Poetry.—The poet conveys his thoughts ceremoniously in the vehicle of rhythm, usually because they are not able to go on foot.

190.

The Sin Against the Reader's Intellect.—When an author renounces his talent in order merely to put himself on a level with the reader, he commits the only deadly sin which the latter will never forgive, should he notice anything of it. One may say everything that is bad about a person, but in the manner in which it is said one must know how to revive his vanity anew.

191.

The Limits of Uprightness.—Even the most upright author lets fall a word too much when he wishes to round off a period.

192.

The Best Author.—The best author will be he who is ashamed to become one.

193.

Draconian Law Against Authors.—One should regard authors as criminals who only obtain acquittal or mercy in the rarest cases,—that would be a remedy for books becoming too rife.

194.

The Fools of Modern Culture.—The fools of mediæval courts correspond to our feuilleton writers; they are the same kind of men, semi-rational, witty, extravagant, foolish, sometimes there only for the purpose of lessening the pathos of the outlook with fancies and chatter, and of drowning with their clamour the far too deep and solemn chimes of great events; they were formerly in the service of princes and nobles, now they are in the service of parties (since a large portion of the old obsequiousness in the intercourse of the people with their prince still survives in party-feeling and party-discipline). Modern literary men, however, are generally very similar to the feuilleton writers, they are the "fools of modern culture," whom one judges more leniently when one does not regard them as fully responsible beings. To look upon writing as a regular profession should justly be regarded as a form of madness.

195.

After the Example of the Greeks.—It is a great hindrance to knowledge at present that, owing to centuries of exaggeration of feeling, all words have become vague and inflated. The higher stage of culture, which is under the sway (though not under the tyranny) of knowledge, requires great sobriety of feeling and thorough concentration of words—on which points the Greeks in the time of Demosthenes set an example to us. Exaggeration is a distinguishing mark of all modern writings, and even when they are simply written the expressions therein are still felt as too eccentric. Careful reflection, conciseness, coldness, plainness, even carried intentionally to the farthest limits,—in a word, suppression of feeling and taciturnity,—these are the only remedies. For the rest, this cold manner of writing and feeling is now very attractive, as a contrast; and to be sure there is a new danger therein. For intense cold is as good a stimulus as a high degree of warmth.

196.

Good Narrators, Bad Explainers.—In good narrators there is often found an admirable psychological sureness and logicalness, as far as these qualities can be observed in the actions of their personages, in positively ludicrous contrast to their inexperienced psychological reasoning, so that their culture appears to be as extraordinarily high one moment as it seems regrettably defective the next. It happens far too frequently that they give an evidently false explanation of their own heroes and their actions,—of this there is no doubt, however improbable the thing may appear. It is quite likely that the greatest pianoforte player has thought but little about the technical conditions and the special virtues, drawbacks, usefulness, and tractability of each finger (dactylic ethics), and makes big mistakes whenever he speaks of such things.

197.

The Writings of Acquaintances and Their Readers.—We read the writings of our acquaintances (friends and enemies) in a double sense, inasmuch as our perception constantly whispers, "That is something of himself, a remembrance of his inward being, his experiences, his talents," and at the same time another kind of perception endeavours to estimate the profit of the work in itself, what valuation it merits apart from its author, how far it will enrich knowledge. These two manners of reading and estimating interfere with each other, as may naturally be supposed. And a conversation with a friend will only bear good fruit of knowledge when both think only of the matter under consideration and forget that they are friends.

198.

Rhythmical Sacrifice.—Good writers alter the rhythm of many a period merely because they do not credit the general reader with the ability to comprehend the measure followed by the period in its first version; thus they make it easier for the reader, by giving the preference to the better known rhythms.. This regard for the rhythmical incapacity of the modern reader has already called forth many a sigh, for much has been sacrificed to it. Does not the same thing happen to good musicians?

199.

The Incomplete As an Artistic Stimulus.—The incomplete is often more effective than perfection, and this is the case with eulogies. To effect their purpose a stimulating incompleteness is necessary, as an irrational element, which calls up a sea before the hearer's imagination, and, like a mist, conceals the opposite coast, i.e. the limits of the object of praise. If the well-known merits of a person are referred to and described at length and in detail, it always gives rise to the suspicion that these are his only merits. The perfect eulogist takes his stand above the person praised, he appears to overlook him. Therefore complete praise has a weakening effect.

200.

Precautions in Writing and Teaching.—Whoever has once written and has been seized with the passion for writing learns from almost all that he does and experiences that which is literally communicable. He thinks no longer of himself, but of the author and his public; he desires insight into things; but not for his own use. He who teaches is mostly incapable of doing anything for his own good: he is always thinking of the good of his scholars, and all knowledge delights him only in so far as he is able to teach it. He comes at last to regard himself as a medium of knowledge, and above all as a means thereto, so that he has lost all serious consideration for himself.

201.

The Necessity For Bad Authors.—There will always be a need of bad authors; for they meet the taste of readers of an undeveloped, immature age—these have their requirements as well as mature readers. If human life were of greater length, the number of mature individuals would be greater than that of the immature, or at least equally great; but, as it is, by far the greater number die too young: i.e. there are always many more undeveloped intellects with bad taste. These demand, with the greater impetuosity of youth, the satisfaction of their needs, and they insist on having bad authors.

202.

Too Near and Too Far.—The reader and the author very often do not understand each other, because the author knows his theme too well and finds it almost slow, so that he omits the examples, of which he knows hundreds; the reader, however, is interested in the subject, and is liable to consider it as badly proved if examples are lacking.

203.

A Vanished Preparation For Art.—Of everything that was practised in public schools, the thing of greatest value was the exercise in Latin style,—this was an exercise in art, whilst all other occupations aimed only at the acquirement of knowledge. It is a barbarism to put German composition before it, for there is no typical German style developed by public oratory; but if there is a desire to advance practice in thought by means of German composition, then it is certainly better for the time being to pay no attention to style, to separate the practice in thought, therefore, from the practice in reproduction. The latter should confine itself to the various modes of presenting a given subject, and should not concern itself with the independent finding of a subject. The mere presentment of given subject was the task of the Latin style, for which the old teachers possessed a long vanished delicacy of ear. Formerly, whoever learned to write well in a modern language had to thank this practice for the acquirement (now we are obliged to go to school to the older French writers). But yet more: he obtained an idea of the loftiness and difficulty of form, and was prepared for art in the only right way: by practice.

204.

Darkness and Over-brightness Side by Side.—Authors who, in general, do not understand how to express their thoughts clearly are fond of choosing, in detail, the strongest, most exaggerated distinctions and superlatives,—thereby is produced an effect of light, which is like torchlight in intricate forest paths.

205.

Literary Painting.—An important object will be best described if the colours for the painting are taken out of the object itself, as a chemist does, and then employed like an artist, so that the drawing develops from the outlines and transitions of the colours. Thus the painting acquires something of the entrancing natural element which gives such importance to the object itself.

206.

Books Which Teach How to Dance.—There are authors who, by representing the impossible as possible, and by talking of morality and cleverness as if both were merely moods and humours assumed at will, produce a feeling of exuberant freedom, as if man stood on tiptoe and were compelled to dance from sheer, inward delight.

207.

Unfinished Thoughts.—Just as not only manhood, but also youth and childhood have a value per se, and are not to be looked upon merely as passages and bridges, so also unfinished thoughts have their value. For this reason we must not torment a poet with subtle explanations, but must take pleasure in the uncertainty of his horizon, as if the way to further thoughts were still open. We stand on the threshold; we wait as for the digging up of a treasure, it is as if a well of profundity were about to be discovered. The poet anticipates something of the thinker's pleasure in the discovery of a leading thought, an makes us covetous, so that we give chase to it; but it flutters past our head and exhibits the loveliest butterfly-wings,—and yet it escapes us.

208.

The Book Grown Almost Into a Human Being.—Every author is surprised anew at the way in which his book, as soon as he has sent it out, continues to live a life of its own; it seems to him as if one part of an insect had been cut off and now went on its own way. Perhaps he forgets it almost entirely, perhaps he rises above the view expressed therein, perhaps even he understands it no longer, and has lost that impulse upon which he soared at the time he conceived the book; meanwhile it seeks its readers, inflames life, pleases, horrifies, inspires new works, becomes the soul of designs and actions,—in short, it lives like a creature endowed with mind and soul, and yet is no human being. The happiest fate is that of the author who, as an old man, is able to say that all there was in him of life-inspiring, strengthening, exalting, enlightening thoughts and feelings still lives on in his writings, and that he himself now only represents the gray ashes, whilst the fire has been kept alive and spread out. And if we consider that every human action, not only a book, is in some way or other the cause of other actions, decisions, and thoughts; that everything that happens is inseparably connected with everything that is going to happen, we recognise the real immortality, that of movement,—that which has once moved is enclosed and immortalised in the general union of all existence, like an insect within a piece of amber.

209.

Joy in Old Age.—The thinker, as likewise the artist, who has put his best self into his works, feels an almost malicious joy when he sees how mind and body are being slowly damaged and destroyed by time, as if from a dark corner he were spying a thief at his money-chest, knowing all the time that it was empty and his treasures in safety.

210.

Quiet Fruitfulness.—The born aristocrats of the mind are not in too much of a hurry; their creations appear and fall from the tree on some quiet autumn evening, without being rashly desired, instigated, or pushed aside by new matter. The unceasing desire to create is vulgar, and betrays envy, jealousy, and ambition. If a man is something, it is not really necessary for him to do anything—and yet he does a great deal. There is a human species higher even than wie "productive" man.

211.

Achilles and Homer.—It is always like the case of Achilles and Homer,—the one has the experiences and sensations, the other describes them. A genuine author only puts into words the feelings and adventures of others, he is an artist, and divines much from the little he has experienced. Artists are by no means creatures of great passion; but they frequently represent themselves as such with the unconscious feeling that their depicted passion will be better believed in if their own life gives credence to their experience in these affairs. They need only let themselves go, not control themselves, and give free play to their anger and their desires, and every one will immediately cry out, "How passionate he is!" But the deeply stirring passion that consumes and often destroys the individual is another matter: those who have really experienced it do not describe it in dramas, harmonies or romances. Artists are frequently unbridled individuals, in so far as they are not artists, but that is a different thing.

212.

Old Doubts About the Effect of Art.—Should pity and fear really be unburdened through tragedy, as Aristotle would have it, so that the hearers return home colder and quieter? Should ghost-stories really make us less fearful and superstitious? In the case of certain physical processes, in the satisfaction of love, for instance, it is true that with the fulfilment of a need there follows an alleviation and temporary decrease in the impulse. But fear and pity are not in this sense the needs of particular organs which require to be relieved. And in time every instinct is even strengthened by practice in its satisfaction, in spite of that periodical mitigation. It might be possible that in each single case pity and fear would be soothed and relieved by tragedy; nevertheless, they might, on the whole, be increased by tragic influences, and Plato would be right in saying that tragedy makes us altogether more timid and susceptible. The tragic poet himself would then of necessity acquire a gloomy and fearful view of the world, and a yielding, irritable, tearful soul; it would also agree with Plato's view if the tragic poets, and likewise the entire part of the community that derived particular pleasure from them, degenerated into ever greater licentiousness and intemperance. But what right, indeed, has our age to give an answer to that great question of Plato's as to the moral influence of art? If we even had art,—where have we an influence, any kind of an art-influence?

213.

Pleasure in Nonsense.—How can we take pleasure in nonsense? But wherever there is laughter in the world this is the case: it may even be said that almost everywhere where there is happiness, there is found pleasure in nonsense. The transformation of experience into its opposite, of the suitable into the unsuitable, the obligatory into the optional (but in such a manner that this process produces no injury and is only imagined in jest), is a pleasure; for it temporarily liberates us from the yoke of the obligatory, suitable and experienced, in which we usually find our pitiless masters; we play and laugh when the expected (which generally causes fear and expectancy) happens without bringing any injury. It is the pleasure felt by slaves in the Saturnalian feasts.

214.

The Ennobling of Reality.—Through the fact that in the aphrodisiac impulse men discerned a godhead and with adoring gratitude felt it working within themselves, this emotion has in the course of time become imbued with higher conceptions, and has thereby been materially ennobled. Thus certain nations, by virtue of this art of idealisation, have created great aids to culture out of diseases,—the Greeks, for instance, who in earlier centuries suffered from great nervous epidemics (like epilepsy and St. Vitus' Dance), and developed out of them the splendid type of the Bacchante. The Greeks, however, enjoyed an astonishingly high degree of health—their secret was, to revere even disease as a god, if it only possessed power.

215.

Music.—Music by and for itself is not so portentous for our inward nature, so deeply moving, that it ought to be looked upon as the direct language of the feelings; but its ancient union with poetry has infused so much symbolism into rhythmical movement, into loudness and softness of tone, that we now imagine it speaks directly to and comes from the inward nature. Dramatic music is only possible when the art of harmony has acquired an immense range of symbolical means, through song, opera, and a hundred attempts at description by sound. "Absolute music" is either form per se, in 'the rude condition of music, when playing in time and with various degrees of strength gives pleasure, or the symbolism of form which speaks to the understanding even without poetry, after the two arts were joined finally together after long development and the musical form had been woven about with threads of meaning and feeling. People who are backward in musical development can appreciate a piece of harmony merely as execution, whilst those who are advanced will comprehend it symbolically. No music is deep and full of meaning in itself, it does not speak of "will," of the "thing-in-itself"; that could be imagined by the intellect only in an age which had conquered for musical symbolism the entire range of inner life. It was the intellect itself that first gave this meaning to sound, just as it also gave meaning to the relation between lines and masses in architecture, but which in itself is quite foreign to mechanical laws.

216.

Gesture and Speech.—Older than speech is the imitation of gestures, which is carried on unconsciously and which, in the general repression of the language of gesture and trained control of the muscles, is still so great that we cannot look at a face moved by emotion without feeling an agitation of our own face (it may be remarked that feigned yawning excites real yawning in any one who sees it). The imitated gesture leads the one who imitates back to the sensation it expressed in the face or body of the one imitated. Thus men learned to understand one another, thus the child still learns to understand the mother. Generally speaking, painful sensations may also have been expressed by gestures, and the pain which caused them (for instance, tearing the hair, beating the breast, forcible distortion and straining of the muscles of the face). On the other hand, gestures of joy were themselves joyful and lent themselves easily to the communication of the understanding; (laughter, as the expression of the feeling when being tickled, serves also for the expression of other pleasurable sensations). As soon as men understood each other by gestures, there could be established a symbolism of gestures; I mean, an understanding could be arrived at respecting the language of accents, so that first accent and gesture (to which it was symbolically added) were produced, and later on the accent alone. In former times there happened very frequently that which now happens in the development of music, especially of dramatic music,—while music, without explanatory dance and pantomime (language of gesture), is at first only empty sound, but by long familiarity with that combination of music and movement the ear becomes schooled into instant interpretation of the figures of sound, and finally attains a height of quick understanding, where it has no longer any need of visible movement and understands the sound-poet without it. It is then called absolute music, that is music in which, without further help, everything is symbolically understood.

217.

The Spiritualising of Higher Art.—By virtue of extraordinary intellectual exercise through the art-development of the new music, our ears have been growing more intellectual. For this reason we can now endure a much greater volume of sound, much more "noise," because we are far better practised in listening for the sense in it than were our ancestors. As a matter of fact, all our senses have been somewhat blunted, because they immediately look for the sense; that is, they ask what "it means" and not what "it is,"—such a blunting betrays itself, for instance, in the absolute dominion of the temperature of sounds; for ears which still make the finer distinctions, between eis and des, for instance, are now amongst the exceptions. In this respect our ear has grown coarser. And then the ugly side of the world, the one originally hostile to the senses, has been conquered for music; its power has been immensely widened, especially in the expression of the noble, the terrible, and the mysterious: our music now gives utterance to things which had formerly no tongue. In the same way certain painters have rendered the eye more intellectual, and have gone far beyond that which was formerly called pleasure in colour and form. Here, too, that side of the world originally considered as ugly has been conquered by the artistic intellect. What results from all this? The more capable of thought that eye and ear become, the more they approach the limit where they become senseless, the seat of pleasure is moved into the brain, the organs of the senses themselves become dulled and weak, the symbolical takes more and more the place of the actual,—and thus we arrive at barbarism in this way as surely as in any other. In the meantime we may say: the world is uglier than ever, but it represents a more beautiful world than has ever existed. But the more the amber-scent of meaning is dispersed and evaporated, the rarer become those who perceive it, and the remainder halt at what is ugly and endeavour to enjoy it direct, an aim, however, which they never succeed in attaining. Thus, in Germany there is a twofold direction of musical development, here a throng of ten thousand with ever higher, finer demands, ever listening more and more for the "it means," and there the immense countless mass which yearly grows more incapable of understanding what is important even in the form of sensual ugliness, and which therefore turns ever more willingly to what in music is ugly and foul in itself, that is, to the basely sensual.

218.

A Stone Is More of a Stone Than Formerly.—As a general rule we no longer understand architecture, at least by no means in the same way as we understand music. We have outgrown the symbolism of lines and figures, just as we are no longer accustomed to the sound-effects of rhetoric, and have not absorbed this kind of mother's milk of culture since our first moment of life. Everything in a Greek or Christian building originally had a meaning, and referred to a higher order of things; this feeling of inexhaustible meaning enveloped the edifice like a mystic veil. Beauty was only a secondary consideration in the system, without in any way materially injuring the fundamental sentiment of the mysteriously-exalted, the divinely and magically consecrated; at the most, beauty tempered horror—but this horror was everywhere presupposed. What is the beauty of a building now? The same thing as the beautiful face of a stupid woman, a kind of mask.

219.

The Religious Source of the Newer Music.—Soulful music arose out of the Catholicism re-established after the Council of Trent, through Palestrina, who endowed the newly-awakened, earnest, and deeply moved spirit with sound; later on, in Bach, it appeared also in Protestantism, as far as this had been deepened by the Pietists and released from its originally dogmatic character. The supposition and necessary preparation for both origins is the familiarity with music, which existed during and before the Renaissance, namely that learned occupation with music, which was really scientific pleasure in the masterpieces of harmony and voice-training. On the other hand, the opera must have preceded it, wherein the layman made his protest against a music that had grown too learned and cold, and endeavoured to re-endow Polyhymnia with a soul. Without the change to that deeply religious sentiment, without the dying away of the inwardly moved temperament, music would have remained learned or operatic; the spirit of the counter-reformation is the spirit of modern music (for that pietism in Bach's music is also a kind of counter-reformation). So deeply are we indebted to the religious life. Music was the counter-reformation in the field of art; to this belongs also the later painting of the Caracci and Caravaggi, perhaps also the baroque style, in any case more than the architecture of the Renaissance or of antiquity. And we might still ask: if our newer music could move stones, would it build them up into antique architecture? I very much doubt it. For that which predominates in this music, affections, pleasure in exalted, highly-strained sentiments, the desire to be alive at any cost, the quick change of feeling, the strong relief-effects of light and shade, the combination of the ecstatic and the naïve,—all this has already reigned in the plastic arts and created new laws of style:—but it was neither in the time of antiquity nor of the Renaissance.

220.

The Beyond in Art.—It is not without deep pain that we acknowledge the fact that in their loftiest soarings, artists of all ages have exalted and divinely transfigured precisely those ideas which we now recognise as false; they are the glorifiers of humanity's religious and philosophical errors, and they could not have been this without belief in the absolute truth of these errors. But if the belief in such truth diminishes at all, if the rainbow colours at the farthest ends of human knowledge and imagination fade, then this kind of art can never re-flourish, for, like the Divina Commedia, Raphael's paintings, Michelangelo's frescoes, and Gothic cathedrals, they indicate not only a cosmic but also a metaphysical meaning in the work of art. Out of all this will grow a touching legend that such an art and such an artistic faith once existed.

221.

Revolution in Poetry.—The strict limit which the French dramatists marked out with regard to unity of action, time and place, construction of style, verse and sentence, selection of words and ideas, was a school as important as that of counterpoint and fugue in the development of modern music or that of the Gorgianic figures in Greek oratory. Such a restriction may appear absurd; nevertheless there is no means of getting out of naturalism except by confining ourselves at first to the strongest (perhaps most arbitrary) means. Thus we gradually learn to walk gracefully on the narrow paths that bridge giddy abysses, and acquire great suppleness of movement as a result, as the history of music proves to our living eyes. Here we see how, step by step, the fetters get looser, until at last they may appear to be altogether thrown off; this appearance is the highest achievement of a necessary development in art. In the art of modern poetry there existed no such fortunate, gradual emerging from self-imposed fetters. Lessing held up to scorn in Germany the French form, the only modern form of art, and pointed to Shakespeare; and thus the steadiness of that unfettering was lost and a spring was made into naturalism—that is, back into the beginnings of art. From this Goethe endeavoured to save himself, by always trying to limit himself anew in different ways; but even the most gifted only succeeds by continuously experimenting, if the thread of development has once been broken. It is to the unconsciously revered, if also repudiated, model of French tragedy that Schiller owes his comparative sureness of form, and he remained fairly independent of Lessing (whose dramatic attempts he is well known to have rejected). But after Voltaire the French themselves suddenly lacked the great talents which would have led the development of tragedy out of constraint to that apparent freedom; later on they followed the German example and made a spring into a sort of Rousseau-like state of nature and experiments. It is only necessary to read Voltaire's "Mahomet" from time to time in order to perceive clearly what European culture has lost through that breaking down of tradition. Once for all, Voltaire was the last of the great dramatists who with Greek proportion controlled his manifold soul, equal even to the greatest storms of tragedy,—he was able to do what no German could, because the French nature is much nearer akin to the Greek than is the German; he was also the last great writer who in the wielding of prose possessed the Greek ear, Greek artistic conscientiousness, and Greek simplicity and grace; he was, also, one of the last men able to combine in himself the greatest freedom of mind and an absolutely unrevolutionary way of thinking without being inconsistent and cowardly. Since that time the modern spirit, with its restlessness and its hatred of moderation and restrictions, has obtained the mastery on all sides, let loose at first by the fever of revolution, and then once more putting a bridle on itself when it became filled with fear and horror at itself,—but it was the bridle of rigid logic, no longer that of artistic moderation. It is true that through that unfettering for a time we are able to enjoy the poetry of all nations, everything that has sprung up in hidden places, original, wild, wonderfully beautiful and gigantically irregular, from folk-songs up to the "great barbarian" Shakespeare; we taste the joys of local colour and costume, hitherto unknown to all artistic nations; we make liberal use of the "barbaric advantages" of our time, which Goethe accentuated against Schiller in order to place the formlessness of his Faust in the most favourable light. But for how much longer? The encroaching flood of poetry of all styles and all nations must gradually sweep away that magic garden upon which a quiet and hidden growth would still have been possible; all poets must become experimenting imitators, daring copyists, however great their primary strength may be. Eventually, the public, which has lost the habit of seeing the actual artistic fact in the controlling of depicting power, in the organising mastery over all art-means, must come ever more and more to value power for power's sake, colour for colour's sake, idea for idea's sake, inspiration for inspiration's sake; accordingly it will not enjoy the elements and conditions of the work of art, unless isolated, and finally will make the very natural demand that the artist must deliver it to them isolated. True, the "senseless" fetters of Franco-Greek art have been thrown off, but unconsciously we have grown accustomed to consider all fetters, all restrictions as senseless;—and so art moves towards its liberation, but, in so doing, it touches—which is certainly highly edifying—upon all the phases of its beginning, its childhood, its incompleteness, its sometime boldness and excesses,—in perishing it interprets its origin and growth. One of the great ones, whose instinct may be relied on and whose theory lacked nothing but thirty years more of practice, Lord Byron, once said: that with regard to poetry in general, the more he thought about it the more convinced he was that one and all we are entirely on a wrong track, that we are following an inwardly false revolutionary system, and that either our own generation or the next will yet arrive at this same conviction. It is the same Lord Byron who said that he "looked upon Shakespeare as the very worst model, although the most extraordinary poet." And does not Goethe's mature artistic insight in the second half of his life say practically the same thing?—that insight by means of which he made such a bound in advance of whole generations that, generally speaking, it may be said that Goethe's influence has not yet begun, that his time has still to come. Just because his nature held him fast for a long time in the path of the poetical revolution, just because he drank to the dregs of whatsoever new sources, views and expedients had been indirectly discovered through that breaking down of tradition, of all that had been unearthed from under the ruins of art, his later transformation and conversion carries so much weight; it shows that he felt the deepest longing to win back the traditions of art, and to give in fancy the ancient perfection and completeness to the abandoned ruins and colonnades of the temple, with the imagination of the eye at least, should the strength of the arm be found too weak to build where such tremendous powers were needed even to destroy. Thus he lived in art as in the remembrance of the true art, his poetry had become an aid to remembrance, to the understanding of old and long-departed ages of art. With respect to the strength of the new age, his demands could not be satisfied; but the pain this occasioned was amply balanced by the joy that they have been satisfied once, and that we ourselves can still participate in this satisfaction. Not individuals, but more or less ideal masks; no reality, but an allegorical generality; topical characters, local colours toned down and rendered mythical almost to the point of invisibility; contemporary feeling and the problems of contemporary society reduced to the simplest forms, stripped of their attractive, interesting pathological qualities, made ineffective in every other but the artistic sense; no new materials and characters, but the old, long-accustomed ones in constant new animation and transformation; that is art, as Goethe understood it later, as the Greeks and even the French practised it.

222.

What Remains of Art.—It is true that art has a much greater value in the case of certain metaphysical hypotheses, for instance when the belief obtains that the character is unchangeable and that the essence of the world manifests itself continually in all character and action; thus the artist's work becomes the symbol of the eternally constant, while according to our views the artist can only endow his picture with temporary value, because man on the whole has developed and is mutable, and even the individual man has nothing fixed and constant. The same thing holds good with another metaphysical hypothesis: assuming that our visible world were only a delusion, as metaphysicians declare, then art would come very near to the real world, for there would then be far too much similarity between the world of appearance and the dream-world of the artist; and the remaining difference would place the meaning of art higher even than the meaning of nature, because art would represent the same forms, the types and models of nature. But those suppositions are false; and what position does art retain after this acknowledgment? Above all, for centuries it has taught us to look upon life in every shape with interest and pleasure and to carry our feelings so far that at last we exclaim, "Whatever it may be, life is good." This teaching of art, to take pleasure in existence and to regard human life as a piece of nature, without too vigorous movement, as an object of regular development,—this teaching has grown into us; it reappears as an all-powerful need of knowledge. We could renounce art, but we should not therewith forfeit the ability it has taught us,—just as we have given up religion, but not the exalting and intensifying of temperament acquired through religion. As the plastic arts and music are the standards of that wealth of feeling really acquired and obtained through religion, so also, after a disappearance of art, the intensity and multiplicity of the joys of life which it had implanted in us would still demand satisfaction. The scientific man is the further development of the artistic man.

223.

The After-glow of Art.—Just as in old age we remember our youth and celebrate festivals of memory, so in a short time mankind will stand towards art: its relation will be that of a touching memory of the joys of youth. Never, perhaps, in former ages was art dealt with so seriously and thoughtfully as now when it appears to be surrounded by the magic influence of death. We call to mind that Greek city in southern Italy, which once a year still celebrates its Greek feasts, amidst tears and mourning, that foreign barbarism triumphs ever more and more over the customs its people brought with them into the land; and never has Hellenism been so much appreciated, nowhere has this golden nectar been drunk with so great delight, as amongst these fast disappearing Hellenes. The artist will soon come to be regarded as a splendid relic, and to him, as to a wonderful stranger on whose power and beauty depended the happiness of former ages, there will be paid such honour as is not often enjoyed by one of our race. The best in us is perhaps inherited from the sentiments of former times, to which it is hardly possible for us now to return by direct ways; the sun has already disappeared, but the heavens of our life are still glowing and illumined by it, although we can behold it no longer.