Part 7

Against the three unities there is nothing to be said, if the subject is very simple; but there are times when thrice three unities, skilfully interwoven, produce a very pleasant effect.

429

The sentimentality of the English is humorous and tender; of the French, popular and pathetic; of the Germans, naïve and realistic.

430

Mysticism is the scholastic of the heart, the dialectic of the feelings.

431

If a man sets out to reproach an author with obscurity, he should first of all examine his own mind, to see if he is himself all clearness within. Twilight makes even plain writing illegible.

432

It is with books as with new acquaintances. At first we are highly delighted, if we find a general agreement,--if we are pleasantly moved on any of the chief sides of our existence. With a closer acquaintance differences come to light; and then reasonable conduct mainly consists in not shrinking back at once, as may happen in youth, but in keeping firm hold of the things in which we agree, and being quite clear about the things in which we differ, without on that account desiring any union.

433

In psychological reflection the greatest difficulty is this: that inner and outer must always be viewed in parallel lines, or, rather, interwoven. It is a continual systole and diastole, an inspiration and an expiration of the living soul. If this cannot be put into words, it should be carefully marked and noted.

434

My relations with Schiller rested on the decided tendency of both of us towards a single aim, and our common activity rested on the diversity of the means by which we endeavoured to attain that aim.

435

Once when a slight difference was mentioned between us, of which I was reminded by a passage in a letter of his, I made the following reflections: There is a great difference between a poet seeking the

## particular for the universal, and seeing the universal in the

## particular. The one gives rise to Allegory, where the particular serves

only as instance or example of the general; but the other is the true nature of Poetry, namely, the expression of the particular without any thought of, or reference to, the general. If a man grasps the particular vividly, he also grasps the general, without being aware of it at the time; or he may make the discovery long afterwards.

436

There may be eclectic philosophers, but not an eclectic philosophy.

437

But every one is an eclectic who, out of the things that surround and take place about him, appropriates what is suited to his nature; and this is what is meant by culture and progress, in matters of theory or practice.

438

Various maxims of the ancients, which we are wont to repeat again and again, had a meaning quite different from that which is apt to attach to them in later times.

439

The saying that no one who is unacquainted with or a stranger to geometry should enter the philosopher's school, does not mean that a man must become a mathematician to attain the wisdom of the world.

440

Geometry is here taken in its primary elements, such as are contained in Euclid and laid before every beginner; and then it is the most perfect propædeutic and introduction to philosophy.

441

When a boy begins to understand that an invisible point must always come before a visible one, and that the shortest way between two points is a straight line, before he can draw it on his paper with a pencil, he experiences a certain pride and pleasure. And he is not wrong; for he has the source of all thought opened to him; idea and reality, _potentia et actu_, are become clear; the philosopher has no new discovery to bring him; as a mathematician, he has found the basis of all thought for himself.

442

And if we turn to that significant utterance, _Know thyself_, we must not explain it in an ascetic sense. It is in nowise the self-knowledge of our modern hypochondrists, humorists, and self-tormentors. It simply means: pay some attention to yourself; take note of yourself; so that you may know how you come to stand towards those like you and towards the world. This involves no psychological torture; every capable man knows and feels what it means. It is a piece of good advice which every one will find of the greatest advantage in practice.

443

Let us remember how great the ancients were; and especially how the Socratic school holds up to us the source and standard of all life and

## action, and bids us not indulge in empty speculation, but live and do.

444

So long as our scholastic education takes us back to antiquity and furthers the study of the Greek and Latin languages, we may congratulate ourselves that these studies, so necessary for the higher culture, will never disappear.

445

If we set our gaze on antiquity and earnestly study it, in the desire to form ourselves thereon, we get the feeling as if it were only then that we really became men.

446

The pedagogue, in trying to write and speak Latin, has a higher and grander idea of himself than would be permissible in ordinary life.

447

In the presence of antiquity, the mind that is susceptible to poetry and art feels itself placed in the most pleasing ideal state of nature; and even to this day the Homeric hymns have the power of freeing us, at any rate, for moments, from the frightful burden which the tradition of several thousand years has rolled upon us.

448

There is no such thing as patriotic art and patriotic science. Both art and science belong, like all things great and good, to the whole world, and can be furthered only by a free and general interchange of ideas among contemporaries, with continual reference to the heritage of the past as it is known to us.

449

Poetical talent is given to peasant as well as to knight; all that is required is that each shall grasp his position and treat it worthily.

450

An historic sense means a sense so cultured that, in valuing the deserts and merits of its own time, it takes account also of the past.

451

The best that history gives us is the enthusiasm it arouses.

452

The historian's duty is twofold: first towards himself, then towards his readers. As regards himself, he must carefully examine into the things that could have happened; and, for the reader's sake, he must determine what actually did happen. His action towards himself is a matter between himself and his colleagues; but the public must not see into the secret that there is little in history which can be said to be positively determined.

453

The historian's duty is to separate the true from the false, the certain from the uncertain, and the doubtful from that which cannot be accepted.

454

It is seldom that any one of great age becomes historical to himself, and finds his contemporaries become historical to him, so that he neither cares nor is able to argue with any one.

455

On a closer examination of the matter, it will be found that the historian does not easily grasp history as something historical. In whatever age he may live, the historian always writes as though he himself had been present at the time of which he treats, instead of simply narrating the facts and movements of that time. Even the mere chronicler only points more or less to his own limitations, or the peculiarities of his town or monastery or age.

456

We really learn only from those books which we cannot criticise. The author of a book which we could criticise would have to learn from us.

457

That is the reason why the Bible will never lose its power; because, as long as the world lasts, no one can stand up and say: I grasp it as a whole and understand all the parts of it. But we say humbly: as a whole it is worthy of respect, and in all its parts it is applicable.

458

There is and will be much discussion as to the use and harm of circulating the Bible. One thing is clear to me: mischief will result, as heretofore, by using it phantastically as a system of dogma; benefit, as heretofore, by a loving acceptance of its teachings.

459

I am convinced that the Bible will always be more beautiful the more it is understood; the more, that is, we see and observe that every word which we take in a general sense and apply specially to ourselves, had, under certain circumstances of time and place, a peculiar, special, and directly individual reference.

460

The incurable evil of religious controversy is that while one party wants to connect the highest interest of humanity with fables and phrases, the other tries to rest it on things that satisfy no one.

461

If one has not read the newspapers for some months and then reads them all together, one sees, as one never saw before, how much time is wasted with this kind of literature.

462

The classical is health; and the romantic, disease.

463

Ovid remained classical even in exile: it is not in himself that he sees misfortune, but in his banishment from the metropolis of the world.

464

The romantic is already fallen into its own abysm. It is hard to imagine anything more degraded than the worst of the new productions.

465

Bodies which rot while they are still alive, and are edified by the detailed contemplation of their own decay; dead men who remain in the world for the ruin of others, and feed their death on the living,--to this have come our makers of literature.

When the same thing happened in antiquity, it was only as a strange token of some rare disease; but with the moderns the disease has become endemic and epidemic.

466

Literature decays only as men become more and more corrupt.

467

What a day it is when we must envy the men in their graves!

468

The things that are true, good, excellent, are simple and always alike, whatever their appearance may be. But the error that we blame is extremely manifold and varying; it is in conflict not only with the good and the true, but also with itself; it is self-contradictory. Thus it is that the words of blame in our literature must necessarily outnumber the words of praise.

469

The Greeks, whose poetry and rhetoric was of a simple and positive character, express approval more often than disapproval. With the Latin writers it is the contrary; and the more poetry and the arts of speech decay, the more will blame swell and praise shrink.

470

'What are tragedies but the versified passions of people who make Heaven knows what out of the external world?'

471

There are certain empirical enthusiasts who are quite right in showing their enthusiasm over new productions that are good; but they are as ecstatic as if there were no other good work in the world at all.

472

In _Sakontala_ the poet appears in his highest function. As the representative of the most natural condition of things, the finest mode of life, the purest moral endeavour, the worthiest majesty, and the most solemn worship, he ventures on common and ridiculous contrasts.

473

Shakespeare's _Henry IV_. If everything were lost that has ever been preserved to us of this kind of writing, the arts of poetry and rhetoric could be completely restored out of this one play.

474

Shakespeare's finest dramas are wanting here and there in facility: they are something more than they should be, and for that very reason indicate the great poet.

475

Shakespeare is dangerous reading for budding talents: he compels them to reproduce him, and they fancy they are producing themselves.

476

Yorick Sterne was the finest spirit that ever worked. To read him is to attain a fine feeling of freedom; his humour is inimitable, and it is not every kind of humour that frees the soul.

477

The peculiar value of so-called popular ballads is that their motives are drawn direct from nature. This, however, is an advantage of which the poet of culture could also avail himself, if he knew how to do it.

478

But in popular ballads there is always this advantage, that in the art of saying things shortly uneducated men are always better skilled than those who are in the strict sense of the word educated.

479

_Gemüth = Heart_. The translator must proceed until he reaches the untranslatable; and then only will he have an idea of the foreign nation and the foreign tongue.

480

When we say of a landscape that it has a romantic character, it is the secret feeling of the sublime taking the form of the past, or, what is the same thing, of solitude, absence, or seclusion.

481

The Beautiful is a manifestation of secret laws of nature, which, without its presence, would never have been revealed.

482

It is said: Artist, study nature! But it is no trifle to develop the noble out of the commonplace, or beauty out of uniformity.

483

When Nature begins to reveal her open secret to a man, he feels an irresistible longing for her worthiest interpreter, Art.

484

For all other Arts we must make some allowance; but to Greek Art alone we are always debtors.

485

There is no surer way of evading the world than by Art; and no surer way of uniting with it than by Art.

486

Even in the moments of highest happiness and deepest misery we need the Artist.

487

False tendencies of the senses are a kind of desire after realism, always better than that false tendency which expresses itself as idealistic longing.

488

The dignity of Art appears perhaps most conspicuously in Music; for in Music there is no material to be deducted. It is wholly form and intrinsic value, and it raises and ennobles all that it expresses.

489

It is only by Art, and especially by Poetry, that the imagination is regulated. Nothing is more frightful than imagination without taste.

490

If we were to despise Art on the ground that it is an imitation of Nature, it might be answered that Nature also imitates much else; further, that Art does not exactly imitate that which can be seen by the eyes, but goes back to that element of reason of which Nature consists and according to which Nature acts.

491

Further, the Arts also produce much out of themselves, and, on the other hand, add much where Nature fails in perfection, in that they possess beauty in themselves. So it was that Pheidias could sculpture a god although he had nothing that could be seen by the eye to imitate, but grasped the appearance which Zeus himself would have if he were to come before our eyes.

492

Art rests upon a kind of religious sense: it is deeply and ineradicably in earnest. Thus it is that Art so willingly goes hand in hand with Religion.

493

A noble philosopher spoke of architecture as _frozen music_; and it was inevitable that many people should shake their heads over his remark. We believe that no better repetition of this fine thought can be given than by calling architecture a _speechless music_.

494

Art is essentially noble; therefore the artist has nothing to fear from a low or common subject. Nay, by taking it up, he ennobles it; and so it is that we see the greatest artists boldly exercising their sovereign rights.

495

In every artist there is a germ of daring, without which no talent is conceivable.

496

All the artists who are already known to me from so many sides, I propose to consider exclusively from the ethical side; to explain from the subject-matter and method of their work the part played therein by time and place, nation and master, and their own indestructible personality; to mould them to what they became and to preserve them in what they were.

497

Art is a medium of what no tongue can utter; and thus it seems a piece of folly to try to convey its meaning afresh by means of words. But, by trying to do so, the understanding gains; and this, again, benefits the faculty in practice.

498

An artist who produces valuable work is not always able to give an account of his own or others' performances.

499

We know of no world except in relation to mankind; and we wish for no Art that does not bear the mark of this relation.

500

Higher aims are in themselves more valuable, even if unfulfilled, than lower ones quite attained.

501

Blunt naïvety, stubborn vigour, scrupulous observance of rule, and any other epithets which may apply to older German Art, are a part of every earlier and simpler artistic method. The older Venetians, Florentines, and others had it all too.

502

Because Albrecht Dürer, with his incomparable talent, could never rise to the idea of the symmetry of beauty, or even to the thought of a fitting conformity to the object in view, are we never to spurn the ground!

503

Albrecht Dürer had the advantage of a very profound realistic perception, an affectionate human sympathy with all present conditions. He was kept back by a gloomy phantasy, devoid both of form and foundation.

504

It would be interesting to show how Martin Schön stands near him, and how the merits of German Art were restricted to these two; and useful also to show that it was not evening every day.

505

In every Italian school the butterfly breaks loose from the chrysalis.

506

After Klopstock released us from rhyme, and Voss gave us models of prose, are we to make doggerel again like Hans Sachs?

507

Let us be many-sided! Turnips are good, but they are best mixed with chestnuts. And these two noble products of the earth grow far apart.

508

In every kind of Art there is a degree of excellence which may be reached, so to speak, by the mere use of one's own natural talents. But at the same time it is impossible to go beyond that point, unless Art comes to one's aid.

509

In the presence of Nature even moderate talent is always possessed of insight; hence drawings from Nature that are at all carefully done always give pleasure.

510

To make many sketches issue at last in a complete work is something that not even the best artists always achieve.

511

In the sphere of true Art there is no preparatory school, but there is a way of preparation; and the best preparation is the interest of the most insignificant pupil in the work of the master. Colour-grinders have often made excellent painters.

512

If an artist grasps Nature aright and contrives to give its form a nobler, freer grace, no one will understand the source of his inspiration, and every one will swear that he has taken it from the antique.

513

In studying the human form, let the painter reject what is exaggerated, false, and mechanical; but let him learn to grasp of what infinite grace the human body is capable.

514

Kant taught us the critique of the reason. We must have a critique of the senses if Art in general, and especially German Art, is ever to regain its tone and move forward on the path of life and happiness.

SCIENCE

515

In the sphere of natural science let us remember that we have always to deal with an insoluble problem. Let us prove keen and honest in attending to anything which is in any way brought to our notice, most of all when it does not fit in with our previous ideas. For it is only thereby that we perceive the problem, which does indeed lie in nature, but still more in man.

516

A man cannot well stand by himself, and so he is glad to join a party; because if he does not find rest there, he at any rate finds quiet and safety.

517

It is a misfortune to pass at once from observation to conclusion, and to regard both as of equal value; but it befalls many a student.

518

In the history of science and throughout the whole course of its progress we see certain epochs following one another more or less rapidly. Some important view is expressed, it may be original or only revived; sooner or later it receives recognition; fellow workers spring up; the outcome of it finds its way into the schools; it is taught and handed down; and we observe, unhappily, that it does not in the least matter whether the view be true or false. In either case its course is the same; in either case it comes in the end to be a mere phrase, a lifeless word stamped on the memory.

519

First let a man teach himself, and then he will be taught by others.

520

Theories are usually the over-hasty efforts of an impatient understanding that would gladly be rid of phenomena, and so puts in their place pictures, notions, nay, often mere words. We may surmise, or even see quite well, that such theories are make-shifts; but do not passion and party-spirit love a make-shift at all times? And rightly, too, because they stand in so much need of it.

521

It is difficult to know how to treat the errors of the age. If a man oppose them, he stands alone; if he surrender to them, they bring him neither joy nor credit.

522

There are some hundred Christian sects, every one of them acknowledging God and the Lord in its own way, without troubling themselves further about one another. In the study of nature, nay, in every study, things must of necessity come to the same pass. For what is the meaning of every one speaking of toleration, and trying to prevent others from thinking and expressing themselves after their own fashion?

523

To communicate knowledge by means of analogy appears to me a process equally useful and pleasant. The analogous case is not there to force itself on the attention or prove anything; it offers a comparison with some other case, but is not in union with it. Several analogous cases do not join to form a seried row: they are like good society, which always suggests more than it grants.

524

To err is to be as though truth did not exist. To lay bare the error to oneself and others is retrospective discovery.

525

With the growth of knowledge our ideas must from time to time be organised afresh. The change takes place usually in accordance with new maxims as they arise, but it always remains provisional.

526

When we find facts within our knowledge exhibited by some new method, or even, it may be, described in a foreign language, they receive a peculiar charm of novelty and wear a fresh air.

527

If two masters of the same art differ in their statement of it, in all likelihood the insoluble problem lies midway between them.

528

The orbits of certainties touch one another; but in the interstices there is room enough for error to go forth and prevail.

529

We more readily confess to errors, mistakes, and shortcomings in our conduct than in our thought.

530

And the reason of it is that the conscience is humble and even takes a pleasure in being ashamed. But the intellect is proud, and if forced to recant is driven to despair.

531