The Atlantic Monthly, Volume 16, No. 96, October 1865

I invite the reader to dwell upon this fact, that, the moment life has an inspiring significance, and the moment also the men, industries, and conditions around us become instrumental toward resolving that, in this moment one must begin, so far as he may, bettering these conditions. If I hire a man to work in my garden, how much is it worth to me, if he bring not merely his hands and gardening skill, but also an appreciable soul, with him! So soon as that fact is apparent, fruitful relations are established between us, and sympathies begin to fly like bees, bearing pollen and winning honey, from each heart to the other. To let a man be degraded, or stupid, or thwarted in all his inward life, when I can make it otherwise? Not unless I am insensate. To allow anywhere a disserviceable condition, when I could make it serviceable? Not in full view of the fact that all which thwarts the inward being of another thwarts me. If there be in the world a man who might write a grand book, but through ill conditions cannot write it, then in me and you a door will remain closed, which might have opened—who knows upon what treasure? With the high ends of life before him, no man can afford to be selfish. With the fact before him that formal civilization is instrumental, no man can afford to run away from it. With the fact in view that each man needs every other, and needs that every other should do and be the best he can, no one can afford to withhold help, where it can be rendered. Finally, seeing that means are limited, and that the means and services which are crammed into others, without being spiritually assimilated, breed only indigestion, no one must throw his services about at random, but see where Nature has prepared the way for him, and there in modesty do what he can.

To strike the connection, then, between the inward and the outward, between the spiritual and the conventional, between man and society, between moral possibility and formal civilization,—to give growth, with all its immortal issues, a place, and means, and opportunity,—this was Goethe's aim; and if the execution be less than perfect, as I admit, it yet suggests the whole; and if the shortcoming be due in part to his personal imperfections, which doubtless may be affirmed, it yet does not mar the sincerity of his effort. His hand trembles, his aim is not nicely sure, but it is an aim at the right object nevertheless.

There are limits and conditions in man, as well as around him, to which the like justice is done. Such are Special Character, Natural Degree and Vocation, Moral Imperfection, and Limitation of Self-Knowledge. Each of these plays a part of vast importance in life; each is portrayed and used in Goethe's picture. But, though with reluctance, I must merely name and pass them by. Enough to say here, that he sees them and sees through them. Enough that they appear, and as means and material. Nor does he merely distinguish and harp upon them, after the hard analytic fashion one would use here; but, as the violinist sweeps all the strings of his instrument, not to show that one sounds so and another so, but out of all to bring a complete melody, so does this master touch the chords of life, and, in thus recognizing, bring out of them the melodious completeness of a human soul.

One inquiry remains. What of inspirational impulse does Goethe bring to his work? He depicts growth; what leads him to do so? Is it nothing but cold curiosity? and does he leave the reader in a like mood? Or is he commanded by some imperial inward necessity? and does he awaken in the reader a like noble necessity, not indeed to write, but to live?

The inspiration which he feels and communicates is art infinite, unspeakable reverence for Personality, for the completed, spiritual reality of man. Literally unspeakable, it is the silent spirit in which he writes, sovereign in him and in his work,—the soul of every sentence, and professed in none. You find it scarcely otherwise than in his manner of treating his material. But there you may find it: the silent, majestic homage that he pays to every real grace and spiritual accomplishment of man or woman. Any smallest trait of this is delineated with a heed that makes no account of time or pains, with a venerating fidelity and religious care that unutterably imply its preciousness. Indeed, it is one point of his art to bestow elaborate, reverential attention upon some minor grace of manhood or womanhood, that one may say, "If this be of such price, how priceless is the whole!" He resorts habitually to this inferential suggestion,—puzzling hasty readers, who think him frivolously exalting little things, rather than hinting beyond all power of direct speech at the worth of the greater. In landscape paintings a bush in the foreground may occupy more space than a whole range of mountains in the distance: perhaps the bush is there to show the scale of the drawing, and intimate the greatness, rather than littleness, of the mountains.

The undertone of every page, should we mask its force in hortatives, would be,—"Buy manhood; buy verity and completeness of being; buy spiritual endowment and accomplishment; buy insight and clearness of heart and wholeness of spirit; pay ease, estimation, estate,—never consider what you pay: for though pleasure is not despicable, though wealth, leisure, and social regard are good, yet there is no tint of inherent grace, no grain nor atom of man's spiritual substance, but it outweighs kingdoms, outweighs all that is external to itself."

But hortatives and assertions represent feebly, and without truth of tone, the subtile, sovereign persuasion of the book. This is said sovereignly by not being said expressly. We are at pains to affirm only that which may be conceived of as doubtful, therefore admit a certain doubtfulness by the act of asserting. When one begins to asseverate his honesty, his hearers begin to question it. The last persuasion lies in assumptions,—not in assumptions made consciously and with effort, but in those which one makes because he cannot help it, and even without being too much aware what he does. All that a man of power assumes utterly, so that he were not himself without assuming it, he will impress upon others with a persuasion that has in it somewhat of the infinite. Jesus never said, "There is a God,"—nor even, "God is our Father,"—nor even, "Man is immortal"; he took all this as implicit basis of labor and prayer. Implicit assumptions rule the world; they build and destroy cities, make and unmake empires, open and close epochs; and whenever Destiny in any powerful soul has ripened a new truth to this degree,—made it for him an inevitable assumption—then there is in history an end and a beginning. Goethe's homage to Personality, to the full spiritual being of man, is of this degree, and is a soul of eloquence in his book.

Nor can we set this aside as a piece of blind and gratuitous sentiment. Blind and gratuitous sentiment is clearly not his forte. Every line of every page exhibits to us a man who has betaken himself, once for all, to the use of his eyes. All sentiment, as such, he ruled back, with a sovereign energy, into his heart,—and then, as it were, compelling his heart into his eyes, made it an organ for discerning truth. His head was an observatory, and every power of his soul did duty there. He enjoyed, he suffered, intensely; but behind joy and pain alike lay the sleepless questioner, demanding of each its message. And this, the supreme function, the exceeding praise and preciousness of the man, the one thing that he was born to do, and religiously did, this has been made his chief reproach.

No zealot, then, no sentimentalist, no devotee of the god Wish, have we here; but an imperturbable beholder, whose dauntless and relentless eyeballs, telescopic and microscopic by turns, can and will see what the fact is. If the universe be bad, as some dream, he will see how bad; if good, he will perceive and respect its goodness. A man, for once, equal to the act of seeing! Having, as the indispensable preliminary, encountered himself, and victoriously fought on all the fields of his being the battle against self-deception, he now comes armed with new and strange powers of vision to encounter life and the world,—ready either to soar of dive,—above no fact, beneath none, by none appalled, by none dazzled,—a falcon, whose prey is truth, and whose wing and eye are well mated. And he it is who sets that ineffable price on the being of a real man.

This is manifested in many ways, all of them silent, rather than obstreperous and obtrusive. It is shown by a certain gracious, ineffable expectation with which for the first time he approaches any human soul, as if unknown and incalculable possibilities were opening here; by a noble ceremonial which he ever observes toward his higher characters, standing uncovered in their presence; by the space in his eye, not altogether measurable, which a man of worth is perceived to fill. Each of his principal characters has an atmosphere about him, like the earth itself; each has a vast perspective, and rounds off into mystery and depths of including sky.

The common novelist holds his characters in the palm of his hand, as he would his watch; winds them up, regulates, pockets them, is exceedingly handy with them. He may continue some little, pitiful puzzle about them for his readers; but he can see over, under, around them, and can make them stop or go, tick or be silent, altogether at pleasure. To Goethe his characters are as intelligible and as mysterious as Nature herself. He sees them, studies them, and with an eye how penetrating, how subtile and sure! But over, under, and around them he would hold it for no less than a profanity to pretend that he sees. They come upon the scene to prove what they are; he and the reader study them together; and when best known, their possibilities are obviously unexhausted, the unknown remains in them still. They go forward into their future, with a real future before them, with an unexplained life to live: not goblets whose contents have been drained, but fountains that still flow when the traveller who drank from them has passed on. Jarno, for example, a man of firm and definite outlines, and drawn here with masterly distinctness, without a blur or a wavering of the hand in the whole delineation, is yet the unexplained, unexhausted Jarno, when the book closes. He goes forward with the rest, known and yet unknown, a man of very definite limitations, and yet also of possibilities which the future will ever be defining.

In this sense, the book, almost alone among novels, consists with the hope of immortality. In average novels, there is nothing left of the hero when the book ends. "He is utterly married," as "Eothen" says. Utterly, sure enough! He ends at the altar, like a burnt-out candle over which the priest puts an extinguisher to keep it from smoking. One yawns over the last page, not considering himself any longer in company. Think of giving perpetuity to such lives! What could they do but get unmarried, and begin fussing at courtship again? But when Goethe's characters leave the stage, they seem to be rather entering upon life than quitting it; possibility opens, expectation runs before them, and our interest grows where observation ceases.

Goethe looks at Personality as through a telescope, and sees it shade away, beyond its cosmic systems, into star-dust and shining nebulæ; he inspects it as with a microscope, and on that side also resolves it only in part. He brings to it all the most spacious, all the most delicate interpretations of his wit, yet confessedly leaves more beyond.

Now it is this large-eyed, liberal regard of man, this grand, childlike, all-credent appreciation, which distinguishes the earlier and Scriptural literatures. Abraham fills up all the space between earth and heaven. Later, we arrive at limitations and secondary laws; we heap these up till the primal fact is obscured, is hidden by them. Then ensues an impression of man's littleness, emptiness, insignificance, utter, mechanical limitation. Then sharp-eyed gentlemen discover that man has a trick of dressing up his littleness in large terms,—liberty, intuition, inspiration, immortality,—and that he only is a philosopher, who cannot be deceived by this shallow stratagem. Your "philosopher" sees what men are made of. Populaces may fancy that man is central in the world, that he is the all-containing vessel of its uses: but your philosopher, admirable gentleman, sees through all that; he is superior to any such vulgar partiality for that particular species of insect to which he happens to belong. "A fly thinks himself the greatest of created beings," says philosopher; "man flatters himself in the same way; but I, I am not merely man, I am philosopher, and know better."

The early seers and poets had not attained to this sublime superciliousness of self-contempt; for this, of course, is a fruit to be borne only by the "progress of the species." They are still weak enough to believe in gods and godlike men, in spirit and inspiration, in the ineffable fulness and meaning of a noble life, in the cosmic relationship of man, in the divineness of speech and thought. In their books man is placed in a large light; honor and estimation come to him out of the heavens; what he does, if it be in any profound way characteristic, is told without misgiving, without fear to be superfluous; he is the care, or even the companion, of the immortals. To go forth, therefore, from our little cells of criticism and controversy, and to enter upon the pages where man's being appears so spacious and significant,—where, at length, it is really imagined,—is like leaving stove-heated, paper-walled rooms, and passing out beneath the blue cope and into the sweet air of heaven.

Quite this epic boldness and wholeness we cannot attribute to Goethe. He is still a little straitened, a little pestered by the doubting and critical optics which our time turns upon man, a little victimized by his knowledge of limitary conditions and secondary laws. Nevertheless, a noble man is not to his eye "contained between hat and boots," but is of untold depth and dimension. He indicates traits of the soul with that repose in his facts and respect for them which Lyell shows in spelling out terrestrial history, or Herschel in tracing that of the solar system. Observe how he relates the plays of a child,—with what grave, imperial respect, with what undoubting, reverential minuteness! He does not say, "Bear with me, ladies and gentlemen; I will come to something of importance soon." This is important,—the formation of suns not more so.

In this respect he stands in wide contrast to the prevailing tone of the time. It seems right and admirable that Tyndale should risk life and limb in learning the laws of glaciers, that large-brained Agassiz should pursue for years, if need be, his microscopic researches into the natural history of turtles; and were life or eyesight lost so, we should all say, "Lost, but well and worthily." But ask a conclave of sober savans to listen to reports on the natural-spiritual history of babies and little children,—ask them to join, one and all, in this piece of discovery, spending labor and lifetime in watching the sports, the moods, the imaginations, the fanciful loves and fears, the whole baby unfolding of these budding revelations of divine uses in Nature,—and see what they will think of your sanity. You may, indeed, if such be your humor, observe these matters, nay, even write books upon them, and still escape the lunatic asylum,—provided you do so in the way of pleasantry. In this case, the gravest savant, if he have children, may condescend to listen, and even to smile. But ask him to attend to this in his quality of man of science, and no less seriously than he would investigate the history of mud-worms, and you become ridiculous in his eyes.

Goethe is guiltless of this inversion of interest. Truth of outward Nature he respects; truth of the soul he reverences. He can really imagine men,—that is, can so depict them that they shall not be mere bundles of finite quantities, a yard of this and a pound of that, but so that the illimitable possibilities and immortal ancestries of man shall look forth from their eyes, shall show in their features, and give to them a certain grace of the infinite. The powers which created for the Greeks their gods are active in him, even in his observation of men; and this gives him that other eye, without which the effigies of men are seen, but never man himself. And because he has this divine eye for the inner reality of personal being, and yet also that eagle eye of his for conditions and limits,—because he can see man as central in Nature, the sum of all uses, the vessel of all significance, and yet has no "carpenter theory" of the universe,—and because he can discern the substance and the revealing form of man, while yet no satirist sees more clearly man's accidental and concealing form,—because of this, history comes in him to new blood, regaining its inspirations without forfeiture of its experience.

Carlyle has the same eye, but less creative, and tinctured always with the special humors of his temperament; yet the attitude he can hold toward a human personality, the spirit in which he can contemplate it, gives that to his books which will keep them alive, I think, while the world lasts.

Among the recent writers of prose fiction in England, I know of but one who, in a degree worth naming in this connection, has regarded and delineated persons in the large, old, believing way. That one is the author of "Counterparts." In many respects her book seems to me weak; its theories are crude, its tone extravagant. But man and woman are wonderful to her; and when she names them in full voice of admiration, one thinks he has never heard the words before. And this merit is so commanding, that, despite faults and imbecilities, it renders the book almost unique in excellence. Sarona is impossible: thanks for that noble impossibility! Impossible, he yet embodies more reality, more true suggestion of human possibility and resource, than a whole swarming limbo of the ordinary heroes of fiction,—very credible, and the more's the pity! He is finely imagined, and poorly conceived,—true, that is, to the inspiring substance of man, but not true to his limitary form: for imagination gives the revealing form, conception the form which limits and conceals.

In spite, therefore, of marked infirmities and extravagances, the book remains a superior, perhaps a great work. The writer can look at a human existence with childlike, all-believing, Homeric eyes. That creative vision which of old peopled Olympus still peoples the world for her, beholding gods where the skeptic, critical eye sees only a medical doctor and a sick woman. So is she stamped a true child of the Muse, descended on the one side from Memory, or superficial fact, but on the other from Zeus, the soul of fact; and being gifted to discern the divine halo on the brows of humanity, she rightly obtains the laurel upon her own.

Goethe, at least, rivals her in this Olympic intelligence, while he combines it with a practical wisdom far profounder, with a survey and fulness of knowledge incomparably wider and more various, with a tone tempered to the last sobriety, for the whole of actual life, which no man of the world ever surpassed, and no seer ever equalled. And thus I must abide in my opinion, that he has given us the one prose epic of the world, up to this date. In other words, he has best reconciled World with the final vessel of its uses, Man,—and best reconciled actual civilization and the fixed conditions of man with the uses of that in which all the meaning of his existence is summed, his seeing and unseen spirit.

DOCTOR JOHNS

XXXIV

Reuben has in many respects vastly improved under his city education. It would be wrong to say that the good Doctor did not take a very human pride in his increased alertness of mind, in his vivacity, in his self-possession,—nay, even in that very air of world-acquaintance which now covered entirely the old homely manner of the country lad. He thought within himself, what a glad smile of triumph would have been kindled upon the face of the lost Rachel, could she but have seen this tall youth with his kindly attentions and his graceful speech. May-be she did see it all,—but with far other eyes, now. Was the child ripening into fellowship with the sainted mother?

The Doctor underneath all his pride carried a great deal of anxious doubt; and as he walked beside his boy upon the thronged street, elated in some strange way by the touch of that strong arm of the youth, whose blood was his own,—so dearly his own,—he pondered gravely with himself, if the mocking delusions of the Evil One were not the occasion of his pride? Was not Satan setting himself artfully to the work of quieting all sense of responsibility in regard to the lad's future, by thus kindling in his old heart anew the vanities of the flesh and the pride of life?

"I say, father, I want to put you through now. It'll do you a great deal of good to see some of our wonders here in the city."

"The very voice,—the very voice of Rachel!" says the Doctor to himself, quickening his laggard step to keep pace with Reuben.

"There are such lots of things to show you, father! Look in this store, now. You can step in, if you like. It's the largest carpet-store in the United States, three stories packed full. There's the head man of the firm,—the stout man in a white choker; with half a million, they say: he's a deacon in Mowry's church."

"I hope, then, Reuben, that he makes a worthy use of his wealth."

"Oh, he gives thunderingly to the missionary societies," said Reuben, with a glibness that grated on the father's ear.

"You see that building yonder? That's Gothic. They've got the finest bowling-alleys in the world there."

"I hope, my son, you never go to such places?"

"Bowl? Oh, yes, I bowl sometimes: the physicians recommend it; good exercise for the chest. Besides, it's kept by a fine man, and he's got one of the prettiest little trotting horses you ever saw in your life."

"Why, my son, you don't mean to tell me that you know the keeper of this bowling-alley?"

"Oh, yes, father,—we fellows all know him; and he gave me a splendid cigar the last time I was there."

"You don't mean to say that you smoke, Reuben?" said the old gentleman, gravely.

"Not much, father: but then everybody smokes now and then. Mowry—Dr. Mowry smokes, you know; and they say he has prime cigars."

"Is it possible? Well, well!"

"You see that fine building over there?" said Reuben, as they passed on.

"Yes, my son."

"That's the theatre,—the Old Park."

The Doctor ran his eye over it, and its effigy of Shakspeare upon the niche in the wall, as Gabriel might have looked upon the armor of Beelzebub.

"I hope, Reuben, you never enter those doors?"

"Well, father, since Kean and Mathews are gone, there's really nothing worth the seeing."

"Kean! Mathews!" said the Doctor, stopping in his walk and confronting Reuben with a stern brow,—"is it possible, my son, that I hear you talking in this familiar way of play-actors? You don't tell me that you have been a participant in such orgies of Satan?"

"Why, father," says Reuben, a little startled by the Doctor's earnestness, "the truth is, Aunt Mabel goes occasionally, like 'most all the ladies; but we go, you know, to see the moral pieces, generally."

"Moral pieces! moral pieces!" says the Doctor, with a withering scowl. "Reuben! those who go thither take hold on the door-posts of hell!"

"That's the Tract Society building yonder," said Reuben, wishing to divert the Doctor, if possible, from the special object of his reflections.

"Rachel's voice!—always Rachel's voice!"—said the Doctor to himself.

"Would you like to go in, father?"

"No, my son, we have no time; and yet"—meditating, and thrusting his hand in his pocket—"there is a tract or two I would like to buy for you, Reuben."

"Go in, then," says Reuben. "Let me tell them who you are, father, and you can get them at wholesale prices. It's the merest song."

"No, my son, no," said the Doctor, disheartened by the blithe air of Reuben. "I fear it would be wasted effort. Yet I trust that you do not wholly neglect the opportunities for religious instruction on the Sabbath?"