Иоганн Вольфганг фон Гёте
The Autobiography of Goethe
My work by no means displeased me. I received from home a handsome letter in its praise, took the trouble to have another fair copy, and hoped to extort some applause from my professor also. But here I had missed my aim. He took the matter severely, and as he did not notice the tone of parody, which nevertheless lay in the notion, he declared the great expenditure of divine means for such an insignificant human end, in the highest degree reprehensible; inveighed against the use and abuse of such mythological figures, as a false habit originating in pedantic times; found the expression now too high, now too low, and in divers particulars had indeed not spared the red ink, though he asserted that he had yet done too little.
Such pieces were read out and criticised anonymously, it is true; but we used to watch each other, and it remained no secret that this unfortunate assembly of the gods was my work. Yet since his critique, when I took his point of view, seemed to be perfectly just, and those divinities more nearly inspected were in fact only hollow shadow-forms; I cursed all Olympus, flung the whole mythic Pantheon away, and from that time Amor and Luna have been the only divinities which at all appear in my little poems.
Ridicule of Clodius.
Among the persons whom Behrisch had chosen as the butts of his wit, Clodius stood just at the head; nor was it hard to find a comical side in him. As a little, rather stout, thick-set figure, he was violent in his motions, somewhat impetuous in his utterances, and restless in his demeanour. In all this he differed from his fellow-citizens, who, nevertheless, willingly put up with him on account of his good qualities and the fine promise which he gave.
He was usually commissioned with the poems which had become necessary on festal occasions. In the so-called Ode, he followed the manner used by Ramler, whom, however, it alone suited. But Clodius, as an imitator, had especially marked the foreign words by means of which the poems of Ramler come forth with a majestic pomp, which, because it is conformable to the greatness of his subject and the rest of his poetic treatment, produces a very good effect on the ear, feelings, and imagination. In Clodius, on the contrary, these expressions had a heterogeneous air, since his poetry was in other respects not calculated to elevate the mind in any manner.
Now we had often been obliged to see such poems printed and highly lauded in our presence, and we found it highly offensive, that he who had sequestered the heathen gods from us, now wished to hammer together another ladder to Parnassus out of Greek and Roman word-rungs. These oft-recurring expressions stamped themselves firmly on our memory, and in a merry hour, when we were eating some most excellent cakes in the Kitchen-gardens (Kohlgärten), it all at once struck me to put together these words of might and power, in a poem on the cake-baker Hendel. No sooner thought than done! And let it stand here, too, as it was written on the wall of the house with a lead-pencil.
"O Hendel, dessen Ruhm vom Süd zum Norden reicht,
Vernimm den Päan der zu deinen Ohren steigt
Du bäckst was Gallien und Britten emsig suchen,
Mit schöpfrischen Genie, originelle Kuchen.
Des Kaffee's Ocean, der sich vor dir ergiesst,
Ist süsser als der Saft der vom Hymettus fliesst.
Dein Haus ein Monument, wie wir den Künsten lohnen
Umhangen mit Trophän, erzählt den Nationen:
Auch ohne Diadem fand Hendel hier sein Glück
Und raubte dem Cothurn gur manch Achtgroschenstück.
Glänzt deine Urn dereinst in majestäts'chen Pompe,
Dann weint der Patriot un deinem Katacomhe.
Doch leb! dein Torus sey von edler Brut ein Nest,
Steh'hoch wie der Olymp, wie der Parnassus fest!
Kein Phalanx Griechenland mit Römischen Ballisten
Vermög Germanien und Hendel zu verwüsten.
Dein Wohl is unser Stolz, dein Leiden unser SchmerzUnd Hendel's Tempel ist der Musensöhne Herz."29
This poem stood a long time among many others which disfigured the walls of that room, without being noticed, and we, who had sufficiently amused ourselves with it, forgot it altogether amongst other things. A long time afterwards, Clodius came out with his Medon, whose wisdom, magnanimity and virtue we found infinitely ridiculous, much as the first representation of the piece was applauded. That evening, when we met together in the wine-house, I made a prologue in doggerel verse, in which Harlequin steps out with two great sacks, places them on each side of the proscenium, and after various preliminary jokes, tells the spectators in confidence, that in the two sacks moral æsthetic dust is to be found, which the actors will very frequently throw into their eyes. One, to wit, was filled with good deeds, that cost nothing, and the other with splendidly expressed opinions, that had no meaning behind them. He reluctantly withdrew, and sometimes came back, earnestly exhorted the spectators to attend to his warning and shut their eyes, reminded them that he had always been their friend, and meant well with them, with many more things of the kind. This prologue was acted in the room, on the spot, by friend Horn, but the jest remained quite among ourselves, not even a copy had been taken, and the paper was soon lost. However, Horn, who had performed the Harlequin very prettily, took it into his head to enlarge my poem to Hendel by several verses, and then to make it refer to Medon. He read it aloud to us, and we could not take any pleasure in it, for we did not find the additions even ingenious, while the first poem, being written for quite a different purpose, seemed to us disfigured. Our friend, out of humour at our indifference, or rather censure, may have shown it to others, who found it new and amusing. Copies were now made of it, to which the reputation of Clodius's Medon gave at once a rapid publicity. Universal disapproval was the consequence, and the originators (it was soon found out that the poem had proceeded from our clique) were severely censured: for nothing of the sort had been seen since Cronegk's and Rost's attacks upon Gottsched. We had besides already secluded ourselves, and now found ourselves quite in the case of the owl with respect to the other birds. In Dresden, too, they did not like the affair, and it had for us serious, if not unpleasant consequences. For some time, already, Count Lindenau had not been quite satisfied with his son's tutor. For, although the young man was by no means neglected, and Behrisch kept himself either in the chamber of the young Count, or at least close to it, when the instructors gave their daily lessons, regularly frequented the lectures with him, never went out in the day-time without him, and accompanied him in all his walks; yet the rest of us were always to be found in Apel's house, and joined them whenever they went on a pleasure ramble; this already excited some attention. Behrisch, too, accustomed himself to our society, and at last, towards nine o'clock in the evenings, generally transferred his pupil into the hands of the valet de chambre, and went in quest of us to the wine-house, whither, however, he never used to come but in shoes and stockings, with his sword by his side, and commonly his hat under his arm. The jokes and fooleries, which he generally started, went on ad infinitum. Thus, for instance, one of our friends had a habit of going away precisely at ten, because he had a connexion with a pretty girl, with whom he could converse only at that hour. We did not like to lose him; and one evening, when we sat very happily together, Behrisch secretly determined that he would not let him off this time. At the stroke of ten, the other arose and took leave. Behrisch called after him and begged him to wait a moment, as he was just going with him. He now began, in the most amusing manner, first to look after his sword, which stood just before his eyes, and in buckling it on behaved awkwardly, so that he could never accomplish it. He did this, too, so naturally, that no one took offence at it. But when, to vary the theme, he at last went further, so that the sword came now on the right side, now between his legs, an universal laughter arose, in which the man in a hurry, who was likewise a merry fellow, chimed in, and let Behrisch have his own way till the happy hour was past, when, for the first time, there followed general pleasure and agreeable conversation till deep into the night.
Eccentricities of Behrisch.
Unfortunately Behrisch, and we through him, had a certain other propensity for some girls who were better than their reputation; by which our own reputation could not be improved. We had often been seen in their garden, and we directed our walks thither, even when the young Count was with us. All this may have been treasured up, and at last communicated to his father; enough, he sought, in a gentlemanly manner, to get rid of the tutor, to whom the event proved fortunate. His good exterior, his knowledge and talents, his integrity, which no one could call in question, had won him the affection and esteem of distinguished persons, on whose recommendation he was appointed tutor to the hereditary prince of Dessau; and at the court of a prince, excellent in every respect, found a solid happiness.
The loss of a friend like Behrisch was of the greatest consequence to me. He had spoiled, while he cultivated me, and his presence was necessary, if the pains he had thought good to spend upon me were in any degree to bring forth fruit for society. He knew how to engage me in all kinds of pretty and agreeable things, in whatever was just appropriate, and to bring out my social talents. But as I had gained no self-dependence in such things, so when I was alone again, I immediately relapsed into my confused and crabbed disposition, which always increased, the more discontented I was with those about me, since I fancied that they were not contented with me. With the most arbitrary caprice, I took offence at what I might have reckoned as an advantage to me; thus alienated many with whom I had hitherto stood on a tolerable footing; and, on account of the many disagreeable consequences which I had drawn on myself and others, whether by doing or leaving undone, by doing too much or too little, was obliged to hear the remark from my well-wishers, that I lacked experience. The same thing was told me by every person of sound sense who saw my productions, especially when these referred to the external world. I observed this as well as I could, but found in it little that was edifying, and was still forced to add enough of my own to make it only tolerable. I had often pressed my friend Behrisch, too, that he would make plain to me what experience might be? But, because he was full of nonsense, he put me off with fair words from one day to another, and at last, after great preparations, disclosed to me, that true experience was properly when one experiences how an experienced man must experience in experiencing his experience. Now when we scolded him outrageously, and called him to account for this, he assured us that a great mystery lay hidden behind these words, which we could not comprehend until we had experienced … and so on without end; – for it cost him nothing to talk on in that way by the quarter of an hour since the experience would always become more experienced and at last come to true experience. When we were falling into despair at such fooleries, he protested that he had learned this way of making himself intelligible and impressive from the latest and greatest authors, who had made us observe how one can rest a restful rest, and how silence, in being silent, can constantly become more silent.
What is Experience?
By chance an officer, who came among us on furlough, was praised in good company as a remarkable sound-minded and experienced man, who had fought through the Seven Years' War, and had gained universal confidence. It was not difficult for me to approach him, and we often went walking with each other. The idea of experience had almost become fixed in my brain, and the craving to make it clear to me passionate. Open-hearted as I was, I disclosed to him the uneasiness in which I found myself. He smiled, and was kind enough to tell me, as an answer to my question, something of his own life, and generally of the world immediately about us; from which, indeed, little better was to be gathered than that experience convinces us that our best thoughts, wishes and designs are unattainable, and that he who fosters such vagaries and advances them with eagerness, is especially held to be an inexperienced man.
Yet, as he was a gallant, good fellow, he assured me that he had himself not quite given up these vagaries, and felt himself tolerably well off with the little faith, love, and hope which remained. He then felt obliged to tell me a great deal about war, about the sort of life in the field, about skirmishes and battles, especially so far as he had taken part in them; when these vast events, by being considered in relation to a single individual, gained a very marvellous aspect. I then led him on to an open narration of the late situation of the court, which seemed to me quite like a tale. I heard of the bodily strength of Augustus the Second, of his many children and his vast expenses, then of his successor's love of art and of making collections, of Count Brühl and his boundless love of magnificence, which in detail appeared almost absurd, of his numerous banquets and gorgeous amusements, which were all cut off by Frederick's invasion of Saxony. The royal castles now lay in ruins, Brühl's splendours were annihilated, and, of the whole, a glorious land, much injured alone remained.
When he saw me astonished at that mad enjoyment of fortune, and then grieved by the calamity that followed, and informed me that one expects from an experienced man exactly this, that he shall be astonished at neither the one nor the other, nor take too lively an interest in them, I felt a great desire still to remain awhile in the same inexperience as hitherto; in which desire he strengthened me, and very urgently entreated me, for the present at least, always to cling to agreeable experiences, and to try to avoid those that were disagreeable as much as possible, if they should intrude themselves upon me. But once, when the discussion was again about experience in general, and I related to him those ludicrous phrases of my friend Behrisch, he shook his head, smiling, and said, "There, one sees how it is with words which are only once uttered! These sound so comical, nay, so silly, that it would seem almost impossible to put a rational meaning into them; and yet, perhaps, the attempt might be made."
And when I pressed him, he replied in his intelligent, cheerful manner, "If you will allow me, while commenting on and completing your friend, to go on after his fashion, think he meant to say, that experience is nothing else than that one experiences what one does not wish to experience; which is what it amounts to for the most part, at least in this world."
EIGHTH BOOK
Art – Dresden – Return from Leipzig
Oeser.
Another man, although infinitely different from Behrisch in every respect, might yet be compared with him in a certain sense; I mean Oeser, who was also one of those men who dream away their lives in a comfortable state of being busy. His friends themselves secretly acknowledged that, with very fine natural powers, he had not spent his younger years in sufficient activity; for which reason, he never went so far as to practise his art with perfect technicality. Yet a certain diligence appeared to be reserved for his old age, and, during the many years which I knew him, he never lacked invention or laboriousness. From the very first moment he had much attracted me; even his residence, strange and portentous, was highly charming to me. In the old castle Pleissenburg, at the right-hand corner, one ascended a repaired, cheerful, winding staircase. The saloons of the Academy of Design, of which he was director, were found to the left, and were light and roomy; but he himself could only be reached through a narrow, dark passage, at the end of which one first sought the entrance into his apartments, having just passed between the whole suite of them and an extensive granary. The first apartment was adorned with pictures from the later Italian school, by masters whose grace he used highly to commend. As I, with some noblemen, had taken private lessons of him, we were permitted to draw here, and we often penetrated into his adjoining private cabinet, which contained at the same time his few books, collections of art and natural curiosities, and whatever else might have most interested him. Everything was arranged with taste, simply, and in such a manner that the little space held a great deal. The furniture, presses, and portfolios were elegant, without affectation or superfluity. Thus also the first thing which he recommended to us, and to which he always recurred, was simplicity in everything that art and manual labour united are called upon to produce. As a sworn foe of the scroll-and-shell style, and of the whole taste for quaintness, he showed us in copper-plates and drawings old patterns of the sort, contrasted with better decorations and simpler forms of furniture, as well as with other appurtenances of a room; and, because everything about him corresponded with these maxims, his words and instructions made a good and lasting impression on us. Besides this, he had an opportunity to let us see his opinions in practice, since he stood in good consideration both with private and with official persons, and was asked for advice when there were new buildings and alterations. He seemed in general to be more fond of preparing anything on occasion, for a certain end and use, than of undertaking and completing things which exist for themselves and require a greater perfection; he was therefore always ready and at hand when the publishers needed larger and smaller copper-plates for any work; thus the vignettes to Winckelmann's first writings were etched by him. But he often made only very sketchy drawings, to which Geyser knew very well how to adapt himself. His figures had throughout something general, not to say ideal. His women were pleasing and agreeable, his children naïve enough; only he could not succeed with the men, who, in his spirited but always cloudy and at the same time foreshortening manner, had for the most part the look of Lazzaroni. Since he designed his composition less with regard to form than to light, shade, and masses, the general effect was good; as indeed all that he did and produced was attended by a peculiar grace. As he at the same time neither could nor would control a deep-rooted propensity to the significant and the allegorical – to that which excites a secondary thought, so his works always furnished something to reflect upon, and were complete through a conception, even where they could not be so from art and execution. This bias, which is always dangerous, frequently led him to the very bounds of good taste, if not beyond them. He often sought to attain his views by the oddest notions, and by whimsical jests; nay, his best works always have a touch of humour. If the public were not always satisfied with such things, he revenged himself by a new and even stranger drollery. Thus he afterwards exhibited in the ante-room of the great concert-hall, an ideal female figure, in his own style, who was raising a pair of snuffers to a taper, and he was extraordinarily delighted when he was able to cause a dispute on the question: whether this singular muse meant to snuff the light or to extinguish it? when he roguishly allowed all sorts of bantering by-thoughts to peep forth.
But the building of the new theatre, in my time, made the greatest noise; in which his curtain, when it was still quite new, had certainly an uncommonly charming effect. Oeser had taken the Muses out of the clouds, upon which they usually hover on such occasions, and set them upon the earth. The statues of Sophocles and Aristophanes, around whom all the modern dramatic writers were assembled, adorned a vestibule to the Temple of Fame. Here, too, the goddesses of the arts were likewise present, and all was dignified and beautiful. But now comes the oddity! Through the open centre was seen the portal of the distant temple, and a man in a light jerkin was passing between the two above-mentioned groups, and without troubling himself about them, directly up to the temple; he was seen from behind, and was not particularly distinguished. Now this man was to represent Shakspeare, who, without predecessors or followers, without concerning himself about models, went to meet immortality in his own way. This work was executed on the great floor over the new theatre. We often assembled round him there, and in that place I read aloud to him the proof-sheets of Musarion.
Influence of Oeser.
As to myself, I by no means advanced in the practice of the art. His instructions worked upon our mind and our taste; but his own drawing was too undefined to guide me, who had only glimmered along by the objects of art and of nature, to a severe and decided practice. Of the faces and bodies he gave us rather the aspect than the forms, rather the postures than the proportions. He gave us the conceptions of the figures, and desired that we should impress them vividly upon our minds. That might have been beautifully and properly done, if he had not had mere beginners before him. If, on this account, a pre-eminent talent for instruction may be well denied him, it must, on the other hand, be acknowledged that he was very discreet and politic, and that a happy adroitness of mind qualified him very peculiarly for a teacher in a higher sense. The deficiencies under which each one laboured he clearly saw; but he disdained to reprove them directly, and rather hinted his praise and censure indirectly and very laconically. One was now compelled to think over the matter, and soon came to a far deeper insight. Thus, for instance, I had very carefully executed, after a pattern, a nosegay on blue paper, with white and black crayon, and partly with the stump, partly by hatching it up, had tried to give effect to the little picture. After I had been long labouring in this way, he once came behind me and said: "More paper!" upon which he immediately withdrew. My neighbour and I puzzled our heads as to what this could mean: for my bouquet, on a large half-sheet, had plenty of space around it. After we had reflected a long while, we thought, at last, that we had hit his meaning, when we remarked that, by working together the black and the white, I had quite covered up the blue ground, had destroyed the middle tint, and, in fact, with great industry, had produced a disagreeable drawing. As to the rest, he did not fail to instruct us in perspective, and in light and shade, sufficiently indeed, but always so that we had to exert and torment ourselves to find the application of the principles communicated. Probably his view with regard to us who did not intend to become artists, was only to form the judgment and taste, and to make us acquainted with the requisites of a work of art, without precisely requiring that we should produce one. Since, moreover, patient industry was not my talent, for nothing gave me pleasure except what came to me at once, so by degrees I became discouraged, if not lazy, and as knowledge is more comfortable than doing, I was quite content to follow wherever he chose, after his own fashion, to lead us.
At this time the Lives of the Painters, by D'Argenville, was translated into German; I obtained it quite fresh, and studied it assiduously enough. This seemed to please Oeser, and he procured us an opportunity of seeing many a portfolio out of the great Leipzig collections, and thus introduced us to the history of the art. But even these exercises produced in me an effect different from that which he probably had in mind. The manifold subjects which I saw treated by artists awakened the poetic talent in me, and as one easily makes an engraving for a poem, so did I now make poems to the engravings and drawings, by contriving to present to myself the personages introduced in them, in their previous and subsequent condition, and sometimes to compose a little song which might have suited them; and thus accustomed myself to consider the arts in connexion with each other. Even the mistakes which I made, so that my poems were often descriptive, were useful to me in the sequel, when I came to more reflection, by making me attentive to the differences between the arts. Of the little things many were in the collection which Behrisch had arranged; but there is nothing left of them now.
The atmosphere of art and taste in which Oeser lived, and into which one was drawn, provided one visited him frequently, was the more and more worthy and delightful, because he was fond of remembering departed or absent persons, with whom he had been, or still continued to be, on good terms; for if he had once given any one his esteem, he remained unalterable in his conduct towards him, and always showed himself equally friendly.
After we had heard Caylus pre-eminently extolled among the French, he made us also acquainted with Germans of activity in this department. Thus we learned that Professor Christ, as an amateur, a collector, a connoisseur, a fellow-labourer, had done good service for art; and had applied his learning to its true improvement. Heinecken, on the contrary, could not be honourably mentioned, partly because he devoted himself too assiduously to the ever-childish beginnings of German art, which Oeser little valued, partly because he had once treated Winckelmann shabbily, which could never be forgiven him. Our attention, however, was strongly drawn to the labours of Lippert, since our instructor knew how to set forth his merits sufficiently. "For," he said, "although single statues and larger groups of sculpture remain the foundation and the summit of all knowledge of art, yet either as originals or as casts they are seldom to be seen; on the contrary, by Lippert, a little world of gems is made known, in which the more comprehensible merit of the ancients, their happy invention, judicious composition, tasteful treatment, are made more striking and intelligible, while, from the great number of them, comparison is much more possible." While now we were busying ourselves with these as much as was allowed, Winckelmann's lofty life of art in Italy was pointed out, and we took his first writings in hand with devotion: for Oeser had a passionate reverence for him, which he was able easily to instil into us. The problematical part of those little treatises, which are, besides, confused even from their irony, and from their referring to opinions and events altogether peculiar, we were, indeed, unable to decipher; but as Oeser had great influence over us, and incessantly gave them out to us as the gospel of the beautiful, and still more of the tasteful and the pleasing, we found out the general sense, and fancied that with such interpretations we should go on the more securely, as we regarded it no small happiness to draw from the same fountain from which Winckelmann had allayed his earliest thirst.
Feeling for Art in Leipzig.
No greater good fortune can befall a city, than when several educated men, like-minded in what is good and right, live together in it. Leipzig had this advantage, and enjoyed it the more peacefully, as so many differences of judgment had not yet manifested themselves. Huber, a print collector, and a well-experienced connoisseur, had furthermore the gratefully acknowledged merit of having determined to make the worth of German literature known to the French; Kreuchauf, an amateur with a practised eye, who, as the friend of the whole society of art, might regard all collections as his own; Winkler, who much loved to share with others the intelligent delight which he cherished for his treasures; many more who were added to the list, all lived and laboured with one feeling, and often as I was permitted to be present when they examined works of art, I do not remember that a dispute ever arose: the school from which the artist had proceeded, the time in which he lived, the peculiar talent which nature had bestowed on him, and the degree of excellence to which he had brought it in his performances, were always fairly considered. There was no prejudice for spiritual or terrestrial subjects, for landscape or for city views, for animate or inanimate; the question was always about the accordance with art.
Now although from their situation, mode of thought, abilities, and opportunities, these amateurs and collectors inclined more to the Dutch school, yet, while the eye was practised on the endless merits of the north-western artist, a look of reverential longing was always turned towards the south-east.
And so the university, where I neglected the ends both of my family and myself, was to ground me in that in which I afterwards found the greatest satisfaction of my life; the impression of those localities, too, in which I received such important incitements, has always remained to me most dear and precious. The old Pleissenburg, the rooms of the Academy, but, above all, the abode of Oeser, and no less the collections of Winkler and Richter, I have always vividly present before me.
But a young man who, while older persons are conversing with each other on subjects already familiar to them, is instructed only incidentally, and for whom the most difficult part of the business, that of rightly arranging all, yet remains, must find himself in a very painful situation. I therefore, as well as others, looked about with longing for some new light, which was indeed to come to us from a man to whom we owed so much already.
Lessing's Laocoön.
The mind can be highly delighted in two ways, by perception and conception. But the former demands a worthy object, which is not always at hand, and a proportionate culture, which one does not immediately attain. Conception, on the other hand, requires only susceptibility; it brings its subject-matter with it, and is itself the instrument of culture. Hence that beam of light was most welcome to us which that most excellent thinker brought down to us through dark clouds. One must be a young man to render present to oneself the effect which Lessing's Laocoön produced upon us, by transporting us out of the region of scanty perceptions into the open fields of thought. The so long misunderstood ut pictura poesis was at once laid aside, the difference between plastic and speaking art30 was made clear, the summits of the two now appeared sundered, however near their bases might border on each other. The plastic artist was to keep himself within the bounds of the beautiful, if the artist of language, who cannot dispense with the significant in any kind, is permitted to ramble abroad beyond them. The former labours for the outer sense, which is satisfied only by the beautiful; the latter for the imagination, which may even reconcile itself to the ugly. All the consequences of this splendid thought were illumined to us as by a lightning flash; all the criticism which had hitherto guided and judged was thrown away like a worn-out coat; we considered ourselves freed from all evil, and fancied we might venture to look down with some compassion upon the otherwise so splendid sixteenth century, when, in German sculptures and poems, they knew how to represent life only under the form of a fool hung with bells, death under the misformed shape of a rattling skeleton, and the necessary and accidental evils of the world under the image of the caricatured devil.
