Quite ordinary and shallow men are able to produce books of very great importance because of their matter, which was accessible to them alone. Take, for instance, books which give descriptions of foreign countries, rare natural phenomena, experiments that have been made, historical events of which they were witnesses, or have spent both time and trouble in inquiring into and specially studying the authorities for them.
On the other hand, it is on form that we are dependent, where the matter is accessible to every one or very well known; and it is what has been thought about the matter that will give any value to the achievement; it will only be an eminent man who will be able to write anything that is worth reading. For the others will only think what is possible for every other man to think. They give the impress of their own mind; but every one already possesses the original of this impression.
However, the public is very much more interested in matter than in form, and it is for this very reason that it is behindhand in any high degree of culture. It is most laughable the way the public reveals its liking for matter in poetic works; it carefully investigates the real events or personal circumstances of the poet's life which served to give the motif of his works; nay, finally, it finds these more interesting than the works themselves; it reads more about Goethe than what has been written by Goethe, and industriously studies the legend of Faust in preference to Goethe's Faust itself. And when Bürger said that "people would make learned expositions as to who Leonora really was," we see this literally fulfilled in Goethe's case, for we now have many learned expositions on Faust and the Faust legend. They are and will remain of a purely material character. This preference for matter to form is the same as a man ignoring the shape and painting of a fine Etruscan vase in order to make a chemical examination of the clay and colours of which it is made. The attempt to be effective by means of the matter used, thereby ministering to this evil propensity of the public, is absolutely to be censured in branches of writing where the merit must lie expressly in the form; as, for instance, in poetical writing. However, there are numerous bad dramatic authors striving to fill the theatre by means of the matter they are treating. For instance, they place on the stage any kind of celebrated man, however stripped of dramatic incidents his life may have been, nay, sometimes without waiting until the persons who appear with him are dead.
The distinction between matter and form, of which I am here speaking, is true also in regard to conversation. It is chiefly intelligence, judgment, wit, and vivacity that enable a man to converse; they give form to the conversation. However, the matter of the conversation must soon come into notice—in other words, that about which one can talk to the man, namely, his knowledge. If this is very small, it will only be his possessing the above-named formal qualities in a quite exceptionally high degree that will make his conversation of any value, for his matter will be restricted to things concerning humanity and nature, which are known generally. It is just the reverse if a man is wanting in these formal qualities, but has, on the other hand, knowledge of such a kind that it lends value to his conversation; this value, however, will then entirely rest on the matter of his conversation, for, according to the Spanish proverb, mas sabe el necio en su casa, que el sabio en la agena.
A thought only really lives until it has reached the boundary line of words; it then becomes petrified and dies immediately; yet it is as everlasting as the fossilised animals and plants of former ages. Its existence, which is really momentary, may be compared to a crystal the instant it becomes crystallised.
As soon as a thought has found words it no longer exists in us or is serious in its deepest sense.
When it begins to exist for others it ceases to live in us; just as a child frees itself from its mother when it comes into existence. The poet has also said:
"Ihr müsst mich nicht durch Widerspruch verwirren!
Sobald man spricht, beginnt man schon zu irren."
The pen is to thought what the stick is to walking, but one walks most easily without a stick, and thinks most perfectly when no pen is at hand. It is only when a man begins to get old that he likes to make use of a stick and his pen.
A hypothesis that has once gained a position in the mind, or been born in it, leads a life resembling that of an organism, in so far as it receives from the outer world matter only that is advantageous and homogeneous to it; on the other hand, matter that is harmful and heterogeneous to it is either rejected, or if it must be received, cast off again entirely.