Among My Books. First Series

by James Russell Lowell

[141] This speech may be found in the Annual Register of 1762.

[142] Collection of Voyages, &c., from the Library of the Earl of Oxford, Vol. I. p. 151.

[143] Howes writes the word symbolically.

[144] "World" here should clearly be "work."

[145] The title-page of which our learned Marsh has cited for the etymology of the word.

[146] In his Jesuits in North America.

LESSING[147]

When Burns's humor gave its last pathetic flicker in his "John, don't let the awkward squad fire over me," was he thinking of actual brother-volunteers, or of possible biographers? Did his words betray only the rhythmic sensitiveness of poetic nerves, or were they a foreboding of that helpless future, when the poet lies at the mercy of the plodder,—of that bi-voluminous shape in which dulness overtakes and revenges itself on genius at last? Certainly Burns has suffered as much as most large-natured creatures from well-meaning efforts to account for him, to explain him away, to bring him into harmony with those well-regulated minds which, during a good part of the last century, found out a way, through rhyme, to snatch a prosiness beyond the reach of prose. Nay, he has been wronged also by that other want of true appreciation, which deals in panegyric, and would put asunder those two things which God has joined,—the poet and the man,—as if it were not the same rash improvidence that was the happiness of the verse and the misfortune of the gauger. But his death-bed was at least not haunted by the unappeasable apprehension of a German for his biographer; and that the fame of Lessing should have four times survived this cunningest assault of oblivion is proof enough that its base is broad and deep-set.

There seems to be, in the average German mind, an inability or a disinclination to see a thing as it really is, unless it be a matter of science. It finds its keenest pleasure in divining a profound significance in the most trifling things, and the number of mare's-nests that have been stared into by the German Gelehrter through his spectacles passes calculation. They are the one object of contemplation that makes that singular being perfectly happy, and they seem to be as common as those of the stork. In the dark forest of aesthetics, particularly, he finds them at every turn,—"fanno tutto il loco varo." If the greater part of our English criticism is apt only to skim the surface, the German, by way of being profound, too often burrows in delighted darkness quite beneath its subject, till the reader feels the ground hollow beneath him, and is fearful of caving into unknown depths of stagnant metaphysic air at every step. The Commentary on Shakespeare of Gervinus, a really superior man, reminds one of the Roman Campagna, penetrated underground in all directions by strange winding caverns, the work of human borers in search of we know not what. Above are the divine poet's larks and daisies, his incommunicable skies, his broad prospects of life and nature; and meanwhile our Teutonic teredo worms his way below, and offers to be our guide into an obscurity of his own contriving. The reaction of language upon style, and even upon thought, by its limitations on the one hand, and its suggestions on the other, is so apparent to any one who has made even a slight study of comparative literature, that we have sometimes thought the German tongue at least an accessory before the fact, if nothing more, in the offences of German literature. The language has such a fatal genius for going stern-foremost, for yawing, and for not minding the helm without some ten minutes' notice in advance, that he must be a great sailor indeed who can safely make it the vehicle for anything but imperishable commodities. Vischer's Aesthetik, the best treatise on the subject, ancient or modern, is such a book as none but a German could write, and it is written as none but a German could have written it. The abstracts of its sections are sometimes nearly as long as the sections themselves, and it is as hard to make out which head belongs to which tail, as in a knot of snakes thawing themselves into sluggish individuality under a spring sun. The average German professor spends his life in making lanterns fit to guide us through the obscurest passages of all the ologies and ysics, and there are none in the world of such honest workmanship. They are durable, they have intensifying glasses, reflectors of the most scientific make, capital sockets in which to set a light, and a handsome lump of potentially illuminating tallow is thrown in. But, in order to see by them, the explorer must make his own candle, supply his own cohesive wick of common-sense, and light it himself. And yet the admirable thoroughness of the German intellect! We should be ungrateful indeed if we did not acknowledge that it has supplied the raw material in almost every branch of science for the defter wits of other nations to work on; yet we have a suspicion that there are certain lighter departments of literature in which it may be misapplied, and turn into something very like clumsiness. Delightful as Jean Paul's humor is, how much more so would it be if he only knew when to stop! Ethereally deep as is his sentiment, should we not feel it more if he sometimes gave us a little less of it,—if he would only not always deal out his wine by beer-measure? So thorough is the German mind, that might it not seem now and then to work quite through its subject, and expatiate in cheerful unconsciousness on the other side thereof?

With all its merits of a higher and deeper kind, it yet seems to us that German literature has not quite satisfactorily answered that so long-standing question of the French Abbé about esprit. Hard as it is for a German to be clear, still harder to be light, he is more than ever awkward in his attempts to produce that quality of style, so peculiarly French, which is neither wit nor liveliness taken singly, but a mixture of the two that must be drunk while the effervescence lasts, and will not bear exportation into any other language. German criticism, excellent in other respects, and immeasurably superior to that of any other nation in its constructive faculty, in its instinct for getting at whatever principle of life lies at the heart of a work of genius, is seldom lucid, almost never entertaining. It may turn its light, if we have patience, into every obscurest cranny of its subject, one after another, but it never flashes light out of the subject itself, as Sainte-Beuve, for example, so often does, and with such unexpected charm. We should be inclined to put Julian Schmidt at the head of living critics in all the more essential elements of his outfit; but with him is not one conscious at too frequent intervals of the professorial grind,—of that German tendency to bear on too heavily, where a French critic would touch and go with such exquisite measure? The Great Nation, as it cheerfully calls itself, is in nothing greater than its talent for saying little things agreeably, which is perhaps the very top of mere culture, and in literature is the next best thing to the power of saying great things as easily as if they were little German learning, like the elephants of Pyrrhus, is always in danger of turning upon what it was intended to adorn and reinforce, and trampling it ponderously to death. And yet what do we not owe it? Mastering all languages, all records of intellectual man, it has been able, or has enabled others, to strip away the husks of nationality and conventionalism from the literatures of many races, and to disengage that kernel of human truth which is the germinating principle of them all. Nay, it has taught us to recognize also a certain value in those very husks, whether as shelter for the unripe or food for the fallen seed.