Autobiography: Truth and Fiction Relating to My Life

by Johann Wolfgang von Goethe

Now, before I could suspect any thing,—for I had hitherto been conversing quite harmlessly with the young man,—the captain, in an unpleasant tone, which I well knew, began to be satirical about the pair of cups, and about this and that. The young man, surprised, tried to turn it off pleasantly and sensibly, as is the custom among men of good breeding: but the old fellow continued to be unmercifully rude; so that there was nothing left for the other to do but to seize his hat and cane, and at his departure to leave behind him a pretty unequivocal challenge. The fury of the captain now burst out the more vehemently, as he had in the interim drunk another bottle of wine almost by himself. He struck the table with his fist, and cried more than once, "I will strike him dead!" It was not, however, meant quite so badly as it sounded; for he often used this phrase when any one opposed or otherwise displeased him. Just as unexpectedly the business grew worse on our return; for I had the want of foresight to represent to him his ingratitude towards the young man, and to remind him how strongly he had praised to me the ready obligingness of this official person. No! such rage of a man against himself I never saw again: it was the most passionate conclusion to that beginning to which the pretty girl had given occasion. Here I saw sorrow and repentance carried into caricature, and, as all passion supplies the place of genius, to a point really genius-like. He then went over all the incidents of our afternoon ramble again, employed them rhetorically for his own self-reproach, brought up the old witch at last before him once more, and perplexed himself to such a degree, that I could not help fearing he would throw himself into the Rhine. Could I have been sure of fishing him out again quickly, like Mentor his Telemachus, he might have made the leap; and I should have brought him home cooled down for this occasion.

I immediately confided the affair to Lerse; and we went the next morning to the young man, whom my friend in his dry way set laughing. We agreed to bring about an accidental meeting, where a reconciliation should take place of itself. The drollest thing about it was, that this time the captain, too, had slept off his rudeness, and found himself ready to apologize to the young man, to whom petty quarrels were of some consequence. All was arranged in one morning; and, as the affair had not been kept quite secret, I did not escape the jokes of my friends, who might have foretold me, from their own experience, how troublesome the friendship of the captain could become upon occasion.

But now, while I am thinking what should be imparted next, there comes again into my thoughts, by a strange play of memory, that reverend minster-building, to which in those days I devoted particular attention, and which, in general, constantly presents itself to the eye, both in the city and in the country.

The more I considered the /façade/, the more was that first impression strengthened and developed, that here the sublime has entered into alliance with the pleasing. If the vast, when it appears as a mass before us, is not to terrify; if it is not to confuse, when we seek to investigate its details,—it must enter into an unnatural, apparently impossible, connection, it must associate to itself the pleasing. But now, since it will be impossible for us to speak of the impression of the minster except by considering both these incompatible qualities as united, so do we already see, from this, in what high value we must hold this ancient monument; and we begin in earnest to describe how such contradictory elements could peaceably interpenetrate and unite themselves.

First of all, without thinking of the towers, we devote out considerations to the /façade/ alone, which powerfully strikes the eye as an upright, oblong parallelogram. If we approach it at twilight, in the moonshine, on a starlight night, when the parts appear more or less indistinct and at last disappear, we see only a colossal wall, the height of which bears an advantageous proportion to the breadth. If we view it by day, and by the power of the mind abstract from the details, we recognize the front of a building which not only encloses the space within, but also covers much in its vicinity. The openings of this monstrous surface point to internal necessities, and according to these we can at once divide it into nine compartments. The great middle door, which opens into the nave of the church, first meets the eye. On both sides of it lie two smaller ones, belonging to the cross-ways. Over the chief door our glance falls upon the wheel-shaped window, which is to spread an awe-inspiring light within the church and its vaulted arches. At its sides appear two large, perpendicular, oblong openings, which form a striking contrast with the middle one, and indicate that they belong to the base of the rising towers. In the third story are three openings in a row, which are designed for belfries and other church necessities. Above them one sees the whole horizontally closed by the balustrade of the gallery, instead of a cornice. These nine spaces described are supported, enclosed, and separated into three great perpendicular divisions by four pillars rising up from the ground.

Now, as it cannot be denied that there is in the whole mass a fine proportion of height to breadth, so also in the details it maintains a somewhat uniform lightness by means of these pillars and the narrow compartments between them.

But if we adhere to our abstraction, and imagine to ourselves this immense wall without ornaments, with firm buttresses, with the necessary openings in it, but only so far as necessity requires them, we even then must allow that these chief divisions are in good proportion: thus the whole will appear solemn and noble indeed, but always heavily unpleasant, and, being without ornament, unartistical. For a work of art, the whole of which is conceived in great, simple, harmonious parts, makes indeed a noble and dignified impression; but the peculiar enjoyment which the pleasing produces can only find place in the consonance of all developed details.

And it is precisely here that the building we are examining satisfies us in the highest degree, for we see all the ornaments fully suited to every part which they adorn: they are subordinate to it, they seem to have grown out of it. Such a manifoldness always gives great pleasure, since it flows of its own accord from the suitable, and therefore at the same time awakens the feeling of unity. It is only in such cases that the execution is prized as the summit of art.

By such means, now, was a solid piece of masonry, an impenetrable wall, which had moreover to announce itself as the base of two heaven-high towers, made to appear to the eye as if resting on itself, consisting in itself, but at the same time light and adorned, and, though pierced through in a thousand places, to give the idea of indestructible firmness.

This riddle is solved in the happiest manner. The openings in the wall, its solid parts, the pillars, every thing has its peculiar character, which proceeds from its particular destination: this communicates itself by degrees to the subdivisions; hence every thing is adorned in proportionate taste, the great as well as the small is in the right place, and can be easily comprehended, and thus the pleasing presents itself in the vast. I would refer only to the doors sinking in perspective into the thickness of the wall, and adorned without end in their columns and pointed arches; to the window with its rose springing out of the round form; to the outline of its framework, as well as to the slender reed-like pillars of the perpendicular compartments. Let one represent to himself the pillars retreating step by step, accompanied by little, slender, light-pillared, pointed structures, likewise striving upwards, and furnished with canopies to shelter the images of the saints, and how at last every rib, every boss, seems like a flower-head and row of leaves, or some other natural object transformed into stone. One may compare, if not the building itself, yet representations of the whole and of its parts, for the purpose of reviewing and giving life to what I have said. It may seem exaggerated to many; for I myself, though transported into love for this work at first sight, required a long time to make myself intimately acquainted with its value.