For my own part, I continued to make poetry the expression of my own whims and feelings. Little poems like the "Wanderer" belong to this time; they were inserted in the Göttingen Musenalmanach. But from whatever of the above-mentioned mania had worked itself into me, I shortly endeavoured to free myself in Götz von Berlichingen, since I described how in disordered times this brave, well-thinking man resolves to take the place of the law and the executive power, but is in despair when, to the supreme authority, which he recognises and reveres, he appears in an equivocal light, and even rebellious.
By Klopstock's odes, it was not so much the Northern mythology as the nomenclature of the divinities, that had been introduced into German poetry; and although I gladly made use of everything else that was offered me, I could not bring myself to use this, for the following causes: I had long become acquainted with the fables of the Edda, from the preface to Mallet's Danish History, and had at once made myself master of them. They belonged to those tales which, when asked by a company, I most willingly related. Herder put Resenius into my hands, and made me better acquainted with the heroic sagas. But all these things, worthy as I held them, I could not bring within the circle of my own poetic faculty. Nobly as they excited my imagination, they nevertheless entirely withdrew themselves from the sensuous perception, while the mythology of the Greeks, changed by the greatest artists in the world into visible, easily imagined forms, still existed before our own eyes in abundance. Gods in general I did not allow' often to appear, because, at all events, they had their abode out of the Nature, which I understood how to imitate. What now could have induced to substitute Woden for Jupiter, and Thor for Mars, and instead of the Southern, accurately described figures, to introduce forms of mist, nay, mere verbal sounds, into my poems? On the one side, they were related to the equally formless heroes of Ossian, only they were ruder and more gigantic; on the other, I brought them into contact with the cheerful tale; for the humoristic vein which runs through the whole Northern mythus, was to me highly pleasing and remarkable. It appeared to me the only one which jests with itself throughout,—wondrous giants, magicians, and monsters opposed to an odd dynasty of gods, and only occupied in leading astray and deriding the highest persons during their government, while they threaten them, besides, with disgraceful and inevitable destruction.
I felt a similar if not an equal interest for the Indian fables, which I at first learned to know from Dapper's Travels, and likewise added with great pleasure to my store of tales. In subsequent repetitions I succeeded especially with the Altar of Ram; and notwithstanding the great number of persons in this tale, the ape Hannemann remained the favorite of my public. But even these unformed and over-formed monsters could not satisfy me in a true poetic sense; they lay too far from the truth, towards which my mind unceasingly strove.
Taste for Homer.
But against all these goblins, so repulsive to art, my sense for the beautiful was to be protected by the noblest power. Always fortunate is that epoch in a literature when the great works of the past again rise up as if thawed, and come into notice, because they then produce a perfectly fresh effect. Even the Homeric light rose again quite new to us, and indeed quite in the spirit of the time, which highly favoured such an appearance; for the constant reference to nature had at last the effect, that we learned to regard even the works of the ancients from this side. What several travellers had done for explanation of the Holy Scriptures, others had done for Homer. By Guys the matter was introduced; Wood gave it an impulse. A Göttingen review of the original work, which was at first very rare, made us acquainted with the design, and taught us how far it had been carried out. We now no longer saw in those poems a strained and inflated heroism, but the reflected truth of a primeval present, and sought to bring this as closely to us as possible. At the same time we could not give our assent, when it was maintained that in order rightly to understand the Homeric natures, one must make oneself acquainted with the wild races and their manners, as described by the travellers in new worlds; for it cannot be denied that both Europeans and Asiatics are represented in the Homeric poems as at a higher grade of culture,—perhaps higher than the time of the Trojan war could have enjoyed. But that maxim was nevertheless in harmony with the prevailing confession of nature, and so far we let it pass.
With all these occupations, which were related to the knowledge of mankind in the higher sense, as well as most nearly and dearly to poetry, I was nevertheless forced every day to experience that I was residing in Wetzlar. The conversation on the situation of the business of the "Visitation," and its ever-increasing obstacles, the discovery of new offences, was heard every hour. Here was the holy Roman Empire once more assembled, not for mere outward forms, but for an occupation which penetrated to the very depths. But even here that half-empty banqueting-hall on the coronation-day occurred to me, where the bidden guests remained without, because they were too proud. Here, indeed, they had come, but even worse symptoms were to be seen. The want of coherence in the whole, the mutual opposition of the parts, were continually apparent; and it remained no secret that princes had confidentially communicated to each other this notion, that they must see whether, on this occasion, something could not be gained from the supreme authority.
What a bad impression the petty detail of all the anecdotes of neglects and delays, of injustices and corruptions, must make upon a young man who desired what was good, and with this view cultivated his mind, every honest person will feel. Under such circumstances, where was a reverence for the law and the judge to arise? Even if the greatest confidence had been placed in the effects of the "Visitation,"—if it could have been believed that it would fully accomplish its high purpose,—there was still no remedy to be found here for a joyous, inwardly-striving youth. The formalities of the proceeding all tended towards delay; if any one desired to do anything, and to be of any importance, he was obliged to serve the party in the wrong—always the accused—and to be skilled in the fencing-art of twisting and evading.
Æsthetic Speculations.
Since, amid this distraction, I could not succeed in any æsthetic labours, I again and again lost myself in æsthetic speculations, as indeed all theorising indicates a defect or stagnation of productive power. Before with Merk, now with Gotter, I endeavoured to find out the maxims according to which one might go to work in production. But neither with me nor with them would it succeed. Merk was a sceptic and eclectic; Gotter adhered to such examples as pleased him the most. The Sulzer theory was published more for the amateur than the artist. In this sphere moral effects are required above all things; and here at once arises a dissension between the class that produces and that which uses; for a good work of art can, and will indeed, have moral consequences; but to require moral ends of the artist, is to destroy his profession.
What the ancients had said on these important subjects I had read industriously for some years, by skips, at least, if not in regular order. Aristotle, Cicero, Quintilian, Longinus—none were unconsidered; but this did not help me in the least, for all these men presupposed an experience which I lacked. They led me into a world infinitely rich in works of art; they unfolded the merits of excellent poets and orators, of most of whom the names alone are left us, and convinced me but too well that a great abundance of objects must lie before us ere we can think upon them; that one must first accomplish something oneself, nay, fail in something, to learn to know one's own capacities, and those of others. My acquaintance with so much that was good in those old times, was only according to school and book, and by no means vital, since, even with the most celebrated, orators, it was striking that they had altogether formed themselves in life, and that one could never speak of the peculiarities of their character as artists, without at the same time mentioning the personal peculiarities of their disposition. With the poets this seemed less to be the case; and thus the result of all my thoughts and endeavours was the old resolution to investigate inner and outer nature, and to allow her to rule herself in loving imitation.