With my lawless disposition, with a life and action so aimless and purposeless, the observation could not long escape me that Lavater and Basedow employed intellectual and even spiritual means for earthly ends. It soon struck me, who spent my talents and my days on no object whatever, that these two men, while endeavoring, to preach their doctrines, to teach and to convince, had each in his own way, certain views in the background—the advancement of which was, to them, of great consequence. Lavater went to work gently and prudently, Basedow vehemently, rudely, and even awkwardly; but both were so convinced of the excellence of their favorite schemes and undertakings, and their mode of prosecuting them, that so far all were compelled to look upon them as men of sincerity, and to love and to honor them as such. In praise of Lavater especially, it could be said that he actually had higher objects, and, if he acted according to the wisdom of this world, it was in the belief that the end would hallow the means. As I observed them both, nay, indeed frankly told them my opinions and heard theirs in return, the thought arose in me that every highly-gifted man is called upon to diffuse whatever there is of divine within him. In attempting this, however, he comes in contact with the rough world, and, in order to act upon it, he must put himself on the same level. Thus, in a great measure he compromises his high advantages, and finally forfeits them altogether. The heavenly, the eternal, is buried in a body of earthly designs, and hurried with it to the fate of the transient. From this point of view I now regarded the career of these two men, and they seemed to me, worthy both of honor and of compassion; for I thought I could foresee that each would be compelled to sacrifice the higher to the lower. As I pursued this reflection to the farthest extremity, and looked beyond the limits of my narrow experience for similar cases in history, the plan occurred to me of taking the life of Mahomet, whom I had never been able to think an impostor, for a dramatic exhibition of those courses which in actual life, I was strongly convinced, invariably lead to ruin much more than to good. I had shortly before read with great interest, and studied the life of the Eastern Prophet, and was therefore tolerably prepared when the thought occurred to me. The sketch approached on the whole to the regular form to which I was again inclining, although I still used in moderation the liberty gained for the stage, and arranged time and place according to my own pleasure. The piece began with Mahomet alone under the open sky, singing a hymn. In it he adores first of all the innumerable stars as so many gods; but as the friendly star, Gad (our Jupiter) rises, he offers to him, as the king of the stars, exclusive adoration. Not long after the moon ascends the horizon, and wins the eye and heart of the worshipper, who, presently refreshed and strengthened by the dawning sun, is called upon for new praises. But these changing phenomena, however delightful, are still unsatisfactory and the mind feels that it must rise yet above itself. It mounts, therefore, to God, the Only, Eternal, Infinite, to whom all these splendid yet limited creatures owe their existence. I composed this hymn with great delight; it is now lost, but might easily be restored for the purpose of a cantata, and would commend itself to the musical composer by the variety of its expression. It would, however, be necessary to imagine it sung, according to the original plan, by the conductor of a caravan with his family and tribe; and thus the alternation of the voices, and the strength of the chorus, would be provided for.
After Mahomet has thus converted himself, he imparts these feelings and sentiments to his friends. His wife and Ali become his disciples without reserve. In the second act, he zealously attempts, supported by the still more ardent Ali, to propagate this faith in the tribe. Assent and opposition fallow the variety of character. The contest begins, the strife becomes violent, and Mahomet is compelled to flee. In the third act, he defeats his enemies, and making his religion the public one, purifies the Kaaba from idols; but, as all this cannot be done by power, he is obliged to resort to cunning. What in his character is earthly increases and extends itself; the divine retires and is obscured. In the fourth act, Mahomet pursues his conquests, his doctrine becomes a pretence rather than an end; all conceivable means must be employed, and barbarities become abundant. A woman, whose husband has been put to death by Mahomet's order, poisons him. In the fifth act, he feels that he is poisoned. His great calmness, the return to himself, and to a higher sense, make him worthy of admiration. He purify his doctrine, establishes his kingdom, and dies.
Such was the sketch of a work which long occupied my mind, for usually I was obliged to have the materials in my head, before I commenced the execution. I meant, to represent the power which genius exercises over men by character and intellect, and what are its gains and losses in the process. Several of the songs, to be introduced in the drama, were composed beforehand; all that remains of them, however, is what stands among my poems under the title "Mahomet's Gesang," (Mahomet's Song). According to the plan, this was to be sung by Ali in honor of his master, at the highest point of his success, just before the changed aspect of affairs resulting from the poison. I recollect also the outlines of several scenes, but the explanation of them here would lead me too far.
[1] That is to say, a native of one of the Imperial cities.
[2] The title of the poem is "Der untreue Knabe," (The Faithless Boy), and in the first line of it, as published in Göthe's collected works, "Knabe" will be found instead of "Bube"—Trans.
[FIFTEENTH BOOK.]
Moravians—"The Wandering Jew"—Zimmerman—"Clavigo"