In Jerusalem, according to the legend, there was a shoemaker, of the name of Ahasuerus. For this character my Dresden shoemaker was to supply the main features. I had furnished him with the spirit and humor of a craftsman of the school of Hans Sachs, and ennobled him by an inclination to Christ. Accordingly as, in his open workshop, he liked to talk with the passers-by, jested with them, and, after the Socratic fashion, touched up every one in his own way, the neighbors and others of the people took pleasure in lingering at his booth; even Pharisees and Sadducees spoke to him, and the Saviour himself and his disciples would often stop at his door. The shoemaker, whose thoughts were directed solely towards the world, I painted as feeling, nevertheless, a special affection for our Lord, which, for the most part, evinced itself by a desire to bring this lofty being, whose mind he did not comprehend, over to his own way of thinking and acting. Accordingly, in a modest manner, he recommends Christ to abandon his contemplative life, and to leave off going about the country with such idlers, and drawing the people away from their labor into the wilderness. A multitude, he said, was always ready for excitement, and nothing good could come of it.
On the other hand, the Lord endeavoured, by parables, to instruct him in his higher views and aims, but these were all thrown away on his mere matter-of-fact intellect. Thus, as Christ becomes more and more an important character, and finally a public person, the friendly workman pronounces his opinion still more sharply and vehemently, maintaining that nothing but disorder and tumult could follow from such proceedings, and that Christ would be at last compelled to put himself at the head of a party, though that could not possibly be his design. Finally, when things had taken the course which history narrates, and Christ had been seized and condemned, Ahasuerus gives full vent to his indignation when Judas who undesignedly had betrayed his Lord, in his despair enters the workshop, and with lamentations relates how his plans had been crossed. He had been, he said, as well as the shrewdest of the other disciples, firmly convinced that Christ would declare himself regent and head of the nation. His purpose was only, by this violence, to compel the Lord, whose hesitation had hitherto been invincible, to hasten the declaration. Accordingly, he had incited the priesthood to an act which previously they had not courage to do. The disciples, on their side, were not without arms, and probably all would have turned out well, if the Lord had not given himself up, and left them in the most forlorn state. Ahasuerus, whom this narrative in no ways tends to propitiate, only exasperates the agony of the poor ex-apostle, who rushes out and goes and hangs himself.
The Wandering Jew.
As Jesus is led past the workshop of the shoemaker, on his way to execution, the well-known scene of the legend occurs. The sufferer faints under the burden of the cross, and Simon of Cyrene is compelled to carry it. Upon this, Ahasuerus comes forward, and sustains the part of those harsh common-sense people, who, when they see a man involved in misfortune through his own fault, feel no pity, but, struck by an untimely sense of justice, make the matter worse by their reproaches. As he comes out, he repeats all his former warnings, changing them into vehement accusations, which his attachment to the sufferer seems to justify. The Saviour does not answer, but at the instant the loving Veronica covers his face with the napkin, on which, as she removes it and raises it aloft, Ahasuerus sees depicted the features of the Lord, not indeed as those of the sufferer of the moment, but as of one transfigured and radiant with celestial life. Amazed by this phenomenon, he turns away his eyes and hears the words: "Over the earth shalt thou wander till thou shalt once more see me in this form." Overwhelmed at the sentence, it is not till after some time that the artisan comes to himself; he then finds that every one has gone to the place of execution and that the streets of Jerusalem are empty. Disquiet and curiosity drive him forth, and he begins his wandering.
I shall, perhaps, speak elsewhere of all this, and of the incident by which the poem was ended indeed, but not finished. The beginning, some detached passages, and the conclusion, were written. But I never completed the work. I lacked time for the studies necessary to give it the finish and bearing that I wished. The few sheets which I did write were the more willingly left to repose in obscurity, as a new and necessary epoch was now formed in my mental character by the publication of Werther.
The common fate of man, which all of us have to bear, must fall most heavily on those whose intellectual powers expand very early. For a time we may grow up under the protection of parents and relatives; we may lean for a while upon our brothers and sisters and friends, be supported by acquaintances, and made happy by those we love, but in the end man is always driven back upon himself, and it seems as if the Divinity had taken a position towards men so as not always to respond to their reverence, trust, and love, at least not in the precise moment of need. Early enough, and by many a hard lesson, had I learned that at the most urgent crises the call to us is, "Physician, heal thyself;" and how frequently had I been compelled to sigh out in pain, "I tread the wine-press alone!" So now, while I was looking about for the means of establishing my independence, I felt that the surest basis on which to build was my own creative talents. For many years I had never known it to fail me for a moment. What, waking, I had seen by day, often shaped itself into regular dreams at night, and when I opened my eyes there appeared to me either a wonderful new whole, or a part of one already commenced. Usually, my time for wilting was early in the morning, but still in the evening, or even late at night, when wine and social intercourse had raised my spirits, I was ready for any topic that might be suggested; only let a subject of some character be offered, and I was at once prepared and ready. While, then, I reflected upon this natural gift, and found that it belonged to me as my own, and could neither be favoured nor hindered by any external matters, I easily in thought built my whole existence upon it. This conception soon assumed a distinct form; the old mythological image of Prometheus occurred to me, who, separated from the gods, peopled a world from his own workshop. I clearly felt that a creation of importance could be produced only when its author isolated himself. My productions which had met with so much applause were children of solitude, and since I had stood in a wider relation to the world, I had not been wanting in the power or the pleasure of invention, but the execution halted, because I had, neither in prose nor in verse, a style properly my own, and, consequently, with every new work, had always to begin at the beginning and try experiments. As in this I had to decline and even to exclude the aid of men, so, after the fashion of Prometheus, I separated myself from the gods also, and the more naturally as with my character and mode of thinking one tendency always swallowed up and repelled all others.
Prometheus.
The fable of Prometheus became living in me. The old Titan web I cut up according to my own measurements, and without further reflection began to write a piece in which was painted the difficulty Prometheus was placed in with respect to Jupiter and the later gods, in consequence of his making men with his own hand, giving them life by the aid of Minerva, and founding a third dynasty. And, in fact, the reigning gods had good cause to feel aggrieved, since they might now appear in the light of wrongful intruders between the Titans and men. To this singular composition belongs as a monologue that poem, which has become remarkable in German literature, by having called forth a declaration from Lessing against Jacobi on certain weighty matters of thought and feeling. It thus served as the match to an explosion which revealed and brought into discussion the most secret relations of men of worth;—relations of which they perhaps were not themselves conscious, and which were slumbering in a society otherwise most enlightened. The schism was so violent, that, with the concurrence of further incidents, it caused us the loss of one of our most valuable men, namely, Mendelssohn.
Although philosophical and even religions considerations may be, and before now have been attached to this subject, still it belongs peculiarly to poetry. The Titans are the foil of polytheism, as the devil may be considered the foil of monotheism, though, like the only God to whom he stands in contrast, he is not a poetic figure. The Satan of Milton, though boldly enough drawn, still remains in the disadvantageous light of a subordinate existence attempting to destroy the splendid creation of a higher being; Prometheus, on the contrary, has this advantage, that, even in spite of superior beings, he is able to act and to create. It is also a beautiful thought, and well suited to poetry, to represent men as created not by the Supreme Ruler of the world, but by an intermediate agent, who, however, as a descendant of the most ancient dynasty, is of worth and importance enough for such an office. Thus, and indeed under every aspect, the Grecian mythology is an inexhaustible mine of divine and human symbols.