Lessing's Laocoön.
The mind can be highly delighted in two ways, by perception and conception. But the former demands a worthy object, which is not always at hand, and a proportionate culture, which one does not immediately attain. Conception, on the other hand, requires only susceptibility; it brings its subject-matter with it, and is itself the instrument of culture. Hence that beam of light was most welcome to us which that most excellent thinker brought down to us through dark clouds. One must be a young man to render present to oneself the effect which Lessing's Laocoön produced upon us, by transporting us out of the region of scanty perceptions into the open fields of thought. The so long misunderstood ut pictura poesis was at once laid aside, the difference between plastic and speaking art[1] was made clear, the summits of the two now appeared sundered, however near their bases might border on each other. The plastic artist was to keep himself within the bounds of the beautiful, if the artist of language, who cannot dispense with the significant in any kind, is permitted to ramble abroad beyond them. The former labours for the outer sense, which is satisfied only by the beautiful; the latter for the imagination, which may even reconcile itself to the ugly. All the consequences of this splendid thought were illumined to us as by a lightning flash; all the criticism which had hitherto guided and judged was thrown away like a worn-out coat; we considered ourselves freed from all evil, and fancied we might venture to look down with some compassion upon the otherwise so splendid sixteenth century, when, in German sculptures and poems, they knew how to represent life only under the form of a fool hung with bells, death under the misformed shape of a rattling skeleton, and the necessary and accidental evils of the world under the image of the caricatured devil.
We were the most enchanted with the beauty of that thought, that the ancients had recognised death as the brother of sleep, and had represented them similar even to confusion, as becomes Menæchmi. Here we could first do high honour to the triumph of the beautiful, and banish the ugly of every kind into the low sphere of the ridiculous in the kingdom of art, since it could not be utterly driven out of the world.
The splendour of such leading and fundamental conceptions appears only to the mind upon which they exercise their infinite activity—appears only to the age in which, after being longed for, they come forth at the right moment. Then do those at whose disposal such nourishment is placed, fondly occupy whole periods of their lives with it, and rejoice in a superabundant growth; while men are not wanting, meanwhile, who resist such an effect on the spot, nor others who afterwards haggle and cavil at its high meaning.
But as conception and perception mutually require each other, I could not long work up these new thoughts, without an infinite desire arising within me to see important works of art, once and away, in great number. I therefore determined to visit Dresden without delay. I was not in want of the necessary cash; but there were other difficulties to overcome, which I needlessly increased still further, through my whimsical disposition; for I kept my purpose a secret from every one, because I wished to contemplate the treasures of art there quite after my own way, and, as I thought, to allow no one to perplex me. Besides this, so simple a matter became more complicated by still another eccentricity.
We have weaknesses, both by birth and by education, and it may be questioned which of the two gives us the most trouble. Willingly as I made myself familiar with all sorts of conditions, and many as had been my inducements to do so, an excessive aversion from all inns had nevertheless been instilled into me by my father. This feeling had rooted itself firmly in him on his travels through Italy, France, and Germany. Although he seldom spoke in images, and only called them to his aid when he was very cheerful, yet he used often to repeat that he always fancied he saw a great cobweb spun across the gate of an inn, so ingeniously that the insects could indeed fly in, but that even the privileged wasps could not fly out again unplucked. It seemed to him something horrible, that one should be obliged to pay immoderately for renouncing one's habits and all that was dear to one in life, and living after the manner of publicans and waiters. He praised the hospitality of the olden time, and reluctantly as he otherwise endured even anything unusual in the house, he yet practised hospitality, especially towards artists and virtuosi; thus gossip Seekatz always had his quarters with us, and Abel, the last musician who handled the viol di gamba with success and applause, was well received and entertained. With such youthful impressions, which nothing had as yet rubbed off, how could I have resolved to set foot in an inn in a strange city? Nothing would have been easier than to find quarters with good friends. Hofrath Krebel, Assessor Hermann, and others had often spoken to me about it already; but even to these my trip was to remain a secret, and I hit upon a most singular notion. My next-room neighbour, the industrious theologian, whose eyes unfortunately constantly grew weaker and weaker, had a relation in Dresden, a shoemaker, with whom from time to time he corresponded. For a long while already this man had been highly remarkable to me on account of his expressions, and the arrival of one of his letters was always celebrated by us as a holiday. The mode in which he replied to the complaints of his cousin, who feared blindness, was quite peculiar; for he did not trouble himself about grounds of consolation, which are always hard to find; but the cheerful way in which he looked upon his own narrow, poor, toilsome life, the merriment which he drew even from evils and inconveniences, the indestructible conviction that life is in itself and on its own account a blessing, communicated itself to him who read the letter, and, for the moment at least, transposed him into a like mood. Enthusiastic as I was, I had often sent my compliments to this man, extolled his happy natural gift, and expressed the wish to become acquainted with him. All this being premised, nothing seemed to me more natural than to seek him out, to converse with him, nay, to lodge with him, and to learn to know him intimately. My good candidate, after some opposition, gave me a letter, written with difficulty, to carry with me, and, full of longing, I went to Dresden in the yellow coach, with my matriculation in my pocket.
The Dresden Shoemaker.
I looked for my shoemaker, and soon found him in the suburb (Vorstadt). He received me in a friendly manner, sitting upon his stool, and said smiling, after he had read the letter, "I see from this, young Sir, that you are a whimsical Christian." "How so, master?" replied I. "No offence meant by 'whimsical,'" he continued; "one calls every one so who is not consistent with himself; and I call you a whimsical Christian because you acknowledge yourself a follower of our Lord in one thing, but not in another." On my requesting him to enlighten me, he said further: "It seems that your view is to announce glad tidings to the poor and lowly; that is good, and this imitation of the Lord is praiseworthy; but you should reflect besides, that he rather sat down to table with prosperous rich folks, where there was good fare, and that he himself did not despise the sweet scent of the ointment, of which you will find the opposite in my house."
This pleasant beginning put me at once in good-humour, and we rallied each other for some time. His wife stood doubting how she should board and lodge such a guest. On this point, too, he had notions which referred not only to the Bible, but also to Gottfried's Chronicle, and when we were agreed that I was to stay, I gave my purse, such as it was, into the charge of my hostess, and requested her to furnish herself from it, if anything should be necessary. When he would have declined it, and somewhat waggishly gave me to understand that he was not so burnt out as he might appear, I disarmed him by saying, "Even if it were only to change water into wine, such a well-tried domestic resource would not be out of place, since there are no more miracles now-a-days." The hostess seemed to find my conduct less and less strange; we had soon accommodated ourselves to each other, and spent a very merry evening. He remained always the same, because all flowed from one source. His peculiarity was an apt common-sense, which rested upon a cheerful disposition, and took delight in uniform habitual activity. That he should labour incessantly was his first and most necessary care; that he regarded everything else as secondary,—this kept up his comfortable state of mind; and I must reckon him before many others in the class of those who are called practical unconscious philosophers.[2]
The hour when the gallery was to open, after being expected with impatience, appeared. I entered into this sanctuary, and my astonishment surpassed every conception which I had formed. This saloon, returning into itself, in which splendour and neatness reigned, together with the deepest stillness, the dazzling frames, all nearer to the time in which they had been gilded, the floor polished with bees'-wax, the spaces more trodden by spectators than used by copyists, imparted a feeling of solemnity, unique of its kind, which so much the more resembled the sensation with which one treads a church, as the adornments of so many a temple, the objects of so much adoration, seemed here again set up only for the sacred purposes of art. I readily put up with the cursory description of my conductor; only I requested that I might be allowed to remain in the outer gallery. Here, to my comfort, I found myself really at home. I had already seen the works of several artists, others I knew from engravings, others by name. I did not conceal this, and I thus inspired my conductor with some confidence; nay, the rapture which I expressed at pieces where the pencil had gained the victory over nature, delighted him; for such were the things which principally attracted me, where the comparison with known nature must necessarily enhance the value of art.