With the truth or completeness of these views of Lessing we are not here concerned; our business being not to expound our own opinions, but to indicate as clearly as possible Lessing's position. Those who are familiar with the general philosophical spirit of the present age, as represented by writers otherwise so different as Littre and Sainte-Beuve, will best appreciate the power and originality of these speculations. Coming in the last century, amid the crudities of deism, they made a well-defined epoch. They inaugurated the historical method of criticism, and they robbed the spirit of intolerance of its only philosophical excuse for existing. Hitherto the orthodox had been intolerant toward the philosophers because they considered them heretics; and the philosophers had been intolerant toward the orthodox because they considered them fools. To Voltaire it naturally seemed that a man who could believe in the reality of miracles must be what in French is expressively termed a sot. But henceforth, to the disciple of Lessing, men of all shade of opinion were but the representatives and exponents of different phases in the general evolution of human intelligence, not necessarily to be disliked or despised if they did not happen to represent the maturest phase.
Religion, therefore, from this point of view, becomes clearly demarcated from theology. It consists no longer in the mental assent to certain prescribed formulas, but in the moral obedience to the great rule of life; the great commandment laid down and illustrated by the Founder of the Christian religion, and concerning which the profoundest modern philosophy informs us that the extent to which a society has learned to conform to it is the test and gauge of the progress in civilization which that society has achieved. The command "to love one another," to check the barbarous impulses inherited from the pre-social state, while giving free play to the beneficent impulses needful for the ultimate attainment of social equilibrium,—or as Tennyson phrases it, to "move upward, working out the beast, and letting the ape and tiger die,"—was, in Lessing's view, the task set before us by religion. The true religious feeling was thus, in his opinion, what the author of "Ecce Homo" has finely termed "the enthusiasm of humanity." And we shall find no better language than that of the writer just mentioned, in which to describe Lessing's conception of faith:—
"He who, when goodness is impressively put before him, exhibits an instinctive loyalty to it, starts forward to take its side, trusts himself to it, such a man has faith, and the root of the matter is in such a man. He may have habits of vice, but the loyal and faithful instinct in him will place him above many that practice virtue. He may be rude in thought and character, but he will unconsciously gravitate toward what is right. Other virtues can scarcely thrive without a fine natural organization and a happy training. But the most neglected and ungifted of men may make a beginning with faith. Other virtues want civilization, a certain amount of knowledge, a few books; but in half-brutal countenances faith will light up a glimmer of nobleness. The savage, who can do little else, can wonder and worship and enthusiastically obey. He who cannot know what is right can know that some one else knows; he who has no law may still have a master; he who is incapable of justice may be capable of fidelity; he who understands little may have his sins forgiven because he loves much."
Such was Lessing's religion, so far as it can be ascertained from the fragmentary writings which he has left on the subject. Undoubtedly it lacked completeness. The opinions which we have here set down, though constituting something more than a mere theory of morality, certainly do not constitute a complete theory of religion. Our valiant knight has examined but one side of the shield,—the bright side, turned toward us, whose marvellous inscriptions the human reason can by dint of unwearied effort decipher. But the dark side, looking out upon infinity, and covered with hieroglyphics the meaning of which we can never know, he has quite forgotten to consider. Yet it is this side which genuine religious feeling ever seeks to contemplate. It is the consciousness that there is about us an omnipresent Power, in which we live and move and have our being, eternally manifesting itself throughout the whole range of natural phenomena, which has ever disposed men to be religious, and lured them on in the vain effort to construct adequate theological systems. We may, getting rid of the last traces of fetishism, eliminate arbitrary volition as much as we will or can. But there still remains the consciousness of a divine Life in the universe, of a Power which is beyond and above our comprehension, whose goings out and comings in no man can follow. The more we know, the more we reach out for that which we cannot know. And who can realize this so vividly as the scientific philosopher? For our knowledge being, according to the familiar comparison, like a brilliant sphere, the more we increase it the greater becomes the number of peripheral points at which we are confronted by the impenetrable darkness beyond. I believe that this restless yearning,—vague enough in the description, yet recognizable by all who, communing with themselves or with nature, have felt it,—this constant seeking for what cannot be found, this persistent knocking at gates which, when opened, but reveal others yet to be passed, constitutes an element which no adequate theory of religion can overlook. But of this we find nothing in Lessing. With him all is sunny, serene, and pagan. Not the dim aisle of a vast cathedral, but the symmetrical portico of an antique temple, is the worshipping-place into which he would lead us.
But if Lessing's theology must be considered imperfect, it is none the less admirable as far as it goes. With its peculiar doctrines of love and faith, it teaches a morality far higher than any that Puritanism ever dreamed of. And with its theory of development it cuts away every possible logical basis for intolerance. It is this theology to which Lessing has given concrete expression in his immortal poem of "Nathan."
The central idea of "Nathan" was suggested to Lessing by Boccaccio's story of "The Three Rings," which is supposed to have had a Jewish origin. Saladin, pretending to be inspired by a sudden, imperious whim, such as is "not unbecoming in a Sultan," demands that Nathan shall answer him on the spur of the moment which of the three great religions then known—Judaism, Mohammedanism, Christianity—is adjudged by reason to be the true one. For a moment the philosopher is in a quandary. If he does not pronounce in favour of his own religion, Judaism, he stultifies himself; but if he does not award the precedence to Mohammedanism, he will apparently insult his sovereign. With true Oriental tact he escapes from the dilemma by means of a parable. There was once a man, says Nathan, who possessed a ring of inestimable value. Not only was the stone which it contained incomparably fine, but it possessed the marvellous property of rendering its owner agreeable both to God and to men. The old man bequeathed this ring to that one of his sons whom he loved the most; and the son, in turn, made a similar disposition of it. So that, passing from hand to hand, the ring finally came into the possession of a father who loved his three sons equally well. Unto which one should he leave it? To get rid of the perplexity, he had two other rings made by a jeweller, exactly like the original, and to each of his three sons he bequeathed one. Each then thinking that he had obtained the true talisman, they began violently to quarrel, and after long contention agreed to carry their dispute before the judge. But the judge said: "Quarrelsome fellows! You are all three of you cheated cheats. Your three rings are alike counterfeit. For the genuine ring is lost, and to conceal the loss, your father had made these three substitutes." At this unexpected denouement the Sultan breaks out in exclamations of delight; and it is interesting to learn that when the play was brought upon the stage at Constantinople a few years ago, the Turkish audience was similarly affected. There is in the story that quiet, stealthy humour which is characteristic of many mediaeval apologues, and in which Lessing himself loved to deal. It is humour of the kind which hits the mark, and reveals the truth. In a note upon this passage, Lessing himself said: "The opinion of Nathan upon all positive religions has for a long time been my own." Let him who has the genuine ring show it by making himself loved of God and man. This is the central idea of the poem. It is wholly unlike the iconoclasm of the deists, and, coming in the eighteenth century, it was like a veritable evangel.
"Nathan" was not brought out until three years after Lessing's death, and it kept possession of the stage for but a short time. In a dramatic point of view, it has hardly any merits. Whatever plot there is in it is weak and improbable. The decisive incidents seem to be brought in like the deus ex machina of the later Greek drama. There is no movement, no action, no development. The characters are poetically but not dramatically conceived. Considered as a tragedy, "Nathan" would be weak; considered as a comedy, it would be heavy. With full knowledge of these circumstances, Lessing called it not a drama, but a dramatic poem; and he might have called it still more accurately a didactic poem, for the only feature which it has in common with the drama is that the personages use the oratio directa.
"Nathan" is a didactic poem: it is not a mere philosophic treatise written in verse, like the fragments of Xenophanes. Its lessons are conveyed concretely and not abstractly; and its characters are not mere lay figures, but living poetical conceptions. Considered as a poem among classic German poems, it must rank next to, though immeasurably below, Goethe's "Faust."
There are two contrasted kinds of genius, the poetical and the philosophical; or, to speak yet more generally, the artistic and the critical. The former is distinguished by a concrete, the latter by an abstract, imagination. The former sees things synthetically, in all their natural complexity; the latter pulls things to pieces analytically, and scrutinizes their relations. The former sees a tree in all its glory, where the latter sees an exogen with a pair of cotyledons. The former sees wholes, where the latter sees aggregates.
Corresponding with these two kinds of genius there are two classes of artistic productions. When the critical genius writes a poem or a novel, he constructs his plot and his characters in conformity to some prearranged theory, or with a view to illustrate some favourite doctrine. When he paints a picture, he first thinks how certain persons would look under certain given circumstances, and paints them accordingly. When he writes a piece of music, he first decides that this phrase expresses joy, and that phrase disappointment, and the other phrase disgust, and he composes accordingly. We therefore say ordinarily that he does not create, but only constructs and combines. It is far different with the artistic genius, who, without stopping to think, sees the picture and hears the symphony with the eyes and ears of imagination, and paints and plays merely what he has seen and heard. When Dante, in imagination, arrived at the lowest circle of hell, where traitors like Judas and Brutus are punished, he came upon a terrible frozen lake, which, he says,—