"But the smile with which she receives me at set of sun, is it not worth all that sun has seen me endure? Can angelic delights surpass those which I possess, when, facing the shore with her, watched by the quiet moon, we listen to the tide of the world surging up impatiently against the Eden it cannot conquer? Truly the joys of heaven were gregarious and low in comparison. This, this alone, is exquisite, because exclusive and peculiar."
Ah, seraph! but the winter's frost must nip thy vine; a viper lurks beneath the flowers to sting the foot of thy child, and pale decay must steal over the cheek thou dost adore. In the realm of ideas all was imperishable. Be blest while thou canst. I love thee, fallen seraph, but thou shouldst not have sold thy birthright.
"All for love and the world well lost." That sounds so true! But genius, when it sells itself, gives up, not only the world, but the universe.
Yet does not love comprehend the universe? The universe is love. Why should I weary my eye with scanning the parts, when I can clasp the whole this moment to my beating heart?
But if the intellect be repressed, the idea will never be brought out from the feeling. The amaranth wreath will in thy grasp be changed to one of roses, more fragrant indeed, but withering with a single sun!
The Crisis with Gœthe.—I have thought much whether Gœthe did well in giving up Lili. That was the crisis in his existence. From that era dates his being as a "Weltweise;" the heroic element vanished irrecoverably from his character; he became an Epicurean and a Realist; plucking flowers and hammering stones instead of looking at the stars. How could he look through the blinds, and see her sitting alone in her beauty, yet give her up for so slight reasons? He was right as a genius, but wrong as a character.
The Flower and the Pearl.—— has written wonders about the mystery of personality. Why do we love it? In the first place, each wishes to embrace a whole, and this seems the readiest way. The intellect soars, the heart clasps; from putting "a girdle round about the earth in forty minutes," thou wouldst return to thy own little green isle of emotion, and be the loving and playful fay, rather than the delicate Ariel.
Then most persons are plants, organic. We can predict their growth according to their own law. From the young girl we can predict the lustre, the fragrance of the future flower. It waves gracefully to the breeze, the dew rests upon its petals, the bee busies himself in them, and flies away after a brief rapture, richly laden.
When it fades, its leaves fall softly on the bosom of Mother Earth, to all whose feelings it has so closely conformed. It has lived as a part of nature; its life was music, and we open our hearts to the melody.
But characters like thine and mine are mineral. We are the bone and sinew, these the smiles and glances, of earth. We lie nearer the mighty heart, and boast an existence more enduring than they. The sod lies heavy on us, or, if we show ourselves, the melancholy moss clings to us. If we are to be made into palaces and temples, we must be hewn and chiselled by instruments of unsparing sharpness. The process is mechanical and unpleasing; the noises which accompany it, discordant and obtrusive; the artist is surrounded with rubbish. Yet we may be polished to marble smoothness. In our veins may lie the diamond, the ruby, perhaps the emblematic carbuncle.