"But such incomprehensible matters lie too far off to be a theme of daily meditation and thought-distracting speculation. And further, let him who believes in immortality be happy in silence; he has no reason to hold his head high because of his conviction. Silly women, priding themselves on believing with Tiedge in immortality, have been offended at my declaring that in the future state I hoped I should meet none of those who had believed in it here. For how I should be tormented! The pious would crowd about me, saying, 'Were we not right? Did we not predict it? Has it not turned out exactly so?' And thus even up yonder there would be everlasting ennui."
April 14, 1824. I went, about one, for a walk with Goethe. We conversed on the style of different authors. Said he, "Philosophical speculation is, on the whole, a hindrance to the Germans, for it tends to induce a tendency to obscurantism. The nearer they approach to certain philosophical schools, the worse they write. Those Germans write best who, as business men, and men of real life, confine themselves to the practical. Thus, Schiller's style is the noblest and most impressive, as soon as he ceases to philosophise, as I see from his highly interesting letters, on which I am now busy. Many of our genial German women in their style excel even many of our famous male writers.
"The French, in their style, are consistent with their general character. They are sociable by nature and as such never forget the public whom they address. They take the trouble to be clear in order to convince, and agreeable in order to please. The English, as a rule, write well, as born orators and as practical and realistic men. Altogether, the style of a writer is a true reflection of his mind. If anyone would acquire a lucid style, let him first be clear in his thoughts; if he would command a noble style, he must first possess a noble character."
May 2, 1824. During a drive over the hills through Upper Weimar we could not look enough at the trees in blossom. We remarked that trees full of white blossom should not be painted, because they make no picture, just as birches with their foliage are unfit for the foreground of a picture, because the delicate foliage does not adequately balance the white trunk. Said Goethe, "Ruysdael never placed a foliaged birch in the foreground, but only broken birch stems, without leaves. Such a trunk suits the foreground admirably, for its bright form stands out most powerfully."
After some slight discussion of other subjects, we talked of the erroneous tendency of such artists as would make religion art, while their art ought to be religion. Goethe observed, "Religion stands in the same relation to art as every other higher interest of life. It is merely to be regarded as a material, which has equal claims with all other vital materials. Also, faith and unbelief are not those organs with which a work of art is to be comprehended. Far otherwise; totally different human powers and capacities are required for such comprehension. Art must appeal to those organs with which we can apprehend it, or it misses its aim. A religious material may be a good subject for art, but only if it possesses general human interest. Thus, the Virgin with the Child is a good subject that may be treated a hundred times, and will always be seen again with pleasure."
November 24, 1824. In a conversation this evening concerning Roman and Greek history, Goethe said, "Roman history is certainly no longer suited to our time. We have become too humane for the triumphs of Cæsar to be anything but repellent to us. So also does Greek history offer little to allure us. The resistance to a foreign enemy is indeed glorious, but the constant civil wars of states against each other are intolerable. Besides, the history of our own time is overwhelmingly important. The battles of Leipzig and Waterloo eclipse Marathon, and such heroes as Blücher and Wellington are rivals of those of antiquity."
III.--Literary Dicta
January 10, 1825. In accordance with his deep interest in the English, Goethe requested me to introduce to him the young Englishmen staying here. I took this afternoon Mr. H., a young English officer, who, in the course of the conversation, mentioned that he was reading "Faust," but found it somewhat difficult.
Said Goethe, laughing, "Really, I should not have recommended you to undertake 'Faust.' It is mad stuff, and goes beyond all usual feeling. But as you have done it of your own accord, without asking me, you will see how you get through. Faust is so strange an individual that only a few persons can sympathise with his inner condition. Then the character of Mephistopheles is also very difficult, because of his irony, and also because he is the living result of an extensive acquaintance with the world. But you will see what light comes to you.
"'Tasso,' on the other hand, lies far nearer to the common feeling of mankind, and the elaboration of its form is favourable to an easier understanding of it. What is chiefly needed for reading 'Tasso' is that one should be no longer a child, and should not have been deprived of good society."