No zealot, then, no sentimentalist, no devotee of the god Wish, have we here; but an imperturbable beholder, whose dauntless and relentless eyeballs, telescopic and microscopic by turns, can and will see what the fact is. If the universe be bad, as some dream, he will see how bad; if good, he will perceive and respect its goodness. A man, for once, equal to the act of seeing! Having, as the indispensable preliminary, encountered himself, and victoriously fought on all the fields of his being the battle against self-deception, he now comes armed with new and strange powers of vision to encounter life and the world,—ready either to soar of dive,—above no fact, beneath none, by none appalled, by none dazzled,—a falcon, whose prey is truth, and whose wing and eye are well mated. And he it is who sets that ineffable price on the being of a real man.
This is manifested in many ways, all of them silent, rather than obstreperous and obtrusive. It is shown by a certain gracious, ineffable expectation with which for the first time he approaches any human soul, as if unknown and incalculable possibilities were opening here; by a noble ceremonial which he ever observes toward his higher characters, standing uncovered in their presence; by the space in his eye, not altogether measurable, which a man of worth is perceived to fill. Each of his principal characters has an atmosphere about him, like the earth itself; each has a vast perspective, and rounds off into mystery and depths of including sky.
The common novelist holds his characters in the palm of his hand, as he would his watch; winds them up, regulates, pockets them, is exceedingly handy with them. He may continue some little, pitiful puzzle about them for his readers; but he can see over, under, around them, and can make them stop or go, tick or be silent, altogether at pleasure. To Goethe his characters are as intelligible and as mysterious as Nature herself. He sees them, studies them, and with an eye how penetrating, how subtile and sure! But over, under, and around them he would hold it for no less than a profanity to pretend that he sees. They come upon the scene to prove what they are; he and the reader study them together; and when best known, their possibilities are obviously unexhausted, the unknown remains in them still. They go forward into their future, with a real future before them, with an unexplained life to live: not goblets whose contents have been drained, but fountains that still flow when the traveller who drank from them has passed on. Jarno, for example, a man of firm and definite outlines, and drawn here with masterly distinctness, without a blur or a wavering of the hand in the whole delineation, is yet the unexplained, unexhausted Jarno, when the book closes. He goes forward with the rest, known and yet unknown, a man of very definite limitations, and yet also of possibilities which the future will ever be defining.
In this sense, the book, almost alone among novels, consists with the hope of immortality. In average novels, there is nothing left of the hero when the book ends. "He is utterly married," as "Eothen" says. Utterly, sure enough! He ends at the altar, like a burnt-out candle over which the priest puts an extinguisher to keep it from smoking. One yawns over the last page, not considering himself any longer in company. Think of giving perpetuity to such lives! What could they do but get unmarried, and begin fussing at courtship again? But when Goethe's characters leave the stage, they seem to be rather entering upon life than quitting it; possibility opens, expectation runs before them, and our interest grows where observation ceases.
Goethe looks at Personality as through a telescope, and sees it shade away, beyond its cosmic systems, into star-dust and shining nebulæ; he inspects it as with a microscope, and on that side also resolves it only in part. He brings to it all the most spacious, all the most delicate interpretations of his wit, yet confessedly leaves more beyond.
Now it is this large-eyed, liberal regard of man, this grand, childlike, all-credent appreciation, which distinguishes the earlier and Scriptural literatures. Abraham fills up all the space between earth and heaven. Later, we arrive at limitations and secondary laws; we heap these up till the primal fact is obscured, is hidden by them. Then ensues an impression of man's littleness, emptiness, insignificance, utter, mechanical limitation. Then sharp-eyed gentlemen discover that man has a trick of dressing up his littleness in large terms,—liberty, intuition, inspiration, immortality,—and that he only is a philosopher, who cannot be deceived by this shallow stratagem. Your "philosopher" sees what men are made of. Populaces may fancy that man is central in the world, that he is the all-containing vessel of its uses: but your philosopher, admirable gentleman, sees through all that; he is superior to any such vulgar partiality for that particular species of insect to which he happens to belong. "A fly thinks himself the greatest of created beings," says philosopher; "man flatters himself in the same way; but I, I am not merely man, I am philosopher, and know better."
The early seers and poets had not attained to this sublime superciliousness of self-contempt; for this, of course, is a fruit to be borne only by the "progress of the species." They are still weak enough to believe in gods and godlike men, in spirit and inspiration, in the ineffable fulness and meaning of a noble life, in the cosmic relationship of man, in the divineness of speech and thought. In their books man is placed in a large light; honor and estimation come to him out of the heavens; what he does, if it be in any profound way characteristic, is told without misgiving, without fear to be superfluous; he is the care, or even the companion, of the immortals. To go forth, therefore, from our little cells of criticism and controversy, and to enter upon the pages where man's being appears so spacious and significant,—where, at length, it is really imagined,—is like leaving stove-heated, paper-walled rooms, and passing out beneath the blue cope and into the sweet air of heaven.
Quite this epic boldness and wholeness we cannot attribute to Goethe. He is still a little straitened, a little pestered by the doubting and critical optics which our time turns upon man, a little victimized by his knowledge of limitary conditions and secondary laws. Nevertheless, a noble man is not to his eye "contained between hat and boots," but is of untold depth and dimension. He indicates traits of the soul with that repose in his facts and respect for them which Lyell shows in spelling out terrestrial history, or Herschel in tracing that of the solar system. Observe how he relates the plays of a child,—with what grave, imperial respect, with what undoubting, reverential minuteness! He does not say, "Bear with me, ladies and gentlemen; I will come to something of importance soon." This is important,—the formation of suns not more so.
In this respect he stands in wide contrast to the prevailing tone of the time. It seems right and admirable that Tyndale should risk life and limb in learning the laws of glaciers, that large-brained Agassiz should pursue for years, if need be, his microscopic researches into the natural history of turtles; and were life or eyesight lost so, we should all say, "Lost, but well and worthily." But ask a conclave of sober savans to listen to reports on the natural-spiritual history of babies and little children,—ask them to join, one and all, in this piece of discovery, spending labor and lifetime in watching the sports, the moods, the imaginations, the fanciful loves and fears, the whole baby unfolding of these budding revelations of divine uses in Nature,—and see what they will think of your sanity. You may, indeed, if such be your humor, observe these matters, nay, even write books upon them, and still escape the lunatic asylum,—provided you do so in the way of pleasantry. In this case, the gravest savant, if he have children, may condescend to listen, and even to smile. But ask him to attend to this in his quality of man of science, and no less seriously than he would investigate the history of mud-worms, and you become ridiculous in his eyes.
Goethe is guiltless of this inversion of interest. Truth of outward Nature he respects; truth of the soul he reverences. He can really imagine men,—that is, can so depict them that they shall not be mere bundles of finite quantities, a yard of this and a pound of that, but so that the illimitable possibilities and immortal ancestries of man shall look forth from their eyes, shall show in their features, and give to them a certain grace of the infinite. The powers which created for the Greeks their gods are active in him, even in his observation of men; and this gives him that other eye, without which the effigies of men are seen, but never man himself. And because he has this divine eye for the inner reality of personal being, and yet also that eagle eye of his for conditions and limits,—because he can see man as central in Nature, the sum of all uses, the vessel of all significance, and yet has no "carpenter theory" of the universe,—and because he can discern the substance and the revealing form of man, while yet no satirist sees more clearly man's accidental and concealing form,—because of this, history comes in him to new blood, regaining its inspirations without forfeiture of its experience.