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last they made him sick at heart. For some time previous to his journey he had been unable to look at engravings of Italian scenery, unable even to open a Latin book, because of the overpowering suggestions of the language; so that Herder could say of him that the only Latin author ever seen in his hand was Spinoza. The feeling grew and grew, a mental home-sickness which nothing but Italian skies could cure. We have only to read Mignon's song, "Kennst Du das Land?" which was written before this journey, to perceive how dream-like were his conceptions of Italy, and how restless was his desire to journey there.

And now this deep unrest was stilled. Italian voices were loud around him, Italian skies were above him, Italian art was before him. He felt this journey as a new birth. His whole being was filled with warmth and light. Life stretched itself before him calm, radiant, and strong. He saw the greatness of his aims, and felt within him powers adequate to those aims.

Curious it is to notice his open-eyed interest in all the geological and meteorological phenomena which present themselves; an interest which has excited the sneers of some who think a poet has nothing better to do than to rhapsodize. They tolerate his enthusiasm for Palladio, because Architecture is one of the Arts; and forgive the enthusiasm which seized him in Vicenza, and made him study Palladio's works as if he were about to train himself for an architect; but they are distressed to find him, in Padua, once more occupied with "cabbages," and tormented with the vague conception of a Typical Plant, which will not leave him. Let me confess, however, that some cause for disappointment exists. The poet's yearning is fulfilled; and yet how little literary enthusiasm escapes him! Italy is the land of History, Literature, Painting, and Music; its highways are sacred with associations of the Past; its by-ways are centers of biographic and artistic interest. Yet Goethe, in raptures with the climate, and the beauties of Nature, is almost silent about Literature, has no sense of Music, and no feeling for History. He passes through Verona without a thought of Romeo and Juliet; through Ferrara without a word of Ariosto, and scarcely a word of Tasso. In this land of the Past, it is the Present only which allures him. He turns aside in disgust from the pictures of crucifixions, martyrdoms, emaciated monks, and all the hospital pathos which makes galleries hideous; only in Raphael's healthier beauty, and more human conceptions,

can he take delight. He has no historic sense enabling him to qualify his hatred of superstition by recognition of the painful religious struggles which, in their evolutions, assumed these superstitious forms. He considers the pictures as things of the present, and because their motives are hideous he is disgusted. But a man of more historic feeling would, while marking his dislike of such conceptions, have known how to place them in their serial position in the historic development of mankind.

From Venice he passed rapidly through Ferrara, Bologna, Florence, Arezzo, Perugia, Foligno, and Spoleto, reaching Rome on the 28th October.

In Rome, where he stayed four months, enjoyment and education went hand in hand. "All the dreams of my youth I now see living before me. Everywhere I go I find an old familiar face; everything is just what I thought it, and yet everything is new. It is the same with ideas. I have gained no new idea, but the old ones have become so definite, living, and connected one with another, that they may pass as new." The riches of Rome are at first bewildering; a long residence is necessary for each object to make its due impression. Goethe lived there among some German artists: Angelica Kaufmann, for whom he had great regard, Tischbein, Moritz, and others. They respected his incognito as well as they could, although the fact of his being in Rome could not long be entirely concealed. He gained, however, the main object of his incognito, and avoided being lionized. He had not come to Italy to have his vanity tickled by the approbation of society; he came for self-culture, and resolutely pursued his purpose.

Art was enough to occupy him; and for Painting he had a passion which renders his want of talent still more noticeable. He visited Churches and Galleries with steady earnestness; studied Winckelmann, and discussed critical points with the German artists. Unhappily he also wasted precious time in fruitless efforts to attain facility in drawing. These occupations, however, did not prevent his completing the versification of "Iphigenia," which he read to the German circle, but found only Angelica who appreciated it; the others having expected something genialisch, something in the style of "Götz with the Iron Hand." Nor was he much more fortunate with the Weimar circle, who, as we have already seen, preferred the prose version.

Art thus with many-sided influence allured him, but did not

completely fill up his many-sided activity. Philosophic speculations gave new and wondrous meanings to Nature; and the ever-pressing desire to discover the secret of vegetable forms sent him meditative through the gardens about Rome. He felt he was on the track of a law which, if discovered, would reduce to unity the manifold variety of forms. Men who have never felt the passion of discovery may rail at him for thus, in Rome, forgetting, among plants, the quarrels of the Senate and the eloquence of Cicero; but all who have been haunted by a great idea will sympathize with him, and understand how insignificant is the existence of a thousand Ciceros in comparison with a law of Nature.

On the 22d of February Goethe quitted Rome for Naples, where he spent five weeks of hearty enjoyment. Throwing aside his incognito, he mixed freely with society, and still more freely with the people, whose happy, careless far niente delighted him.

"If in Rome one must study," he writes, "here in Naples one can only live." And he lived a manifold life: on the seashore, among the fishermen, among the people, among the nobles, under Vesuvius, on the moonlit waters, on the causeway of Pompeii, in Pausilippo, — everywhere drinking in fresh delight, everywhere feeding his fancy and experience with new pictures. Thrice did he ascend Vesuvius; and as we shall see him during the campaign in France pursuing his scientific observations undisturbed by the cannon, so here also we observe him deterred by no perils from making the most of his opportunity.

Pompeii, Herculaneum, and Capua interested him less than might have been anticipated. "The book of Nature," he says, "is after all the only one which has in every page important meanings." Wandering thus lonely, his thoughts hurried by the music of the waves, the long-baffling, long-soliciting mystery of vegetable forms grew into clearness before him, and the typical plant was no more a vanishing conception, but a principle clearly grasped.


GOETHE came back from Italy greatly enriched, but by no means satisfied. The very wealth he had accumulated embarrassed him, by the new problems it presented, and the new hori

zons it revealed. He had in Rome become aware that a whole life of study would scarcely suffice to still the craving hunger for knowledge; and he left Italy with deep regret. The return home was thus, in itself, a grief; the arrival was still more painful. Every one will understand this, who has lived for many months away from the circle of old habits and old acquaintances, feeling in the new world a larger existence more consonant with his nature and his aims, and has then returned once more to the old circle, to find it unchanged, — pursuing its old paths, moved by the old impulses, guided by the old lights, so that he feels himself a stranger. To return to a great capital, after such an absence, is to feel ill at ease; but to return from Italy to Weimar! If we, on entering London, after a residence abroad, find the same interests occupying our friends which occupied them when we left, the same family gossip, the same books talked about, the same placards loud upon the walls of the unchanging streets, the world seeming to have stood still while we have lived through so much: what must Goethe have felt coming from Italy, with his soul filled with new experience and new ideas, on observing the quiet, unchanged Weimar? No one seemed to understand him; no one sympathized in his enthusiasm, or in his regrets. They found him changed. He found them moving in the same dull round, like blind horses in a mill.

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First, let us note that he came back resolved to dedicate his life to Art and Science, and no more to waste efforts in the laborious duties of office.

The wise Duke released his friend from the Presidency of the Chamber, and from the direction of the War Department, but kept a distinct place for him in the Council, "whenever his other affairs allowed him to attend." The poet remained the adviser of his Prince, but was relieved from the more onerous duties of office. The direction of the Mines, and of all Scientific and Artistic Institutions, he retained; among them that of the Theater.

It was generally found that he had grown colder in his manners since his Italian journey. Indeed, the process of crystallization had rapidly advanced; and beyond this effect of development, which would have taken place had he never left Weimar, there was the further addition of his feeling himself at a different standing-point from those around him. The less they understood him, the more he drew within himself. Those

who understood him, Moritz, Meyer, the Duke, and Herder, found no cause of complaint.

During the first few weeks he was of course constantly at Court. His official release made the bond of friendship stronger. Besides, every one was naturally anxious to hear about his travels, and he was delighted to talk of them.

But if Weimar complained of the change, to which it soon grew accustomed, there was one who had deeper cause of complaint, and whose nature was not strong enough to bear it, the Frau von Stein. Absence had cooled the ardor of his passion. In Rome, to the negative influence of absence was added the positive influence of a new love. He had returned to Weimar, still grateful to her for the happiness she had given him, still feeling for her the affection which no conduct of hers could destroy, and which warmed his heart towards her to the last; but he returned also with little of the passion she had for ten years inspired; he returned with the full conviction that he had outlived it. Nor did her presence serve to rekindle the smoldering embers. Charlotte von Stein was now five-and-forty. It is easy to imagine how much he must have been struck with the change in her. Had he never left her side, this change would have approached with gradual steps, stealthily escaping observation; but the many months' absence removed a veil from his eyes. She was five-and-forty to him as to others. In this perilous position she adopted the very worst course. She found him changed, and told him so, in a way which made him feel more sharply the change in her. She thought him cold, and her re-reproaches. The resource was more feminine than felicitous. Instead of sympathizing with him in his sorrow at leaving Italy, she felt the regret as an offense; and perhaps it was; but a truer, nobler nature would surely have known how to merge its own pain in sympathy with the pain of one beloved. He regretted Italy; she was not a compensation to him; she saw this, and her self-love suffered. The coquette who had so long held him captive, now saw the captive freed from her chains. It was a trying moment. But even in the worst aspect of the position, there was that which a worthy nature would have regarded as no small consolation: she might still be his dearest friend; and the friendship of such a man was worth more than the love of another. But this was not to be.

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Before the final rupture he went with her to Rudolstadt, and there for the first time spoke with Schiller, who thus writes to

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