and Homer no doubt occupy alone the loftiest station in the poetical Olympus; but there is space in it for all true Singers, out of every age and clime. Ferdusi and the primeval Mythologists of Hindostan live in brotherly union with the Troubadours and antient Story-tellers of the West. The wayward mystic gloom of Calderon, the lurid fire of Dante, the auroral light of Tasso, the clear icy glitter of Racine,-all are acknowledged and reverenced; nay, in the celestial fore-court an abode has been appointed for the Gressets and Delilles, that no spark of inspiration, no tone of mental music, might remain unrecognised. The Germans study foreign nations in a spirit which deserves to be oftener imitated. It is their honest endeavour to understand each, with its own peculiarities, in its own special manner of existing; not that they may praise it, or censure it, or attempt to alter it, but simply that they may know it; that they may see this manner of existing as the nation itself sees it, and so participate in whatever worth or beauty it has brought into being. Of all literatures, accordingly, the German has the best as well as the most translations; men like Goethe, Schiller, Wieland, Schlegel, Tieck, have not disdained this task. Of Shakspeare there are three entire versions admitted to be good; and we know not how many partial, or considered as bad. In their criticisms of him we ourselves have long ago admitted, that no such clear judgment or hearty appreciation of his merits had ever been exhibited by any critic of our own.

To attempt stating in separate aphorisms the doctrines of this new poetical system would, in such space as is now allowed us, be to insure them of misapprehension. The science of Criticism, as the Germans practise it, is no study of an hour; for it springs from the depths of thought, and remotely or immediately connects itself with the subtlest problems of all philosophy. One characteristic of it we may state, the obvious parent of many others. Poetic beauty, in its pure essence, is not, by this theory, as by all our theories, from Hume's to Alison's, derived from anything external, or of merely intellectual origin; not from association, or any reflex or reminiscence of mere sensations; nor from natural love, either of imitation, of similarity in dissimilarity, of excitement by contrast, or of seeing difficulties overcome. On the contrary, it is assumed as underived; not borrowing its existence from such sources, but as lending to most of these their signifiance and principal charm for the mind. It dwells and is born in the inmost Spirit of Man, united to all love of Virtue, to all true belief in God; or rather, it is one with this love and this belief, another phase of the same highest principle in the mysterious infinitude of the human Soul. To apprehend this beauty of poetry, in its full and purest brightness, is not easy, but difficult; thousands on thousands eagerly read poems, and attain not the smallest taste of it; yet to all uncorrupted hearts, some effulgences of this heavenly glory are here and there revealed; and to apprehend it clearly and wholly, to acquire and maintain a sense and heart that sees and worships it, is the last perfection of all humane culture. With mere readers for amusement, therefore, this Criticism has and can have nothing to do; these find their amusement-in less or greater measure, and the nature of Poetry remains for ever hidden from them in the deepest concealment. On all hands, there is no truce given to the hypothesis, that the ultimate object of the poet is to please. Sensation, even of the finest and most rapturous sort, is not the end but the means. Art is to be loved, not because of its effects, but because of itself; not because it is useful for spiritual pleasure, or even for moral culture, but because it is Art, and the highest in man, and the soul of all

Beauty. To inquire after its utility would be like inquiring after the utility of a God, or, what to the Germans would sound stranger than it does to us, the utility of Virtue and Religion. On these particulars, the authenticity of which we might verify, not so much by citation of individual passages, as by reference to the scope and spirit of whole treatises, we must for the present leave our readers to their own reflections. Might we advise them, it would be to inquire farther, and, if possible, to see the matter with their own eyes.

Meanwhile, that all this must tend, among the Germans, to raise the general standard of Art, and of what an artist ought to be in his own esteem and that of others, will be readily inferred. The character of a Poet does, accordingly, stand higher with the Germans than with most nations. That he is at a man of integrity as a man, of zeal and honest diligence in his art, and of true manly feeling towards all men, is of course presupposed. Of persons that are not so, but employ their gift, in rhyme or otherwise, for brutish or malignant purposes, it is understood that such lie without the limits of Criticism, being But even subjects not for the judge of Art, but for the judge of Police. with regard to the fair tradesman, who offers his talent in open market, to do work of a harmless and acceptable sort for hire,-with regard to this person also, their opinion is very low. The "Bread artist," as they call "Unhappy morhim, can gain no reverence for himself from these men. tal!" says the mild but lofty-minded Schiller, "Unhappy mortal! that with Science and Art, the noblest of all Instruments, effectest and attemptest nothing more than the day-drudge with the meanest; that in the domain of perfect Freedom, bearest about in thee the spirit of a Slave!" Nay, to the genuine Poet, they deny even the privilege of regarding what so many fame," as the best and highest of all cherish, under the title of their "

Hear Schiller again:

"The Artist, it is true, is the son of his age; but pity for him if he is its pupil, or even its favourite! Let some beneficent divinity snatch him, when a suckling, from the breast of his mother, and nurse him with the milk of a better time, that he may ripen to his full stature beneath a distant Grecian sky. And having grown to manhood, let him return, a foreign shape, into his century; not, however, to delight it by his presence, but dreadful, like the son of Agamemnon, to purify it. The matter of his works he will take from the present, but their form he will derive from a nobler time; nay, from beyond all time, from the absolute unchanging unity of his own nature. Here, from the pure æther of his spiritual essence, flows down the Fountain of Beauty, uncontaminated by the pollutions of ages and generations, whcih roll to and fro in their turbid vortex far beneath it. His matter Caprice can dishonour, as she has ennobled it; but the chaste form is withdrawn from her mutations. The Roman of the first century had long bent the knee before his Cæsars, when the statues of Rome were still standing erect; the temples continued holy to the eye, when their gods had long been a laughing-stock; and the abominations of a Nero and a Commodus were silently rebuked by the style of the edifice, which lent them its concealment. Man has lost his dignity, but Art has saved it, and preserved it for him in expressive marbles. Truth still lives in fiction, and from the copy the original will be restored.

"But how is the Artist to guard himself from the corruptions of his time, which on every side assail him? By despising its decisions. Let him look upwards to his dignity and the law, not downwards to his happiness and his wants. Free alike from the vain activity that longs to impress its traces on the fleeting instant, and from the querulous spirit of enthusiasm that measures by the scale of perfection the meagre product of reality, let him leave to mere Understanding, which is here at home, the province of the actual; while he strives, by uniting the possible with the necessary, to produce the ideal. This let him imprint and express in fiction and truth; imprint it in the sport of his imagination and the earnest of his actions; imprint it in all sensible and spiritual forms, and cast it silently into everlasting time." *

Still higher are Fichte's notions on this subject; or rather expressed in higher terms, for the central principle is the same both in the philosopher and the poet. According to Fichte, there is a "Divine Idea" pervading

* Ueber die Æsthetische Erziehung des Menschen (On the Æsthetic Education of Man).

VOL. III.

:

the visible Universe; which visible Universe is indeed but its symbol and sensible manifestation, having in itself no meaning, or even true existence independent of it. To the mass of men this Divine Idea of the world lies hidden yet to discern it, to seize it, and live wholly in it, is the condition of all genuine virtue, knowledge, freedom; and the end therefore of all spiritual effort in every age. Literary Men are the appointed interpreters of this Divine Idea; a perpetual priesthood, we might say, standing forth, generation after generation, as the dispensers and living types of God's everlasting wisdom, to show it and embody it in their writings and actions, in such particular form as their own particular times require it in. For each age, by the law of its nature, is different from every other age, and demands a different representation of this Divine Idea, the essence of which is the same in all; so that the literary man of one century is only by mediation and re-interpretation applicable to the wants of another. But in every century, every man who labours, be it in what province he may, to teach others, must first have possessed himself of this Divine Idea, or, at least, be with his whole heart and his whole soul striving after it. If, without possessing it or striving after it, he abide diligently by some material practical department of knowledge, he may indeed still be (says Fichte, in his usual rugged way) a " useful hod-man;" but should he attempt to deal with the Whole, and to become an architect, he is, in strictness of language,

"Nothing; "-"he is an ambiguous mongrel between the possessor of the Idea, and the man who feels himself solidly supported and carried on by the common Reality of things; in his fruitless endeavour after the Idea, he has neglected to acquire the craft of taking part in this Reality; and so hovers between two worlds, without pertaining to either." Elsewhere he adds:

"There is still, from another point of view, another division in our notion of the Literary Man, and one to us of immediate application. Namely, either the Literary Man has already laid hold of the whole Divine Idea, in so far as it can be comprehended by man, or perhaps of a specia! portion of this its comprehensible part,-which truly is not possible without at least a clear oversight of the whole, he has already laid hold of it, penetrated, and made it entirely clear to himself, so that it has become a possession recallable at all times in the same shape to his view, and a component part of his personality: in that case he is a completed and equipt Literary Man, a man who has studied. Or else, he is still struggling and striving to make the Idea in general, or that part cular portion and point of it from which onwards he for his part means to penetrate the whole, entirely clear to himself; detached sparkies of light already spring forth on him from all sides, and disclose a higher world before him; but they do not yet unite themselves into an indivisible whole; they vanish from his view as capriciously as they came; he cannot yet bring them under obedience to his freedom in that case he is a progressing and self unfolding literary man, a Student. That it be actually the Idea, which is possessed or striven after, is common to both. Should the striving aim merely at the outward form, and the letter of learned culture, there is then produced, when the circle is gone round, the completed, when it is not gone round, the progressing, Bungler (Stümper). The latter is more tolerable than the former; for there is still room to hope that in continuing his travel, he may at some future point be seized by the Idea; but of the first all hope is

Over." *

From this bold and lofty principle the duties of the Literary Man are deduced with scientific precision; and stated, in all their sacredness and grandeur, with an austere brevity more impressive than any rhetoric. Fichte's metaphysical theory may be called in question, and readily enough misapprehended; but the sublime stoicism of his sentiments will find some response in many a heart. We must add the conclusion of his first Discourse, as a farther illustration of his manner :

"In disquisitions of the sort like ours of to-day, which all the rest, too, must resemble, the generality are wont to censure: First, their severity; very often on the good-natured supposition that the speaker is not aware how much his rigour must displease us; that we have but frankly to let him know this, and then doubtless he will reconsider himself, and soften his statements. Thus, we said above, that a man who after literary culture had not arrived at knowledge of the Divine

* Ueber das Wesen des Gelehrten (On the Nature of the Literary Man); a Course of Lectures delivered at Jena, in 1805.

Idea, or did not strive towards it, was in strict speech Nothing; and farther down, we said that he was a Bungler. This is in the style of those unmerciful expressions by which philosophers give such offence. Now looking away from the present case, that we may front the maxim in its general shape, I remind you that this species of character, without decisive force to renounce all respect for Truth, seeks merely to bargain and cheapen something out of her, whereby itself on easier terms may attain to some consideration. But Truth, which once for all is as she is, and cannot alter aught of her nature, goes on her way; and there remains for her, in regard to those who desire her not simply because she is true, nothing else but to leave them standing as if they had never addressed her.

Then farther, discourses of this sort are wont to be censured as unintelligible. Thus I figure to myself,-nowise you, Gentlemen, but some completed Literary Man of the second species, whose eye the disquisition here entered upon chanced to meet, as coming forward, doubting this way and that, and at last reflectively exclaiming: The Idea, the Divine Idea, that which lies at the bottom of Appearance: what, pray, may this mean? Of such a questioner I would inquire in turn : What, pray, may this question mean?- Investigate it strictly, it means in most cases nothing more than this, Under what other names, and in what other formulas do I already know this same thing, which thou expressest by so strange and to me so unknown a symbol?' And to this again in most cases the only suitable reply were, Thou knowest this thing not at all, neithe runder this, nor under any other name; and wouldst thou arrive at the knowledge of it, thou must even now begin at the beginning to make study thereof;-and then, most fitly, under that name by which it is first presented to thee!'"

With such a notion of the Artist, it were a strange inconsistency did Criticism show itself unscientific or lax in estimating the products of his Art. For light on this point, we might refer to the writings of almost any individual among the German critics: take, for instance, the " Charakteris-. tiken" of the two Schlegels, a work too of their younger years; and say whether in depth, clearness, minute and patient fidelity, these Characters have often been surpassed, or the import and poetic worth of so many poets and poems more vividly and accurately brought to view. As an instance of a much higher kind, we might refer to Goethe's criticism of "Hamlet" in his "Wilhelm Meister." This truly is what may be called the poetry of criticism; for it is in some sort also a creative art; aiming, at least, to reproduce under a different shape the existing product of the poet; painting to the intellect what already lay painted to the heart and the imagination. Nor is it over poetry alone that criticism watches with such loving strictness : the mimic, the pictorial, the musical arts, all modes of representing or addressing the highest nature of man, are acknowledged as younger sisters of Poetry, and fostered with like care. Winkelmann's History of Plastic Art" is known by repute to all readers and of those who know it by inspection, many may have wondered why such a work has not been added to our own literature, to instruct our own statuaries and painters. On this subject of the plastic arts, we cannot withhold the following little sketch of Goethe's, as a specimen of pictorial criticism in what we consider a superior style. It is of an imaginary landscape-painter, and his views of Swiss scenery; it will bear to be studied minutely, for there is no word without its meaning:

"He succeeds in representing the cheerful repose of lake prospects, where houses in friendly approximation, imaging themselves in the clear wave, seem as if bathing in its depths; shores encircled with green hills, behind which rise forest mountains, and icy peaks of glaciers. The tone of colouring in such scenes is gay, mirthfully clear; the distances as if overflowed with softening vapour, which from watered hollows and river valleys mounts up grayer and mistier, and indicates their windings. No less is the master's art to be praised in views from valleys lying nearer the high Alpine ranges, where declivities slope down, luxuriantly overgrown, and fresh streams roll hastily along by the foot of rocks.

With exquisite skill, in the deep shady trees of the foreground, he gives the distinctive character of the several species; satisfying us in the form of the whole, as in the structure of the branches, and the details of the leaves; no less so, in the fresh green with its manifold shadings, where soft airs appear as if fanning us with benignant breath, and the lights as if thereby put in

motion.

"In the middle ground, his lively green tone grows fainter by degrees; and at last, on the more distant mountain-tops, passing into weak violet, weds itself with the blue of the sky. But our

artist is above all happy in his paintings of high Alpine regions; in seizing the simple greatness and stillness of their character; the wide pastures on the slopes, where dark solitary firs stand forth from the grassy carpet; and from high cliffs, foaming brooks rush down. Whether he relieve his pasturages with grazing cattle, or the narrow winding rocky path with mules and laden packhorses, he paints all with equal truth and richness; still, introduced in the proper place, and not in too great copiousness, they decorate and enliven these scenes, without interrupting, without lessening, their peaceful solitude. The execution testifies a master's hand; easy, with a few sure strokes, and yet complete. In his later pieces, he employed glittering English permanent-colours on paper: these pictures, accordingly, are of pre-eminently blooming tone; cheerful, yet at the same time strong and sated.

"His views of deep mountain-chasms, where round and round nothing fronts us but dead rock, where, in the abyss, overspanned by its bold arch, the wild stream rages, are, indeed, of less attraction than the former: yet their truth excites us; we admire the great effect of the whole, produced at so little cost, by a few expressive strokes, and masses of local colours.

"With no less accuracy of character can he represent the regions of the topmost Alpine ranges, where neither tree nor shrub any more appears; but only amid the rocky teeth and snow summits, a few sunny spots clothe themselves with a soft sward. Beautiful, and balmy, and inviting as he colours these spots, he has here wisely forborne to introduce grazing herds; for these regious give food only to the chamois, and a perilous employment to the wild-hay-m

-men.

We have extracted this passage from "Wilhelm Meisters Wanderjahre," Goethe's last Novel. The perusal of his whole Works would show, among many other more important facts, that Criticism also is a science of which he is master; that if ever any man had studied Art in all its branches and bearings, from its origin in the depths of the creative spirit, to its minutest finish on the canvass of the painter, on the lips of the poet, or under the finger of the musician, he was that man. A nation which appreciates such studies, nay, requires and rewardst hem, cannot, wherever its defects may lie, be defective in judgment of the arts.

But a weightier question still remains. What has been the fruit of this its high and just judgment on these matters? What has Criticism profited it, to the bringing forth of good works? How do its poems and its poets correspond with so lofty a standard? We answer, that on this point also, Germany may rather court investigation than fear it. There are poets in that country who belong to a nobler class than most nations have to show in these days; a class entirely unknown to some nations; and for the last two centuries, rare in all. We have no hesitation in stating, that we see in certain of the best German poets, and those too of our own time, something which associates them, remotely or nearly we say not, but which does associate them with the Masters of Art, the Saints of Poetry, long since departed, and, as we thought, without successors, from the earth; but canonized in the hearts of all generations, and yet living to all by the memory of what they did and were. Glances we do seem to find of that ethereal glory which looks on us in its full brightness from the "Transfiguration" of Rafaelle, from the "Tempest" of Shakspeare; and in broken, but purest and still heart-piercing beams, struggling through the gloom of long ages, from the tragedies of Sophocles and the weather-worn sculptures of the Parthenon. This is that heavenly spirit, which, best seen in the aerial embodyment of poetry, but spreading likewise over all the thoughts and actions of an age, has given us Surreys, Sydneys, Raleighs, in court and camp, Cecils in policy, Hookers in divinity, Bacons in philosophy, and Shakspeares and Spensers in song. All hearts that know this, know it to be the highest; and that, in poetry or elsewhere, it alone is true and imperishable. In affirming that any vestige, however feeble, of this divine spirit, is discernible in German

The poor wild-hay-man of the Rigiberg,
Whose trade is, on the brow of the abyss,

To mow the common grass from nooks and shelves,

To which the cattle dare not climb.-Schiller's Wilhelm Tell.