LESSING. Continues 2

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LESSING Continues 2

There he remained for nearly two years, trying the house-top way of life again, but with indifferent success, as we have reason to think. Indeed, when the metaphor resolves itself into the plain fact of living just on the other side of the roof,--in the garret, namely,--and that from hand to mouth, as was Lessing's case, we need not be surprised to find him gradually beginning to see something more agreeable in a _fixirtes Glueck_ than he had once been willing to allow. At any rate, he was willing, and even heartily desirous, that his friends should succeed in getting for him the place of royal librarian. But Frederick, for some unexplained reason, would not appoint him. Herr Stahr thinks it had something to do with the old _Siecle_ manuscript business. But this seems improbable, for Voltaire's wrath was not directed against Lessing; and even if it had been, the great king could hardly have carried the name of an obscure German author in his memory through all those anxious and war-like years. Whatever the cause, Lessing early in 1767 accepts the position of Theatrical Manager at Hamburg, as usual not too much vexed with disappointment, but quoting gayly

"Quod non dant proceres, dabit histrio."

Like Burns, he was always "contented wi' little and canty wi' mair." In connection with his place as Manager he was to write a series of dramatic essays and criticisms. It is to this we owe the _Dramaturgie_,--next to the _Laocooen_ the most valuable of his works. But Lessing--though it is plain that he made his hand as light as he could, and wrapped his lash in velvet--soon found that actors had no more taste for truth than authors. He was obliged to drop his remarks on the special merits or demerits of players, and to confine himself to those of the pieces represented. By this his work gained in value; and the latter part of it, written without reference to a particular stage, and devoted to the discussion of those general principles of dramatic art on which he had meditated long and deeply, is far weightier than the rest. There are few men who can put forth all their muscle in a losing race, and it is characteristic of Lessing that what he wrote under the dispiritment of failure should be the most lively and vigorous. Circumstances might be against him, but he was incapable of believing that a cause could be lost which had once enlisted his conviction.

The theatrical enterprise did not prosper long; but Lessing had meanwhile involved himself as partner in a publishing business which harassed him while it lasted, and when it failed, as was inevitable, left him hampered with debt. Help came in his appointment (1770) to take charge of the Duke of Brunswick's library at Wolfenbuettel, with a salary of six hundred thalers a year. This was the more welcome, as he soon after was betrothed with Eva Koenig, widow of a rich manufacturer.[155] Her husband's affairs, however, had been left in confusion, and this, with Lessing's own embarrassments, prevented their being married till October, 1776. Eva Koenig was every way worthy of him. Clever, womanly, discreet, with just enough coyness of the will to be charming when it is joined with sweetness and good sense, she was the true helpmate of such a man,--the serious companion of his mind and the playfellow of his affections. There is something infinitely refreshing to me in the love-letters of these two persons. Without wanting sentiment, there is such a bracing air about them as breathes from the higher levels and strong-holds of the soul. They show that self-possession which can alone reserve to love the power of new self-surrender,--of never cloying, because never wholly possessed. Here is no invasion and conquest of the weaker nature by the stronger, but an equal league of souls, each in its own realm still sovereign. Turn from such letters as these to those of St. Preux and Julie, and you are stifled with the heavy perfume of a demirep's boudoir,--to those of Herder to his Caroline, and you sniff no doubtful odor of professional unction from the sermon-case. Manly old Dr. Johnson, who could be tender and true to a plain woman, knew very well what he meant when he wrote that single poetic sentence of his,--"The shepherd in Virgil grew at last acquainted with Love, and found him to be a native of the rocks."

In January, 1778, Lessing's wife died from the effects of a difficult childbirth. The child, a boy, hardly survived its birth. The few words wrung out of Lessing by this double sorrow are to me as deeply moving as anything in tragedy. "I wished for once to be as happy (_es so gut haben_) as other men. But it has gone ill with me!" "And I was so loath to lose him, this son!" "My wife is dead; and I have had this experience also. I rejoice that I have not many more such experiences left to make, and am quite cheerful." "If you had known her! But they say that to praise one's wife is self-praise. Well, then, I say no more of her! But if you had known her!" _Quite cheerful!_ On the 10th of August he writes to Elise Reimarus,--he is writing to a woman now, an old friend of his and his wife, and will be less restrained: "I am left here all alone. I have not a single friend to whom I can wholly confide myself.... How often must I curse my ever wishing to be for once as happy as other men! How often have I wished myself back again in my old, isolated condition,--to be nothing, to wish nothing, to do nothing, but what the present moment brings with it!... Yet I am too proud to think myself unhappy. I just grind my teeth, and let the boat go as pleases wind and waves. Enough that I will not overset it myself." It is plain from this letter that suicide had been in his mind, and, with his antique way of thinking on many subjects, he would hardly have looked on it as a crime. But he was too brave a man to throw up the sponge to fate, and had work to do yet. Within a few days of his wife's death he wrote to Eschenburg: "I am right heartily ashamed if my letter betrayed the least despair. Despair is not nearly so much my failing as levity, which often expresses itself with a little bitterness and misanthropy." A stoic, not from insensibility or cowardice, as so many are, but from stoutness of heart, he blushes at a moment's abdication of self-command. And he will not roil the clear memory of his love with any tinge of the sentimentality so much the fashion, and to be had so cheap, in that generation. There is a moderation of sincerity peculiar to Lessing in the epithet of the following sentence: "How dearly must I pay for the single year I have lived with a _sensible_ wife!" Werther had then been published four years. Lessing's grief has that pathos which he praised in sculpture,--he may writhe, but he must not scream. Nor is this a new thing with him. On the death of a younger brother, he wrote to his father, fourteen years before: "Why should those who grieve communicate their grief to each other purposely to increase it?... Many mourn in death what they loved not living. I will love in life what nature bids me love, and after death strive to bewail it as little as I can."

We think Herr Stahr is on his stilts again when he speaks of Lessing's position at Wolfenbuettel. He calls it an "assuming the chains of feudal service, being buried in a corner, a martyrdom that consumed the best powers of his mind and crushed him in body and spirit forever." To crush _forever_ is rather a strong phrase, Herr Stahr, to apply to the spirit, if one must ever give heed to the sense as well as the sound of what one is writing. But eloquence has no bowels for its victims. We have no doubt the Duke of Brunswick meant well by Lessing, and the salary he paid him was as large as he would have got from the frugal Frederick. But one whose trade it was to be a Duke could hardly have had much sympathy with his librarian after he had once found out what he really was. For even if he was not, as Herr Stahr affirms, a republican, and we doubt very much if he was, yet he was not a man who could play with ideas in the light French fashion. At the ardent touch of his sincerity, they took fire, and grew dangerous to what is called the social fabric. The logic of wit, with its momentary flash, is a very different thing from that consequent logic of thought, pushing forward its deliberate sap day and night with a fixed object, which belonged to Lessing. The men who attack abuses are not so much to be dreaded by the reigning house of Superstition as those who, as Dante says, syllogize hateful truths. As for "the chains of feudal service," they might serve a Fenian Head-Centre on a pinch, but are wholly out of place here. The slavery that Lessing had really taken on him was that of a great library, an Alcina that could always too easily witch him away from the more serious duty of his genius. That a mind like his could be buried in a corner is mere twaddle, and of a kind that has done great wrong to the dignity of letters. Where-ever Lessing sat, was the head of the table. That he suffered at Wolfenbuettel is true; but was it nothing to be in love and in debt at the same time, and to feel that his fruition of the one must be postponed for uncertain years by his own folly in incurring the other? If the sparrow-life must end, surely a wee bush is better than nae beild. One cause of Lessing's occasional restlessness and discontent Herr Stahr has failed to notice. It is evident from many passages in his letters that he had his share of the hypochondria which goes with an imaginative temperament. But in him it only serves to bring out in stronger relief his deep-rooted manliness. He spent no breath in that melodious whining which, beginning with Rousseau, has hardly yet gone out of fashion. Work of some kind was his medicine for the blues,--if not always of the kind he would have chosen, then the best that was to be had; for the useful, too, had for him a sweetness of its own. Sometimes he found a congenial labor in rescuing, as he called it, the memory of some dead scholar or thinker from the wrongs of ignorance or prejudice or falsehood; sometimes in fishing a manuscript out of the ooze of oblivion, and giving it, after a critical cleansing, to the world. Now and then he warmed himself and kept his muscle in trim with buffeting soundly the champions of that shallow artificiality and unctuous wordiness, one of which passed for orthodox in literature, and the other in theology. True religion and creative genius were both so beautiful to him that he could never abide the mediocre counterfeit of either, and he who put so much of his own life into all he wrote could not but hold all scripture sacred in which a divine soul had recorded itself. It would be doing Lessing great wrong to confound his controversial writing with the paltry quarrels of authors. His own personal relations enter into them surprisingly little, for his quarrel was never with men, but with falsehood, cant, and misleading tradition, in whomsoever incarnated. Save for this, they were no longer readable, and might be relegated to that herbarium of Billingsgate gathered by the elder Disraeli.

So far from being "crushed in spirit" at Wolfenbuettel, the years he spent there were among the most productive of his life. "Emilia Galotti," begun in 1758, was finished there and published in 1771. The controversy with Goetze, by far the most important he was engaged in, and the one in which he put forth his maturest powers, was carried on thence. His "Nathan the Wise" (1779), by which almost alone he is known as a poet outside of Germany, was conceived and composed there. The last few years of his life were darkened by ill-health and the depression which it brings. His Nathan had not the success he hoped. It is sad to see the strong, self-sufficing man casting about for a little sympathy, even for a little praise. "It is really needful to me that you should have some small good opinion of it [Nathan], in order to make me once more contented with myself," he writes to Elise Reimarus in May, 1779. That he was weary of polemics, and dissatisfied with himself for letting them distract him from better things, appears from his last pathetic letter to the old friend he loved and valued most,--Mendelssohn. "And in truth, dear friend, I sorely need a letter like yours from time to time, if I am not to become wholly out of humor. I think you do not know me as a man that has a very hot hunger for praise. But the coldness with which the world is wont to convince certain people that they do not suit it, if not deadly, yet stiffens one with chill. I am not astonished that _all_ I have written lately does not please _you_.... At best, a passage here and there may have cheated you by recalling our better days. I, too, was then a sound, slim sapling, and am now such a rotten, gnarled trunk!" This was written on the 19th of December, 1780; and on the 15th of February, 1781, Lessing died, not quite fifty-two years old. Goethe was then in his thirty-second year, and Schiller ten years younger.

* * * * *

Of Lessing's relation to metaphysics the reader will find ample discussion in Herr Stahr's volumes. We are not particularly concerned with them, because his interest in such questions was purely speculative, and because he was more concerned to exercise the powers of his mind than to analyze them. His chief business, his master impulse always, was to be a man of letters in the narrower sense of the term. Even into theology he only made occasional raids across the border, as it were, and that not so much with a purpose of reform as in defence of principles which applied equally to the whole domain of thought. He had even less sympathy with heterodoxy than with orthodoxy, and, so far from joining a party or wishing to form one, would have left belief a matter of choice to the individual conscience. "From the bottom of my heart I hate all those people who wish to found sects. For it is not error, but sectarian error, yes, even sectarian truth, that makes men unhappy, or would do so if truth would found a sect."[156] Again he says, that in his theological controversies he is "much less concerned about theology than about sound common-sense, and only therefore prefer the old orthodox (at bottom _tolerant_) theology to the new (at bottom _intolerant_), because the former openly conflicts with sound common-sense, while the latter would fain corrupt it. I reconcile myself with my open enemies in order the better to be on my guard against my secret ones."[157] At another time he tells his brother that he has a wholly false notion of his (Lessing's) relation to orthodoxy. "Do you suppose I grudge the world that anybody should seek to enlighten it?--that I do not heartily wish that every one should think rationally about religion? I should loathe myself if even in my scribblings I had any other end than to help forward those great views. But let me choose my own way, which I think best for this purpose. And what is simpler than this way? I would not have the impure water, which has long been unfit to use, preserved; but I would not have it thrown away before we know whence to get purer.... Orthodoxy, thank God, we were pretty well done with; a partition-wall had been built between it and Philosophy, behind which each could go her own way without troubling the other. But what are they doing now? They are tearing down this wall, and, under the pretext of making us rational Christians, are making us very irrational philosophers.... We are agreed that our old religious system is false; but I cannot say with you that it is a patchwork of bunglers and half-philosophers. I know nothing in the world in which human acuteness has been more displayed or exercised than in that."[158] Lessing was always for freedom, never for looseness, of thought, still less for laxity of principle. But it must be a real freedom, and not that vain struggle to become a majority, which, if it succeed, escapes from heresy only to make heretics of the other side. _Abire ad plures_ would with him have meant, not bodily but spiritual death. He did not love the fanaticism of innovation a whit better than that of conservatism. To his sane understanding, both were equally hateful, as different masks of the same selfish bully. Coleridge said that toleration was impossible till indifference made it worthless. Lessing did not wish for toleration, because that implies authority, nor could his earnest temper have conceived of indifference. But he thought it as absurd to regulate opinion as the color of the hair. Here, too, he would have agreed with Selden, that "it is a vain thing to talk of an heretic, for a man for his heart cannot think any otherwise than he does think." Herr Stahr's chapters on this point, bating a little exaltation of tone, are very satisfactory; though, in his desire to make a leader of Lessing, he almost represents him as being what he shunned,--the founder of a sect. The fact is, that Lessing only formulated in his own way a general movement of thought, and what mainly interests us is that in him we see a layman, alike indifferent to clerisy and heresy, giving energetic and pointed utterance to those opinions of his class which the clergy are content to ignore so long as they remain esoteric. At present the world has advanced to where Lessing stood, while the Church has done its best to stand stock-still; and it would be a curious were it not a melancholy spectacle, to see the indifference with which the laity look on while theologians thrash their wheatless straw, utterly unconscious that there is no longer any common term possible that could bring their creeds again to any point of bearing on the practical life of men. Fielding never made a profounder stroke of satire than in Squire Western's indignant "Art not in the pulpit now! When art got up there, I never mind what dost say."

As an author, Lessing began his career at a period when we cannot say that German literature was at its lowest ebb, only because there had not yet been any flood-tide. That may be said to have begun with him. When we say German literature, we mean so much of it as has any interest outside of Germany. That part of the literary histories which treats of the dead waste and middle of the eighteenth century reads like a collection of obituaries, and were better reduced to the conciseness of epitaph, though the authors of them seem to find a melancholy pleasure, much like that of undertakers, in the task by which they live. Gottsched reigned supreme on the legitimate throne of dulness. In Switzerland, Bodmer essayed a more republican form of the same authority. At that time a traveller reports eight hundred authors in Zuerich alone! Young aspirant for lettered fame, in imagination clear away the lichens from their forgotten headstones, and read humbly the "As I am, so thou must be," on all! Everybody remembers how Goethe, in the seventh book of his autobiography, tells the story of his visit to Gottsched. He enters by mistake an inner room at the moment when a frightened servant brings the discrowned potentate a periwig large enough to reach to the elbows. That awful emblem of pretentious sham seems to be the best type of the literature then predominant. We always fancy it set upon a pole, like Gessler's hat, with nothing in it that was not wooden, for all men to bow down before. The periwig style had its natural place in the age of Louis XIV., and there were certainly brains under it. But it had run out in France, as the tie-wig style of Pope had in England. In Germany it was the mere imitation of an imitation. Will it be believed that Gottsched recommends his Art of Poetry to beginners, in preference to Breitinger's, because it "_will enable them to produce every species of poem in a correct style_, while out of that no one can learn to make an ode or a cantata"? "Whoever," he says, "buys Breitinger's book _in order to learn how to make poems_, will too late regret his money."[159] Gottsched, perhaps, did some service even by his advocacy of French models, by calling attention to the fact that there _was_ such a thing as style, and that it was of some consequence. But not one of the authors of that time can be said to survive, nor to be known even by name except to Germans, unless it be Klopstock, Herder, Wieland, and Gellert. And the latter's immortality, such as it is, reminds us somewhat of that Lady Gosling's, whose obituary stated that she was "mentioned by Mrs. Barbauld in her Life of Richardson 'under the name of Miss M., afterwards Lady G.'" Klopstock himself is rather remembered for what he was than what he is,--an immortality of unreadableness; and we much doubt if many Germans put the "Oberon" in their trunks when they start on a journey. Herder alone survives, if not as a contributor to literature, strictly so called, yet as a thinker and as part of the intellectual impulse of the day. But at the time, though there were two parties, yet within the lines of each there was a loyal reciprocity of what is called on such occasions appreciation. Wig ducked to wig, each blockhead had a brother, and there was a universal apotheosis of the mediocrity of our set. If the greatest happiness of the greatest number be the true theory, this was all that could be desired. Even Lessing at one time looked up to Hagedorn as the German Horace. If Hagedorn were pleased, what mattered it to Horace? Worse almost than this was the universal pedantry. The solemn bray of one pedagogue was taken up and prolonged in a thousand echoes. There was not only no originality, but no desire for it,--perhaps even a dread of it, as something that would break the _entente cordiale_ of placid mutual assurance. No great writer had given that tone of good-breeding to the language which would gain it entrance to the society of European literature. No man of genius had made it a necessity of polite culture. It was still as rudely provincial as the Scotch of Allan Ramsay. Frederick the Great was to be forgiven if, with his practical turn, he gave himself wholly to French, which had replaced Latin as a cosmopolitan tongue. It had lightness, ease, fluency, elegance,--in short, all the good qualities that German lacked. The study of French models was perhaps the best thing for German literature before it got out of long-clothes. It was bad only when it became a tradition and a tyranny. Lessing did more than any other man to overthrow this foreign usurpation when it had done its work.

The same battle had to be fought on English soil also, and indeed is hardly over yet. For the renewed outbreak of the old quarrel between Classical and Romantic grew out of nothing more than an attempt of the modern spirit to free itself from laws of taste laid down by the _Grand Siecle_. But we must not forget the debt which all modern prose literature owes to France. It is true that Machiavelli was the first to write with classic pith and point in a living language; but he is, for all that, properly an ancient. Montaigne is really the first modern writer,--the first who assimilated his Greek and Latin, and showed that an author might be original and charming, even classical, if he did not try too hard. He is also the first modern critic, and his judgments of the writers of antiquity are those of an equal. He made the ancients his servants, to help him think in Gascon French; and, in spite of his endless quotations, began the crusade against pedantry. It was not, however, till a century later, that the reform became complete in France, and then crossed the Channel. Milton is still a pedant in his prose, and not seldom even in his great poem. Dryden was the first Englishman who wrote perfectly easy prose, and he owed his style and turn of thought to his French reading. His learning sits easily on him, and has a modern cut. So far, the French influence was one of unmixed good, for it rescued us from pedantry. It must have done something for Germany in the same direction. For its effect on poetry we cannot say as much; and its traditions had themselves become pedantry in another shape when Lessing made an end of it. He himself certainly learned to write prose of Diderot; and whatever Herr Stahr may think of it, his share in the "Letters on German Literature" got its chief inspiration from France.

It is in the _Dramaturgie_ that Lessing first properly enters as an influence into European literature. He may be said to have begun the revolt from pseudo-classicism in poetry, and to have been thus unconsciously the founder of romanticism. Wieland's translation of Shakespeare had, it is true, appeared in 1762; but Lessing was the first critic whose profound knowledge of the Greek drama and apprehension of its principles gave weight to his judgment, who recognized in what the true greatness of the poet consisted, and found him to be really nearer the Greeks than any other modern. This was because Lessing looked always more to the life than the form,--because he knew the classics, and did not merely cant about them. But if the authority of Lessing, by making people feel easy in their admiration for Shakespeare, perhaps increased the influence of his works, and if his discussions of Aristotle have given a new starting-point to modern criticism, it may be doubted whether the immediate effect on literature of his own critical essays was so great as Herr Stahr supposes. Surely "Goetz" and "The Robbers" are nothing like what he would have called Shakespearian, and the whole _Sturm und Drang_ tendency would have roused in him nothing but antipathy. Fixed principles in criticism are useful in helping us to form a judgment of works already produced, but it is questionable whether they are not rather a hindrance than a help to living production. Ben Jonson was a fine critic, intimate with the classics as few men have either the leisure or the strength of mind to be in this age of many books, and built regular plays long before they were heard of in France. But he continually trips and falls flat over his metewand of classical propriety, his personages are abstractions, and fortunately neither his precepts nor his practice influenced any one of his greater coevals.[160] In breadth of understanding, and the gravity of purpose that comes of it, he was far above Fletcher or Webster, but how far below either in the subtler, the incalculable, qualities of a dramatic poet! Yet Ben, with his principles off, could soar and sing with the best of them; and there are strains in his lyrics which Herrick, the most Catullian of poets since Catullus, could imitate, but never match. A constant reference to the statutes which taste has codified would only bewilder the creative instinct. Criticism can at best teach writers without genius what is to be avoided or imitated. It cannot communicate life; and its effect, when reduced to rules, has commonly been to produce that correctness which is so praiseworthy and so intolerable. It cannot give taste, it can only demonstrate who has had it. Lessing's essays in this kind were of service to German literature by their manliness of style, whose example was worth a hundred treatises, and by the stimulus there is in all original thinking. Could he have written such a poem as he was capable of conceiving, his influence would have been far greater. It is the living soul, and not the metaphysical abstraction of it, that is genetic in literature. If to do were as easy as to know what were good to be done! It was out of his own failures to reach the ideal he saw so clearly, that Lessing drew the wisdom which made him so admirable a critic. Even here, too, genius can profit by no experience but its own.

For, in spite of Herr Stahr's protest, we must acknowledge the truth of Lessing's own characteristic confession, that he was no poet. A man of genius he unquestionably was, if genius may be claimed no less for force than fineness of mind,--for the intensity of conviction that inspires the understanding as much as for that apprehension of beauty which gives energy of will to imagination,--but a poetic genius he was not. His mind kindled by friction in the process of thinking, not in the flash of conception, and its delight is in demonstration, not in bodying forth. His prose can leap and run, his verse is always thinking of its feet. Yet in his "Minna" and his "Emilia"[161] he shows one faculty of the dramatist, that of construction, in a higher degree than any other German.[162] Here his critical deductions served him to some purpose. The action moves rapidly, there is no speechifying, and the parts are coherent. Both plays act better than anything of Goethe or Schiller. But it is the story that interests us, and not the characters. These are not, it is true, the incorporation of certain ideas, or, still worse, of certain dogmas, but they certainly seem something like machines by which the motive of the play is carried on; and there is nothing of that interplay of plot and character which makes Shakespeare more real in the closet than other dramatists with all the helps of the theatre. It is a striking illustration at once of the futility of mere critical insight and of Lessing's want of imagination, that in the Emilia he should have thought a Roman motive consistent with modern habits of thought, and that in Nathan he should have been guilty of anachronisms which violate not only the accidental truth of fact, but the essential truth of character. Even if we allowed him imagination, it must be only on the lower plane of prose; for of verse as anything more than so many metrical feet he had not the faintest notion. Of that exquisite sympathy with the movement of the mind, with every swifter or slower pulse of passion, which proves it another species from prose, the very [Greek: aphroditae kai lura] of speech, and not merely a higher one, he wanted the fineness of sense to conceive. If we compare the prose of Dante or Milton, though both were eloquent, with their verse, we see at once which was the most congenial to them. Lessing has passages of freer and more harmonious utterance in some of his most careless prose essays, than can be found in his Nathan from the first line to the last. In the _numeris lege solutis_ he is often snatched beyond himself, and becomes truly dithyrambic; in his pentameters the march of the thought is comparatively hampered and irresolute. His best things are not poetically delicate, but have the tougher fibre of proverbs. Is it not enough, then, to be a great prose-writer? They are as rare as great poets, and if Lessing have the gift to stir and to dilate that something deeper than the mind which genius only can reach, what matter if it be not done to music? Of his minor poems we need say little. Verse was always more or less mechanical with him, and his epigrams are almost all stiff, as if they were bad translations from the Latin. Many of them are shockingly coarse, and in liveliness are on a level with those of our Elizabethan period. Herr Stahr, of course, cannot bear to give them up, even though Gervinus be willing. The prettiest of his shorter poems (_Die Namen_)has been appropriated by Coleridge, who has given it a grace which it wants in the original. His Nathan, by a poor translation of which he is chiefly known to English readers, is an Essay on Toleration in the form of a dialogue. As a play, it has not the interest of Minna or Emilia, though the Germans, who have a praiseworthy national stoicism where one of their great writers is concerned, find in seeing it represented a grave satisfaction, like that of subscribing to a monument. There is a sober lustre of reflection in it that makes it very good reading; but it wants the molten interfusion of thought and phrase which only imagination can achieve.

As Lessing's mind was continually advancing,--always open to new impressions, and capable, as very few are, of apprehending the many-sidedness of truth,--as he had the rare quality of being honest with himself,--his works seem fragmentary, and give at first an impression of incompleteness. But one learns at length to recognize and value this very incompleteness as characteristic of the man who was growing lifelong, and to whom the selfish thought that any share of truth could be exclusively _his_ was an impossibility. At the end of the ninety-fifth number of the _Dramaturgie_ he says: "I remind my readers here, that these pages are by no means intended to contain a dramatic system. I am accordingly not bound to solve all the difficulties which I raise. I am quite willing that my thoughts should seem to want connection,--nay, even to contradict each other,--if only there are thoughts in which they [my readers] find material for thinking themselves. I wish to do nothing more than scatter the _fermenta cognitionis_." That is Lessing's great praise, and gives its chief value to his works,--a value, indeed, imperishable, and of the noblest kind. No writer can leave a more precious legacy to posterity than this; and beside this shining merit, all mere literary splendors look pale and cold. There is that life in Lessing's thought which engenders life, and not only thinks for us, but makes us think. Not sceptical, but forever testing and inquiring, it is out of the cloud of his own doubt that the flash comes at last with sudden and vivid illumination. Flashes they indeed are, his finest intuitions, and of very different quality from the equable north-light of the artist. He felt it, and said it of himself, "Ever so many flashes of lightning do not make daylight." We speak now of those more rememberable passages where his highest individuality reveals itself in what may truly be called a passion of thought. In the "Laocooen" there is daylight of the serenest temper, and never was there a better example of the discourse of reason, though even that is also a fragment.

But it is as a nobly original man, even more than as an original thinker, that Lessing is precious to us, and that he is so considerable in German literature. In a higher sense, but in the same kind, he is to Germans what Dr. Johnson is to us,--admirable for what he was. Like Johnson's, too, but still from a loftier plane, a great deal of his thought has a direct bearing on the immediate life and interests of men. His genius was not a St. Elmo's fire, as it so often is with mere poets,--as it was in Shelley, for example, playing in ineffectual flame about the points of his thought,--but was interfused with his whole nature and made a part of his very being. To the Germans, with their weak nerve of sentimentalism, his brave common-sense is a far wholesomer tonic than the cynicism of Heine, which is, after all, only sentimentalism soured. His jealousy for maintaining the just boundaries whether of art or speculation may warn them to check with timely dikes the tendency of their thought to diffuse inundation. Their fondness in aesthetic discussion for a nomenclature subtile enough to split a hair at which even a Thomist would have despaired, is rebuked by the clear simplicity of his style.[163] But he is no exclusive property of Germany. As a complete man, constant, generous, full of honest courage, as a hardy follower of Thought wherever she might lead him, above all, as a confessor of that Truth which is forever revealing itself to the seeker, and is the more loved because never wholly revealable, he is an ennobling possession of mankind. Let his own striking words characterize him:--

"Not the truth of which any one is, or supposes himself to be, possessed, but the upright endeavor he has made to arrive at truth, makes the worth of the man. For not by the possession, but by the investigation, of truth are his powers expanded, wherein alone his ever-growing perfection consists. Possession makes us easy, indolent, proud.

"If God held all truth shut in his right hand, and in his left nothing but the ever-restless instinct for truth, though with the condition of for ever and ever erring, and should say to me, Choose! I should bow humbly to his left hand, and say, Father, give! pure truth is for Thee alone!"

It is not without reason that fame is awarded only after death. The dust-cloud of notoriety which follows and envelopes the men who drive with the wind bewilders contemporary judgment. Lessing, while he lived, had little reward for his labor but the satisfaction inherent in all work faithfully done; the highest, no doubt, of which human nature is capable, and yet perhaps not so sweet as that sympathy of which the world's praise is but an index. But if to perpetuate herself beyond the grave in healthy and ennobling influences be the noblest aspiration of the mind, and its fruition the only reward she would have deemed worthy of herself, then is Lessing to be counted thrice fortunate. Every year since he was laid prematurely in the earth has seen his power for good increase, and made him more precious to the hearts and intellects of men. "Lessing," said Goethe, "would have declined the lofty title of a Genius; but his enduring influence testifies against himself. On the other hand, we have in literature other and indeed important names of men who, while they lived, were esteemed great geniuses, but whose influence ended with their lives, and who, accordingly, were less than they and others thought. For, as I have said, there is no genius without a productive power that continues forever operative."[164] _

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