The Unseen World and Other Essays [72]
to us the living concrete man, as his imperial imagination had spontaneously fashioned him.
Modern psychology has demonstrated that this is the way in which the creative artistic imagination proceeds. It has proved that a vast portion of all our thinking goes on unconsciously; and that the results may arise into consciousness piecemeal and gradually, checking each other as they come; or that they may come all at once, with all the completeness and definiteness of perceptions presented from without. The former is the case with the critical, and the latter with the artistic intellect. And this we recognize imperfectly when we talk of a genius being "inspired." All of us probably have these two kinds of imagination to a certain extent. It is only given to a few supremely endowed persons like Goethe to possess them both to an eminent degree. Perhaps of no other man can it be said that he was a poet of the first order, and as great a critic as poet.
It is therefore apt to be a barren criticism which studies the works of creative geniuses in order to ascertain what theory lies beneath them. How many systems of philosophy, how many subtle speculations, have we not seen fathered upon Dante, Cervantes, Shakespeare, and Goethe! Yet their works are, in a certain sense, greater than any systems. They partake of the infinite complexity and variety of nature, and no more than nature itself can they be narrowed down to the limits of a precise formula.
Lessing was wont to disclaim the title of poet; but, as Goethe said, his immortal works refute him. He had not only poetical, but dramatic genius; and his "Emilia Galotti" has kept the stage until to-day. Nevertheless, he knew well what he meant when he said that he was more of a critic than a poet. His genius was mainly of the critical order; and his great work, "Nathan the Wise," was certainly constructed rather than created. It was intended to convey a doctrine, and was carefully shaped for the purpose. And when we have pronounced it the greatest of all poems that have been written for a set purpose, and admit of being expressed in a definite formula, we have classified it with sufficient accuracy.
For an analysis of the characters in the poem, nothing can be better than the essay by Kuno Fischer, appended to the present volume. The work of translation has been admirably done; and thanks are due to Miss Frothingham for her reproduction of this beautiful poem.
June, 1868.
VIII. HISTORICAL DIFFICULTIES.[29]
[29] Historical Difficulties and Contested Events. By Octave Delepierre, LL. D., F. S. A., Secretary of Legation to the King of the Belgians. 8vo. London: Murray. 1868.
History, says Sainte-Beuve, is in great part a set of fables which people agree to believe in. And, on reading books like the present, one certainly needs a good deal of that discipline acquired by long familiarity with vexed historical questions, in order to check the disposition to accept the great critic's ironical remark in sober earnest. Much of what is currently accredited as authentic history is in fact a mixture of flattery and calumny, myth and fable. Yet in this set of fables, whatever may have been the case in past times, people will no longer agree to believe. During the present century the criticism of recorded events has gone far toward assuming the developed and systematized aspect of a science, and canons of belief have been established. which it is not safe to disregard. Great occurrences, such as the Trojan War and the Siege of Thebes, not long ago faithfully described by all historians of Greece, have been found to be part of the common mythical heritage of the Aryan nations. Achilleus and Helena, Oidipous and Iokasta, Oinone and Paris, have been discovered in India and again in Scandinavia, and so on, until their nonentity has become the legitimate inference from their very ubiquity. Legislators like Romulus and Numa, inventors like Kadmos, have evaporated into etymologies. Whole legions of heroes, dynasties of kings, and adulteresses as many as Dante saw borne on the
Modern psychology has demonstrated that this is the way in which the creative artistic imagination proceeds. It has proved that a vast portion of all our thinking goes on unconsciously; and that the results may arise into consciousness piecemeal and gradually, checking each other as they come; or that they may come all at once, with all the completeness and definiteness of perceptions presented from without. The former is the case with the critical, and the latter with the artistic intellect. And this we recognize imperfectly when we talk of a genius being "inspired." All of us probably have these two kinds of imagination to a certain extent. It is only given to a few supremely endowed persons like Goethe to possess them both to an eminent degree. Perhaps of no other man can it be said that he was a poet of the first order, and as great a critic as poet.
It is therefore apt to be a barren criticism which studies the works of creative geniuses in order to ascertain what theory lies beneath them. How many systems of philosophy, how many subtle speculations, have we not seen fathered upon Dante, Cervantes, Shakespeare, and Goethe! Yet their works are, in a certain sense, greater than any systems. They partake of the infinite complexity and variety of nature, and no more than nature itself can they be narrowed down to the limits of a precise formula.
Lessing was wont to disclaim the title of poet; but, as Goethe said, his immortal works refute him. He had not only poetical, but dramatic genius; and his "Emilia Galotti" has kept the stage until to-day. Nevertheless, he knew well what he meant when he said that he was more of a critic than a poet. His genius was mainly of the critical order; and his great work, "Nathan the Wise," was certainly constructed rather than created. It was intended to convey a doctrine, and was carefully shaped for the purpose. And when we have pronounced it the greatest of all poems that have been written for a set purpose, and admit of being expressed in a definite formula, we have classified it with sufficient accuracy.
For an analysis of the characters in the poem, nothing can be better than the essay by Kuno Fischer, appended to the present volume. The work of translation has been admirably done; and thanks are due to Miss Frothingham for her reproduction of this beautiful poem.
June, 1868.
VIII. HISTORICAL DIFFICULTIES.[29]
[29] Historical Difficulties and Contested Events. By Octave Delepierre, LL. D., F. S. A., Secretary of Legation to the King of the Belgians. 8vo. London: Murray. 1868.
History, says Sainte-Beuve, is in great part a set of fables which people agree to believe in. And, on reading books like the present, one certainly needs a good deal of that discipline acquired by long familiarity with vexed historical questions, in order to check the disposition to accept the great critic's ironical remark in sober earnest. Much of what is currently accredited as authentic history is in fact a mixture of flattery and calumny, myth and fable. Yet in this set of fables, whatever may have been the case in past times, people will no longer agree to believe. During the present century the criticism of recorded events has gone far toward assuming the developed and systematized aspect of a science, and canons of belief have been established. which it is not safe to disregard. Great occurrences, such as the Trojan War and the Siege of Thebes, not long ago faithfully described by all historians of Greece, have been found to be part of the common mythical heritage of the Aryan nations. Achilleus and Helena, Oidipous and Iokasta, Oinone and Paris, have been discovered in India and again in Scandinavia, and so on, until their nonentity has become the legitimate inference from their very ubiquity. Legislators like Romulus and Numa, inventors like Kadmos, have evaporated into etymologies. Whole legions of heroes, dynasties of kings, and adulteresses as many as Dante saw borne on the