Chapter XXVI: Part THE THIRD (6)

By my lasting interest in Shakspeare's works, I had so expanded my mind, that the narrow compass of the stage and the short time allotted to a representation, seemed to me by no means sufficient to bring forward something important. The life of the gallant Götz von Berlichingen, written by himself, impelled me into the historic mode of treatment; and my imagination so much extended itself, that my dramatic form also went beyond all theatrical bounds, and sought more and more to approach the living events. I had, as I proceeded, talked circumstantially on this subject with my sister, who was interested, heart and soul, in such things, and renewed this conversation so often, without going to any work, that she at last, growing impatient, and at the same time wishing me well, urgently entreated me not to be always casting my words into the air, but, once for all, to set down upon paper that which must have been so present to my mind. Determined by this impulse, I began one morning to write, without having made any previous sketch or plan. I wrote the first scenes, and in the evening they were read aloud to Cornelia. She gave them much applause, but only conditionally, since she doubted that I should go on so; nay, she even expressed a decided unbelief in my perseverance. This only incited me the more; I wrote on the next day, and also the third. Hope increased with the daily communications, and from step to step everything gained more life, while the matter, moreover, had become thoroughly my own. Thus I kept, without interruption, to my work, which I pursued straight on, looking neither backwards nor forwards,--neither to the right nor to the left; and in about six weeks I had the pleasure to see the manuscript stitched. I communicated it to Merck, who spoke sensibly and kindly about it. I sent it to Herder, who, on the contrary, expressed himself unkindly and severely, and did not fail, in some lampoons written for the occasion, to give me nicknames on account of it. I did not allow myself to be perplexed by this, but took a clear view of my object. The die was now cast, and the only question was how to play the game best. I plainly saw that even here no one would advise me; and, as after some time I could regard my work as if it had proceeded from another hand, I indeed perceived that in my attempt to renounce unity of time and place, I had also infringed upon that higher unity which is so much the more required. Since, without plan or sketch, I had merely abandoned myself to my imagination and to an internal impulse, I had not deviated much at the beginning, and the first acts could fairly pass for what they were intended to be. In the following acts, however, and especially towards the end, I was unconsciously carried along by a wonderful passion. While trying to describe Adelheid as amiable, I had fallen in love with her myself,--my pen was involuntarily devoted to her alone,--the interest in her fate gained the preponderance; and as, apart from this consideration. Götz, towards the end, is without activity, and afterwards only returns to an unlucky participation in the _Bauernkrieg_[3] nothing was more natural than that a charming woman should supplant him in the mind of the author, who, casting off the fetters of art, thought to try himself in a new field. This defect, or rather this culpable superfluity, I soon perceived, since the nature of my poetry always impelled me to unity. I now, instead of the biography of Götz and German antiquities, kept my own work in mind, and sought to give it more and more historical and national substance, and to cancel that which was fabulous or merely proceeded from passion. In this I indeed sacrificed much, as the inclination of the man had to yield to the conviction of the artist. Thus, for instance, I had pleased myself highly by malting Adelheid enter into a terrific nocturnal gipsy-scene, and perform wonders by her beautiful presence. A nearer examination banished her; and the love-affair between Franz and his noble, gracious lady, which was very circumstantially carried on in the fourth and fifth acts, was much condensed, and could only be suffered to appear in its chief points.

[Side-note: Goetz von Berlichingen.]

Therefore, without altering anything in the first manuscript, which I still actually possess in its original shape, I determined to rewrite the whole, and did this with such activity, that in a few weeks an entirely new-made piece lay before me. I went to work upon this all the quicker, the less my intention was ever to have the second poem printed, as I looked upon this likewise as a mere preparatory exercise, which in future I should again lay at the foundation of a new treatment, to be accomplished with greater industry and deliberation.

When I began to lay before Merck many proposals as to the way in which I should set about this task, he laughed at me, and asked what was the meaning of this perpetual writing and rewriting? The thing, he said, by this means, becomes only different, and seldom better; one must see what effect one thing produces, and then again try something new. "Be in time at the hedge, if you would dry your linen."[4] he exclaimed, in the words of the proverb; hesitation and delay only make uncertain men. On the other hand, I replied to him that it would be unpleasant to me to offer to a bookseller a work on which I had bestowed so much affection, and perhaps to receive a refusal as an answer; for how would they judge of a young, nameless, and also audacious author? As my dread of the press gradually vanished, I had wished to see printed my comedy _Die Mitschuldigen_, upon which I set some value, but I found no publisher inclined in my favour.

Here the technically mercantile taste of my friend was at once excited. By means of the _Frankfort Zeitung_ (Gazette), he had already formed a connexion with learned men and booksellers, and therefore he thought that we ought to publish at our own expense this singular and certainly striking work, and that we should derive a larger profit from it. Like many others, he used often to reckon up for the booksellers their profit, which with many works was certainly great, especially if one left out of the account how much was lost by other writings and commercial affairs. Enough, it was settled that I should procure the paper, and that he should take care of the printing. Thus we went heartily to work, and I was not displeased gradually to see my wild dramatic sketch in clean proof-sheets; it looked really neater than I myself expected. We completed the work, and it was sent off in many parcels. Before long a great commotion arose everywhere; the attention which it created became universal. But because, with our limited means, the copies could not be sent quick enough to all parts, a pirated edition suddenly made its appearance. As, moreover, there could be no immediate return, especially in ready money, for the copies sent out, so was I, as a young man in a family whose treasury could not be in an abundant condition, at the very time when much attention, nay, much applause was bestowed upon me, extremely perplexed as to how I should pay for the paper by means of which I had made the world acquainted with my talent. On the other hand, Merck, who knew better how to help himself, entertained the best hopes that all would soon come right again; but I never perceived that to be the case.

[Side-note: Goetz von Berlichingen.]

Through the little pamphlets which I had published anonymously, I had, at my own expense, learned to know the critics and the public; and I was thus pretty well prepared for praise and blame, especially as for many years I had constantly folio wed up the subject, and had observed how those authors were treated, to whom I had devoted particular attention.

Here even in my uncertainty, I could plainly remark how much that was groundless, one-sided, and arbitrary, was recklessly uttered. Now the same thing befel me, and if I had not had some basis of my own, how much would the contradictions of cultivated men have perplexed me! Thus, for instance, there was in the _German Mercury_ a diffuse, well-meant criticism, composed by some man of limited mind. Where he found fault, I could not agree with him,--still less when he stated how the affair could have been done otherwise. It was therefore highly gratifying to me, when immediately afterwards I found a pleasant explanation by Wieland, who in general opposed the critic, and took my part against him. However, the former review was printed likewise; I saw an example of the dull state of mind among well-informed and cultivated men. How, then, would it look with the great public!

The pleasure of talking over such things with Merck, and thus gaining light upon them, was of short duration, for the intelligent Landgravine of Hesse-Darmstadt took him with her train on her journey to Petersburg. The detailed letters which he wrote to me gave me a farther insight into the world, which I could the more make my own as the descriptions were made by a well-known and friendly hand. But nevertheless I remained very solitary for a long time, and was deprived just at this important epoch of his enlightening sympathy, of which I then stood in so much need.

Just as one embraces the determination to become a soldier, and go to the wars, and courageously resolves to bear danger and difficulties, as well as to endure wounds and pains, and even death, but at the same time never calls to mind the particular cases in which those generally anticipated evils may surprise us in an extremely unpleasant manner,--so it is with every one who ventures into the world, especially an author; and so it was with me. As the great part of mankind is more excited by a subject than by the treatment of it, so it was to the subject that the sympathy of young men for my pieces was generally owing. They thought they could see in them a banner, under the guidance of which all that is wild and unpolished in youth might find a vent; and those of the very best brains, who had previously harboured a similar crotchet, were thus carried away. I still possess a letter--I know not to whom--from the excellent and, in many respects, unique Bürger, which may serve as an important voucher of the effect and excitement which was then produced by that phenomenon. On the other side, some men blamed me for painting the club-law in too favourable colours, and even attributed to me the intention of bringing those disorderly times back again. Others took me for a profoundly learned man, and wished me to publish a new edition, with notes, of the original narrative of the good Götz;--a task to which I felt by no means adapted, although I allowed my name to be put on the title to the new impression. Because I had understood how to gather the flowers of a great existence, they took me for a careful gardener. However, this learning and profound knowledge of mine were much doubted by others. A respectable man of business quite unexpectedly pays me a visit. I find myself highly honoured by this, especially as he opens his discourse with the praise of my _Götz von Berlichingen_, and my good insight into German history, but I am nevertheless astonished when I remark that he has really come for the sole purpose of informing me that Götz von Berlichingen was no brother-in-law to Franz von Sichingen, and that therefore by this poetical matrimonial alliance I have committed a great historical error. I sought to excuse myself by the fact, that Götz himself calls him so, but was met by the reply, that this is a form of expression which only denotes a nearer and more friendly connexion, just as in modern times we call postilions "brothers-in-law,"[5] without being bound to them by any family tie. I thanked him as well as I could for this information, and only regretted that the evil was now not to be remedied. This was regretted by him also, while he exhorted me in the kindest manner to a further study of the German history and constitution, and offered me his library, of which I afterwards made a good use.

[Side-note: Goetz von Berlichingen.]

A droll event of the sort which occurred to me was the visit of a bookseller, who, with cheerful openness, requested a dozen of such pieces, and promised to pay well for them. That we made ourselves very merry about this may be imagined; and yet, in fact, he was not so very far wrong, for I was already greatly occupied in moving backwards and forwards from this turning-point in German history, and in working up the chief events in a similar spirit--a laudable design, which, like many others, was frustrated by the rushing flight of time.

That play, however, had not solely occupied the author, but while it was devised, written, rewritten, printed, and circulated, other images and plans were moving in his mind. Those which could be treated dramatically had the advantage of being oftenest thought over and brought near to execution; but at the same time was developed a transition to another form, which is not usually classed with those of the drama, but yet has a great affinity with them. This transition was chiefly brought about by a peculiarity of the author, which fashioned soliloquy into dialogue.

Accustomed to pass his time most pleasantly in society, he changed even solitary thought into social converse, and this in the following manner:--He had the habit, when he was alone, of calling before his mind any person of his acquaintance. This person he entreated to sit down, walked up and down by him, remained standing before him, and discoursed with him on the subject he had in his mind. To this the person answered as occasion required, or by the ordinary gestures signified his assent or dissent;--in which every man has something peculiar to himself. The speaker then continued to carry out further that which seemed to please the guest, or to condition and define more closely that of which he disapproved; and, finally, was polite enough to give up his notion. The oddest part of the affair was, that he never selected persons of his intimate acquaintance, but those whom he saw but seldom, nay, several who lived at a distance in the world, and with whom he had had a transient connexion. They were, however, chiefly persons who, more of a receptive than communicative nature, are ready with a pure feeling to take interest in the things which fall within their sphere, though he often summoned contradicting spirits to these dialectic exercises. Persons of both sexes, of every age and rank accommodated themselves to these discussions, and showed themselves obliging and agreeable, since he only conversed on subjects which were clear to them, and which they liked. Nevertheless, it would have appeared extremely strange to many of them, could they have learned how often they were summoned to these ideal conversations, since many of them would scarcely have come to a real one.

How nearly such a mental dialogue is akin to a written correspondence, is clear enough; only in the latter one sees returned the confidence one has bestowed, while in the former, one creates for oneself a confidence which is new, ever-changing, and unreturned. When, therefore, he had to describe that disgust which men, without being driven by necessity, feel for life, the author necessarily hit at once upon the plan of giving his sentiments in letters; for all gloominess is a birth, a pupil of solitude--whoever resigns himself to it flies all opposition, and what is more opposed to him than a cheerful society? The enjoyment in life felt by others is to him a painful reproach; and thus, by that which should charm him out of himself, he is directed back to his inmost soul. If he at all expresses himself on this matter, it will be by letters; for no one feels immediately opposed to a written effusion, whether it be joyful or gloomy, while an answer containing opposite reasons gives the lonely one an opportunity to confirm himself in his whims,--an occasion to grow still more obdurate. The letters of Werther, which are written in this spirit, have so various a charm, precisely because their different contents were first talked over with several individuals in such ideal dialogues, while it was afterwards in the composition itself that they appeared to be directed to one friend and sympathizer. To say more on the treatment of a little book which has formed the subject of so much discussion, would be hardly advisable, but, with respect to the contents, something may yet be added.

[Side-note: Weariness of Life.]

That disgust at life has its physical and its moral causes; the former we will leave to the investigation of the physician, the latter to that of the moralist, and in a matter so often elaborated, only consider the chief point, where the phenomenon most plainly expresses itself. All comfort in life is based upon a regular recurrence of external things. The change of day and night--of the seasons, of flowers and fruits, and whatever else meets us from epoch to epoch, so that we can and should enjoy it--these are the proper springs of earthly life. The more open we are to these enjoyments, the happier do we feel ourselves; out if the changes in these phenomena roll up and down before us without our taking interest in them, if we are insensible to such beautiful offers, then comes on the greatest evil, the heaviest disease--we regard life as a disgusting burden. It is said of an Englishman, that he hanged himself that he might no longer dress and undress himself every day. I knew a worthy gardener, the superintendent of the laying out of a large park, who once cried out with vexation, "Shall I always see these clouds moving from east to west?" The story is told of one of our most excellent men, that he saw with vexation the returning green of spring, and wished that, by way of change, it might once appear red. These are properly the symptoms of a weariness of life, which does not unfrequently result in suicide, and which, in thinking men, absorbed in themselves, was more frequent than can be imagined.

Nothing occasions this weariness more than the return of love. The first love, it is rightly said, is the only one, for in the second, and by the second, the highest sense of love is already lost. The conception of the eternal and infinite, which elevates and supports it, is destroyed, and it appears transient like everything else that recurs. The separation of the sensual from the moral, which, in the complicated, cultivated world sunders the feelings of love and desire, produces here also an exaggeration which can lead to no good.

Moreover, a young man soon perceives in others, if not in himself, that moral epochs change as well as the seasons of the year. The graciousness of the great, the favour of the strong, the encouragement of the active, the attachment of the multitude, the love of individuals--all this changes up and down, and we can no more hold it fast than the sun, moon, and stars. And yet these things are not mere natural events; they escape us either by our own or by another's fault; but change they do, and we are never sure of them.

But that which most pains a sensitive youth is the unceasing return of our faults; for how late do we learn to see that while we cultivate our virtues, we rear our faults at the same time. The former depend upon the latter as upon their root, and the latter send forth secret ramifications as strong and as various as those which the former send forth in open light. Because now we generally practise our virtues with will and consciousness, but are unconsciously surprised by our faults, the former seldom procure us any pleasure, while the latter constantly bring trouble and pain. Here lies the most difficult point in self-knowledge, that which makes it almost impossible. If we conceive, in addition to all this, a young, boiling blood, an imagination easily to be paralyzed by single objects, and, moreover, the uncertain movements of the day, we shall not find unnatural an impatient striving to free oneself from such a strait.

However, such gloomy contemplations, which lead him who has resigned himself to them into the infinite, could not have developed themselves so decidedly in the minds of the German youths, had not an outward occasion excited and furthered them in this dismal business. This was caused by English literature, especially the poetical part, the great beauties of which are accompanied by an earnest melancholy, which it communicates to every one who occupies himself with it. The intellectual Briton, from his youth upwards, sees himself surrounded by a significant world, which stimulates all his powers; he perceives, sooner or later, that he must collect all his understanding to come to terms with it. How many of their poets have in their youth led a loose and riotous life, and soon found themselves justified in complaining of the vanity of earthly things? How many of them have tried their fortune in worldly occupations, have taken parts, principal or subordinate, in parliament, at court, in the ministry, in situations with the embassy, shown their active co-operation in the internal troubles and changes of state and government, and if not in themselves, at any rate in their friends and patrons, more frequently made sad than pleasant experiences! How many have been banished, imprisoned, or injured with respect to property!

[Side-note: Effect of English poetry.]

Even the circumstance of being the spectator of such great events calls man to seriousness; and whither can seriousness lead farther than to a contemplation of the transient nature and worthlessness of all earthly things? The German also is serious, and thus English poetry was extremely suitable to him, and, because it proceeded from a higher state of things, even imposing. One finds in it throughout a great, apt understanding, well practised in the world, a deep, tender heart, an excellent will, an impassioned action,--the very noblest qualities which can be praised in an intellectual and cultivated man; but all this put together still makes no poet. True poetry announces itself thus, that, as a worldly gospel, it can by internal cheerfulness and external comfort free us from the earthly burdens which press upon us. Like an air-balloon, it lifts us, together with the ballast which is attached to us, into higher regions, and lets the confused labyrinths of the earth lie developed before us as in a bird's-eye view. The most lively, as well as the most serious works, have the same aim of moderating both pleasure and pain by a felicitous intellectual form. Let us only in this spirit consider the majority of the English poems, chiefly morally didactic, and on the average they will only show us a gloomy weariness of life. Not only Young's _Night Thoughts_, where this theme is pre-eminently worked out, but even the other contemplative poems stray, before one is aware of it, into this dismal region, where the understanding is presented with a problem which it cannot solve, since even religion, much as it can always construct for itself, leaves it in the lurch. Whole volumes might be compiled, which could serve as a commentary to this frightful text--

"Then old age and experience, hand in hand,
Lead him to death, and make him understand,
After a search so painful and so long,
That all his life he has been in the wrong."

What further makes the English poets accomplished misanthropes, and diffuses over their writings the unpleasant feeling of repugnance against everything, is the fact that the whole of them, on account of the various divisions of their commonwealth, must devote themselves for the best part, if not for the whole of their lives, to one party or another. Because now a writer of the sort cannot praise and extol those of the party to which he belongs, nor the cause to which he adheres, since, if he did, he would only excite envy and hostility, he exercises his talent in speaking as badly as possible of those on the opposite side, and in sharpening, nay, poisoning the satirical weapons as much as he can. When this is done by both parties, the world which lies between is destroyed and wholly annihilated, so that in a great mass of sensibly active people, one can discover, to use the mildest terms, nothing but folly and madness. Even their tender poems are occupied with mournful subjects. Here a deserted girl is dying, there a faithful lover is drowned, or is devoured by a shark before, by his hurried swimming, he reaches his beloved; and if a poet like Gray lies down in a churchyard, and again begins those well-known melodies, he too may gather round him a number of friends to melancholy. Milton's _Allegro_ must scare away gloom in vehement verses, before he can attain a very moderate pleasure; and even the cheerful Goldsmith loses himself in elegiac feelings, when his _Deserted Village_, as charmingly as sadly, exhibits to us a lost Paradise which his _Traveller_ seeks over the whole earth.

I do not doubt that lively works, cheerful poems, can be brought forward and opposed to what I have said, but the greatest number, and the best of them, certainly belong to the older epoch; and the newer works, which may be set down in the class, are likewise of a satirical tendency, are bitter, and treat women especially with contempt.

Enough: those serious poems, undermining human nature, which, in general terms, have been mentioned above, were the favourites which we sought out before all others, one seeking, according to his disposition, the lighter elegiac melancholy, another the heavy oppressive despair, which gives up everything. Strangely enough, our father and instructor, Shakspeare, who so well knew how to diffuse a pure cheerfulness, strengthened our feeling of dissatisfaction. Hamlet and his soliloquies were spectres which haunted all the young minds. The chief passages every one knew by heart and loved to recite, and every body fancied he had a right to be just as melancholy as the Prince of Denmark, though he had seen no ghost, and had no royal father to avenge.

But that to all this melancholy a perfectly suitable locality might not be wanting, Ossian had charmed us even to the _Ultima Thule_, where on a gray, boundless heath, wandering among prominent moss-covered grave-stones, we saw the grass around us moved by an awful wind, and a heavily clouded sky above us. It was not till moonlight that the Caledonian night became day; departed heroes, faded maidens, floated around us, until at last we really thought we saw the spirit of Loda in his fearful form.

In such an element, with such surrounding influences, with tastes and studies of this kind, tortured by unsatisfied passions, by no means excited from without to important actions, with the sole prospect that we must adhere to a dull, spiritless, citizen life, we became--in gloomy wantonness--attached to the thought, that we could at all events quit life at pleasure, if it no longer suited us, and thus miserably enough helped ourselves through the disgusts and weariness of the days. This feeling was so general, that _Werther_ produced its great effect precisely because it struck a chord everywhere, and openly and intelligibly exhibited the internal nature of a morbid youthful delusion. How accurately the English were acquainted with this sort of wretchedness is shown by the few significant lines, written before the appearance of _Werther_--

"To griefs congenial prone,
More wounds than nature gave he knew,
While misery's form his fancy drew
In dark ideal hues and horrors not its own."

[Side-note: Suicide.]

Suicide is an event of human nature which, whatever may be said and done with respect to it, demands the sympathy of every man, and in every epoch must be discussed anew. Montesquieu grants his heroes and great men the right of killing themselves as they think fit, since he says that it must be free to every one to close the fifth act of his tragedy as he pleases. But here the discourse is not of those persons who have led an active and important life, who have sacrificed their days for a great empire, or for the cause of freedom, and whom one cannot blame if they think to follow in another world the idea which inspires them, as soon as it has vanished from the earth. We have here to do with those whose life is embittered by a want of action, in the midst of the most peaceful circumstances in the world, through exaggerated demands upon themselves. Since I myself was in this predicament, and best knew the pain I suffered in it, and the exertion it cost me to free myself, I will not conceal the reflections which I made, with much deliberation, on the various kinds of death which one might choose.

There is something so unnatural in a man tearing himself away from himself, not only injuring, but destroying himself, that he mostly seizes upon mechanical means to carry his design into execution. When Ajax falls upon his sword, it is the weight of his body which does him the last service. When the warrior binds his shield-bearer not to let him fall into the hands of the enemy, it is still an external force which he secures, only a moral instead of a physical one. Women seek in water a cooling for their despair, and the extremely mechanical means of fire-arms ensure a rapid act with the very least exertion. Hanging, one does not like to mention, because it is an ignoble death. In England one may first find it, because there, from youth upwards, one sees so many hanged, without the punishment being precisely dishonourable. By poison, by opening the veins, the only intention is to depart slowly from life; and that most refined, rapid, and painless death by an adder, was worthy of a queen, who had passed her life in pleasure and brilliancy. But all these are external aids, enemies with which man forms an alliance against himself.

When now I considered all these means, and looked about further in history, I found among all those who killed themselves no one who did this deed with such greatness and freedom of mind, as the Emperor Otho. He, having the worst of it as a general, but being by no means reduced to extremities, resolves to quit the world for the benefit of the empire, which, in some measure, already belongs to him, and for the sake of sparing so many thousands. He has a cheerful supper with his friends, and the next morning it is found that he has plunged a sharp dagger into his heart. This deed alone seemed to me worthy of imitation; and I was convinced that whoever could not act in this like Otho, had no right to go voluntarily out of the world. By these convictions, I freed myself not so much from the danger as from the whim of suicide, which in those splendid times of peace, and with an indolent youth, had managed to creep in. Among a considerable collection of weapons, I possessed a handsome, well polished dagger. This I laid every night by my bed, and before I extinguished the candle, I tried whether I could succeed in plunging the sharp point a couple of inches deep into my heart. Since I never could succeed in this, I at last laughed myself out of the notion, threw off all hypochondriacal fancies, and resolved to live. But to be able to do this with cheerfulness, I was obliged to solve a poetical problem, by which all that I had felt, thought, and fancied upon this important point, should be reduced to words. For this purpose I collected the elements which had been at work in me for a few years; I rendered present to my mind the cases which had most afflicted and tormented me; but nothing would come to a definite form; I lacked an event, a fable, in which they could be overlooked.

[Side-note: Jerusalem's Death.]

All at once I heard the news of Jerusalem's death, and immediately after the general report, the most accurate and circumstantial description of the occurrence, and at this moment the plan of _Werther_ was formed, and the whole shot together from all sides, and became a solid mass, just as water in a vessel, which stands upon the point of freezing, is concerted into hard ice by the most gentle shake. To hold fast this singular prize, to render present to myself, and to carry out in all its parts a work of such important and various contents was the more material to me, as I had again fallen into a painful situation, which left me even less hope than those which had preceded it, and foreboded only sadness, if not vexation.

It is always a misfortune to step into new relations to which one has not been inured; we are often against our will lured into a false sympathy, the incompleteness[6] of such positions troubles us, and yet we see no means either of completing them or of removing them.

Frau von Laroche had married her eldest daughter at Frankfort, and often came to visit her, but could not reconcile herself to the position which she herself had chosen. Instead of feeling comfortable, or endeavouring to make any alteration, she indulged in lamentations, so that one was really forced to think that her daughter was unhappy; although, as she wanted nothing, and her husband denied her nothing, one could not well see in what her unhappiness properly consisted. In the meanwhile I was well received in the house, and came into contact with the whole circle, which consisted of persons who had partly contributed to the marriage, partly wished for it a happy result. The Dean of St. Leonhard, Dumeitz, conceived a confidence, nay, a friendship for me. He was the first Catholic clergyman with whom I had come into close contact, and who, because he was a clear-sighted man, gave me beautiful and sufficient explanations of the faith, usages, and external and internal relations of the oldest church. The figure of a well-formed though not young lady, named Servières, I still accurately remember. I likewise came into contact with the Alossina-Schweizer, and other families, forming a connexion with the sons, which long continued in the most friendly manner, and all at once found myself domesticated in a strange circle, in the occupations, pleasures, and even religious exercises of winch I was induced, nay, compelled to take part. My former relation to the young wife, which was, properly speaking, only that of a brother to a sister, was continued after marriage; my age was suitable to her own; I was the only one in the whole circle in whom she heard an echo of those intellectual tones to which she had been accustomed from her youth. We lived on together in a childish confidence, and although there was nothing impassioned in our intercourse, it was tormenting enough, because she also could not reconcile herself to her new circumstances, and although blessed with the goods of fortune, had to act as the mother of several step-children, being moreover transplanted from the cheerful vale of Ehrenbreitstein and a joyous state of youth into a gloomily-situated mercantile house. Amid so many new family connexions was I hemmed in, without any real participation or co-operation. If they were satisfied with each other, all seemed to go on as a matter of course; but most of the parties concerned turned to me in cases of vexation, which by my lively sympathy I generally rendered worse rather than better. In a short time this situation became quite insupportable to me; all the disgust at life which usually springs from such half-connexions, seemed to burden me with double and three-fold weight, and a new strong resolution was necessary to free myself from it.

Jerusalem's death, which was occasioned by his unhappy attachment to the wife of his friend, shook me out of the dream, and, because I not only visibly contemplated that which had occurred to him and me, but something similar which befel me at the moment, also stirred me to passionate emotion, I could not do otherwise than breathe into that production, which I had just undertaken, all that warmth which leaves no distinction between the poetical and the actual. I had completely isolated myself, nay, prohibited the visits of my friends, and internally also I put everything aside that did not immediately belong to the subject. On the other hand, I embraced everything that had any relation to my design, and repeated to myself my nearest life, of the contents of which I had as yet made no practical use. Under such circumstances, after such long and so many preparations in secret, I wrote _Werther_ in four weeks without any scheme of the whole, or treatment of any part, being previously put on paper.

[Side-note: Werther.]

The manuscript, which was now finished, lay before me as a rough draught, with few corrections and alterations. It was stitched at once, for the binding is to a written work of about the same use as the frame is to a picture; one can much better see whether there is really anything in it. Since I had written thus much, almost unconsciously, like a somnambulist, I was myself astonished, now I went through it, that I might alter and improve it in some respects. But in the expectation that after some time, when I had seen it at a certain distance, much would occur to me that would turn to the advantage of the work, I gave it to my younger friends to read, upon whom it produced an effect so much the greater, as, contrary to my usual custom, I had told no one of it, nor discovered my design beforehand. Yet here again it was the subject-matter which really produced the effect, and in this respect they were in a frame of mind precisely the reverse of my own; for by this composition, more than by any other, I had freed myself from that stormy element, upon which, through my own fault and that of others, through a mode of life both accidental and chosen, through design and thoughtless precipitation, through obstinacy and pliability, I had been driven about in the most violent manner. I felt, as if after a general confession, once more happy and free, and justified in beginning a new life.

The old nostrum had been of excellent service to me on this occasion. But while I felt myself eased and enlightened by having turned reality into poetry, my friends were led astray by my work, for they thought that poetry ought to be turned into reality, that such a moral was to be imitated, and that at any rate one ought to shoot oneself. What had first happened here among a few, afterwards took place among the larger public, and this little book, which had been so beneficial to me, was decried as extremely injurious.

But all the evils and misfortunes which it may have produced were nearly prevented by an accident, since even after its production it ran the risk of being destroyed. The matter stood thus:--Merck had lately returned from Petersburg; I had spoken to him but little, because he was always occupied, and only told him, in the most general terms, of that _Werther_ which lay next my heart. He once called upon me, and as he did not seem very talkative, I asked him to listen to me. He seated himself on the sofa, and I began to read the tale, letter by letter. After I had gone on thus for a while, without gaining from him any sign of admiration, I adopted a more pathetic strain,--but what were my feelings, when at a pause which I made, he struck me down in the most frightful manner, with "Good! that's very pretty," and withdrew without adding anything more. I was quite beside myself, for, as I took great pleasure in my works, but at first passed no judgment on them, I here firmly believed that I had made a mistake in subject, tone, and style--all of which were doubtful--and had produced something quite inadmissible. Had a fire been at hand, I should at once have thrown in the work; but I again plucked up courage, and passed many painful days, until he at last assured me in confidence, that at that moment he had been in the most frightful situation in which a man can be placed. On this account, he said, he had neither seen nor heard anything, and did not even know what the manuscript was about. In the meanwhile the matter had been set right, as far as was possible, and Merck, in the times of his energy, was just the man to accommodate himself to anything monstrous; his humour returned, only it had grown still more bitter than before. He blamed my design of rewriting _Werther_, with the same expressions which he had used on a former occasion, and desired to see it printed just as it was. A fair copy was made, which did not remain long in my hands, for on the very day on which my sister was married to George Schlosser, a letter from Weygand, of Leipzig, chanced to arrive, in which he asked me for a manuscript; such a coincidence I looked upon as a favourable omen. I sent off _Werther_, and was very well satisfied, when the remuneration I received for it was not entirely swallowed up by the debts which I had been forced to contract on account of _Götz von Berlichingen._

[Side-note: Effect of Werther.]

The effect of this little book was great, nay immense, and chiefly because it exactly hit the temper of the times. For as it requires but a little match to blow up an immense mine, so the explosion which followed my publication was mighty, from the circumstance that the youthful world had already undermined itself; and the shock was great, because all extravagant demands, unsatisfied passions, and imaginary wrongs, were suddenly brought to an eruption. It cannot be expected of the public that it should receive an intellectual work intellectually. In fact, it was only the subject, the material part, that was considered, as I had already found to be the case among my own friends; while at the same time arose that old prejudice, associated with the dignity of a printed book,--that it ought to have a moral aim. But a true picture of life has none. It neither approves nor censures, but developes sentiments and actions in their consequences, and thereby enlightens and instructs.

Of the reviews I took little notice. I had completely washed my hands of the matter, and the good folks might now try what they could make of it. Yet my friends did not fail to collect these things, and as they were already initiated into my views, to make merry with them. The _Joys of Young Werther_, with which Nicolai came forth, gave us occasion for many a jest. This otherwise excellent, meritorious, and well-informed man, had already begun to depreciate and oppose everything that did not accord with his own way of thinking, which, as he was of a very narrow mind, he held to be the only correct way. Against me, too, he must needs try his strength, and his pamphlet was soon in our hands. The very delicate vignette, by Chodowiecki, gave me much delight; as at that time I admired this artist extravagantly. The jumbling medley itself was cut out of that rough household stuff, which the human understanding, in its homely limits, takes especial pains to make sufficiently coarse. Without perceiving that there was nothing here to qualify, that Werther's youthful bloom, from the very first, appears gnawed by the deadly worm, Nicolai allows my treatment to pass current up to the two hundred and fourteenth page, and then, when the desolate mortal is preparing for the fatal step, the acute psychological physician contrives to palm upon his patient a pistol, loaded with chickens' blood, from which a filthy spectacle, but happily no mischief, arises. Charlotte becomes the wife of Werther, and the whole affair ends to the satisfaction of everybody.

So much I can recall to memory, for the book never came before my eyes again. I had cut out the vignette, and placed it among my most favourite engravings. I then, by way of quiet, innocent revenge, composed a little burlesque poem, "Nicolai at the grave of Werther:" which, however, cannot be communicated. On this occasion, too, the pleasure of giving everything a dramatic shape, was again predominant. I wrote a prose dialogue between Charlotte and Werther, which was tolerably comical; Werther bitterly complains that his deliverance by chickens' blood has turned out so badly. His life is saved, it is true, but he has shot his eyes out. He is now in despair at being her husband, without being able to see her; for the complete view of her person would to him be much dearer than all those pretty details of which he could assure himself by the touch. Charlotte, as may be imagined, has no great catch in a blind husband, and thus occasion is given to abuse Nicolai pretty roundly, for interfering unasked in other people's affairs. The whole was written in a good-natured spirit, and painted, with prophetic forebodings, that unhappy, conceited humour of Nicolai's, which led him to meddle with things beyond his compass, which gave great annoyance both to himself and others, and by which, eventually, in spite of his undoubted merits, he entirely destroyed his literary reputation. The original of this _jeu d'esprit_ was never copied, and has been lost sight of for years. I had a special predilection for the little production. The pure ardent attachment of the two young persons, was rather heightened than diminished by the comico-tragic situation into which they were thus transposed. The greatest tenderness prevailed throughout; and even my adversary was not treated illnaturedly, but only humourously. I did not, however, let the book itself speak quite so politely; in imitation of an old rhyme it expressed itself thus:--

"By that conceited man--by _him_
I'm dangerous declar'd,
The heavy man, who cannot swim,
Is by the water scar'd,
That Berlin pack, priest-ridden lot--
Their ban I do not heed,
And those who understand me not
Should better learn to read."

[Side-note: Effect of Werther.]

Being prepared for all that might be alleged against _Werther_, I found those attacks, numerous as they were, by no means annoying; but I had no anticipation of the intolerable torment provided for me by sympathizers and well-wishers. These, instead of saying anything civil to me about my book just as it was, wished to know, one and all, what was really true in it; at which I grew very angry, and often expressed myself with great discourtesy. To answer this question, I should have been obliged to pull to pieces and destroy the form of a work on which I had so long pondered, with the view of giving a poetical unity to its many elements; and in this operation, if the essential parts were not destroyed, they would, at least, have been scattered and dispersed. However, upon a closer consideration of the matter, I could not take the public inquisitiveness in ill part. Jerusalem's fate had excited great attention. An educated, amiable, blameless young man, the son of one of the first theologians and authors, healthy and opulent, had at once, without any known cause, destroyed himself. Every one asked how this was possible, and when they heard of an unfortunate love affair, the whole youth were excited, and as soon as it transpired that some little annoyances had occurred to him in the higher circles, the middle classes also became excited; indeed every one was anxious to learn further particulars. Now _Werther_ appeared an exact delineation, as it was thought, of the life and character of that young man. The locality and person tallied, and the narrative was so very natural, that they considered themselves fully informed and satisfied. But, on the other hand, on closer examination, there was so much that did not fit, that there arose, for those who sought the truth, an unmanageable business, because a critical investigation must necessarily produce a hundred doubts. The real groundwork of the affair was, however, not to be fathomed, for all that I had interwoven of my own life and suffering could not be deciphered, because, as an unobserved young man, I had secretly, though not silently, pursued my course.

While engaged in my work, I was fully aware how highly that artist was favoured who had an opportunity of composing a Venus from the study of a variety of beauties. Accordingly I took leave to model my Charlotte according to the shape and qualities of several pretty girls, although the chief characteristics were taken from the one I loved best. The inquisitive public could therefore discover similarities in various ladies; and even to the ladies themselves it was not quite indifferent to be taken for the right one. But these several Charlottes caused me infinite trouble, because every one who only looked at me seemed determined to know where the proper one really resided. I endeavoured to save myself, like Nathan[7] with the three rings, by an expedient, which, though it might suit higher beings, would not satisfy either the believing or the reading public. I hoped after a time to be freed from such tormenting inquiries, but they pursued me through my whole life. I sought, on my travels, to escape them, by assuming an _incognito_, but even this remedy was, to my disappointment, unavailing, and thus the author of the little work, had he even done anything wrong and mischievous, was sufficiently, I may say disproportionately, punished by such unavoidable importunities.

Subjected to this kind of infliction, I was taught but too unequivocally, that authors and their public are separated by an immense gulf, of which, happily, neither of them have any conception. The uselessness, therefore, of all prefaces I had long ago seen; for the more pains a writer takes to render his views clear, the more occasion he gives for embarrassment. Besides, an author may preface as elaborately as he will, the public will always go on making precisely those demands which he has endeavoured to avoid. With a kindred peculiarity of readers, which (particularly with those who print their judgments) seems remarkably comical, I was likewise soon acquainted. They live, for instance, in the delusion that an author, in producing anything, becomes their debtor; and he always falls short of what they wished and expected of him, although before they had seen our work, they had not the least notion that anything of the kind existed, or was even possible. Independent of all this, it was now the greatest fortune, or misfortune, that every one wished to make the acquaintance of this strange young author, who had stepped forward so unexpectedly and so boldly. They desired to see him, to speak to him, and, even at a distance, to hear something from him; thus he had to undergo a very considerable crowd, sometimes pleasant, sometimes disagreeable, but always distracting. For enough works already begun lay before him, nay, and would have given him abundance of work for some years, if he could have kept to them with his old fervour; but he was drawn forth from the quiet, the twilight, the obscurity, which alone can favour pure creation, into the noise of daylight, where one is lost in others, where one is led astray, alike by sympathy and by coldness, by praise and by blame, because outward contact never accords with the epoch of our inner culture, and therefore, as it cannot further us, must necessarily injure us.

[Side-note: Dramatic Tendency.]

Yet more than by all the distractions of the day, the author was kept from the elaboration and completion of greater works by the taste then prevalent in this society for _dramatizing_ everything of importance which occurred in actual life. What that technical expression (for such it was in our inventive society) really meant, shall here be explained. Excited by intellectual meetings on days of hilarity, we were accustomed, in short extemporary performances, to communicate, in fragments, all the materials we had collected towards the formation of larger compositions. One single simple incident, a pleasantly _naïve_ or even silly word, a blunder, a paradox, a clever remark, personal singularities or habits, nay, a peculiar expression, and whatever else would occur in a gay and bustling life--took the form of a dialogue, a catechism, a passing scene, or a drama,--often in prose, but oftener in verse.