The really scientific thinker does the same thing as these illiterate persons, but on a larger scale. Although he has need of much knowledge, and so must read a great deal, his mind is nevertheless strong enough to master it all, to assimilate and incorporate it with the system of his thoughts, and so to make it fit in with the organic unity of his insight, which, though vast, is always growing. And in the process, his own thought, like the bass in an organ, always dominates everything and is never drowned by other tones, as happens with minds which are full of mere antiquarian lore; where shreds of music, as it were, in every key, mingle confusedly, and no fundamental note is heard at all.

Those who have spent their lives in reading, and taken their wisdom from books, are like people who have obtained precise information about a country from the descriptions of many travellers. Such people can tell a great deal about it; but, after all, they have no connected, clear, and profound knowledge of its real condition. But those who have spent their lives in thinking, resemble the travellers themselves; they alone really know what they are talking about; they are acquainted with the actual state of affairs, and are quite at home in the subject.

The thinker stands in the same relation to the ordinary book-philosopher as an eye-witness does to the historian; he speaks from direct knowledge of his own. That is why all those who think for themselves come, at bottom, to much the same conclusion. The differences they present are due to their different points of view; and when these do not affect the matter, they all speak alike. They merely express the result of their own objective perception of things. There are many passages in my works which I have given to the public only after some hesitation, because of their paradoxical nature; and afterwards I have experienced a pleasant surprise in finding the same opinion recorded in the works of great men who lived long ago.

The book-philosopher merely reports what one person has said and another meant, or the objections raised by a third, and so on. He compares different opinions, ponders, criticises, and tries to get at the truth of the matter; herein on a par with the critical historian. For instance, he will set out to inquire whether Leibnitz was not for some time a follower of Spinoza, and questions of a like nature. The curious student of such matters may find conspicuous examples of what I mean in Herbart's Analytical Elucidation of Morality and Natural Right, and in the same author's Letters on Freedom. Surprise may be felt that a man of the kind should put himself to so much trouble; for, on the face of it, if he would only examine the matter for himself, he would speedily attain his object by the exercise of a little thought. But there is a small difficulty in the way. It does not depend upon his own will. A man can always sit down and read, but not—think. It is with thoughts as with men; they cannot always be summoned at pleasure; we must wait for them to come. Thought about a subject must appear of itself, by a happy and harmonious combination of external stimulus with mental temper and attention; and it is just that which never seems to come to these people.

This truth may be illustrated by what happens in the case of matters affecting our own personal interest. When it is necessary to come to some resolution in a matter of that kind, we cannot well sit down at any given moment and think over the merits of the case and make up our mind; for, if we try to do so, we often find ourselves unable, at that particular moment, to keep our mind fixed upon the subject; it wanders off to other things. Aversion to the matter in question is sometimes to blame for this. In such a case we should not use force, but wait for the proper frame of mind to come of itself. It often comes unexpectedly and returns again and again; and the variety of temper in which we approach it at different moments puts the matter always in a fresh light. It is this long process which is understood by the term a ripe resolution. For the work of coming to a resolution must be distributed; and in the process much that is overlooked at one moment occurs to us at another; and the repugnance vanishes when we find, as we usually do, on a closer inspection, that things are not so bad as they seemed.

This rule applies to the life of the intellect as well as to matters of practice. A man must wait for the right moment. Not even the greatest mind is capable of thinking for itself at all times. Hence a great mind does well to spend its leisure in reading, which, as I have said, is a substitute for thought; it brings stuff to the mind by letting another person do the thinking; although that is always done in a manner not our own. Therefore, a man should not read too much, in order that his mind may not become accustomed to the substitute and thereby forget the reality; that it may not form the habit of walking in well-worn paths; nor by following an alien course of thought grow a stranger to its own. Least of all should a man quite withdraw his gaze from the real world for the mere sake of reading; as the impulse and the temper which prompt to thought of one's own come far oftener from the world of reality than from the world of books. The real life that a man sees before him is the natural subject of thought; and in its strength as the primary element of existence, it can more easily than anything else rouse and influence the thinking mind.

After these considerations, it will not be matter for surprise that a man who thinks for himself can easily be distinguished from the book-philosopher by the very way in which he talks, by his marked earnestness, and the originality, directness, and personal conviction that stamp all his thoughts and expressions. The book-philosopher, on the other hand, lets it be seen that everything he has is second-hand; that his ideas are like the number and trash of an old furniture-shop, collected together from all quarters. Mentally, he is dull and pointless—a copy of a copy. His literary style is made up of conventional, nay, vulgar phrases, and terms that happen to be current; in this respect much like a small State where all the money that circulates is foreign, because it has no coinage of its own.

Mere experience can as little as reading supply the place of thought. It stands to thinking in the same relation in which eating stands to digestion and assimilation. When experience boasts that to its discoveries alone is due the advancement of the human race, it is as though the mouth were to claim the whole credit of maintaining the body in health.

The works of all truly capable minds are distinguished by a character of decision and definiteness, which means they are clear and free from obscurity. A truly capable mind always knows definitely and clearly what it is that it wants to express, whether its medium is prose, verse, or music. Other minds are not decisive and not definite; and by this they may be known for what they are.

The characteristic sign of a mind of the highest order is that it always judges at first hand. Everything it advances is the result of thinking for itself; and this is everywhere evident by the way in which it gives its thoughts utterance. Such a mind is like a Prince. In the realm of intellect its authority is imperial, whereas the authority of minds of a lower order is delegated only; as may be seen in their style, which has no independent stamp of its own.

Every one who really thinks for himself is so far like a monarch. His position is undelegated and supreme. His judgments, like royal decrees, spring from his own sovereign power and proceed directly from himself. He acknowledges authority as little as a monarch admits a command; he subscribes to nothing but what he has himself authorized. The multitude of common minds, laboring under all sorts of current opinions, authorities, prejudices, is like the people, which silently obeys the law and accepts orders from above.

Those who are so zealous and eager to settle debated questions by citing authorities, are really glad when they are able to put the understanding and the insight of others into the field in place of their own, which are wanting. Their number is legion. For, as Seneca says, there is no man but prefers belief to the exercise of judgment—unusquisque mavult credere quam judicare. In their controversies such people make a promiscuous use of the weapon of authority, and strike out at one another with it. If any one chances to become involved in such a contest, he will do well not to try reason and argument as a mode of defence; for against a weapon of that kind these people are like Siegfrieds, with a skin of horn, and dipped in the flood of incapacity for thinking and judging. They will meet his attack by bringing up their authorities as a way of abashing him—argumentum ad verecundiam, and then cry out that they have won the battle.

In the real world, be it never so fair, favorable and pleasant, we always live subject to the law of gravity which we have to be constantly overcoming. But in the world of intellect we are disembodied spirits, held in bondage to no such law, and free from penury and distress. Thus it is that there exists no happiness on earth like that which, at the auspicious moment, a fine and fruitful mind finds in itself.

The presence of a thought is like the presence of a woman we love. We fancy we shall never forget the thought nor become indifferent to the dear one. But out of sight, out of mind! The finest thought runs the risk of being irrevocably forgotten if we do not write it down, and the darling of being deserted if we do not marry her.

There are plenty of thoughts which are valuable to the man who thinks them; but only few of them which have enough strength to produce repercussive or reflect action—I mean, to win the reader's sympathy after they have been put on paper.

But still it must not be forgotten that a true value attaches only to what a man has thought in the first instance for his own case. Thinkers may be classed according as they think chiefly for their own case or for that of others. The former are the genuine independent thinkers; they really think and are really independent; they are the true philosophers; they alone are in earnest. The pleasure and the happiness of their existence consists in thinking. The others are the sophists; they want to seem that which they are not, and seek their happiness in what they hope to get from the world. They are in earnest about nothing else. To which of these two classes a man belongs may be seen by his whole style and manner. Lichtenberg is an example for the former class; Herder, there can be no doubt, belongs to the second.

When one considers how vast and how close to us is the problem of existence—this equivocal, tortured, fleeting, dream-like existence of ours—so vast and so close that a man no sooner discovers it than it overshadows and obscures all other problems and aims; and when one sees how all men, with few and rare exceptions, have no clear consciousness of the problem, nay, seem to be quite unaware of its presence, but busy themselves with everything rather than with this, and live on, taking no thought but for the passing day and the hardly longer span of their own personal future, either expressly discarding the problem or else over-ready to come to terms with it by adopting some system of popular metaphysics and letting it satisfy them; when, I say, one takes all this to heart, one may come to the opinion that man may be said to be a thinking being only in a very remote sense, and henceforth feel no special surprise at any trait of human thoughtlessness or folly; but know, rather, that the normal man's intellectual range of vision does indeed extend beyond that of the brute, whose whole existence is, as it were, a continual present, with no consciousness of the past or the future, but not such an immeasurable distance as is generally supposed.

This is, in fact, corroborated by the way in which most men converse; where their thoughts are found to be chopped up fine, like chaff, so that for them to spin out a discourse of any length is impossible.

If this world were peopled by really thinking beings, it could not be that noise of every kind would be allowed such generous limits, as is the case with the most horrible and at the same time aimless form of it.[1] If Nature had meant man to think, she would not have given him ears; or, at any rate, she would have furnished them with airtight flaps, such as are the enviable possession of the bat. But, in truth, man is a poor animal like the rest, and his powers are meant only to maintain him in the struggle for existence; so he must need keep his ears always open, to announce of themselves, by night as by day, the approach of the pursuer.

[Footnote 1: Translator's Note.—Schopenhauer refers to the cracking of whips. See the Essay On Noise in Studies in Pessimism.]

In the drama, which is the most perfect reflection of human existence, there are three stages in the presentation of the subject, with a corresponding variety in the design and scope of the piece.

At the first, which is also the most common, stage, the drama is never anything more than merely interesting. The persons gain our attention by following their own aims, which resemble ours; the action advances by means of intrigue and the play of character and incident; while wit and raillery season the whole.

At the second stage, the drama becomes sentimental. Sympathy is roused with the hero and, indirectly, with ourselves. The action takes a pathetic turn; but the end is peaceful and satisfactory.

The climax is reached with the third stage, which is the most difficult. There the drama aims at being tragic. We are brought face to face with great suffering and the storm and stress of existence; and the outcome of it is to show the vanity of all human effort. Deeply moved, we are either directly prompted to disengage our will from the struggle of life, or else a chord is struck in us which echoes a similar feeling.

The beginning, it is said, is always difficult. In the drama it is just the contrary; for these the difficulty always lies in the end. This is proved by countless plays which promise very well for the first act or two, and then become muddled, stick or falter—notoriously so in the fourth act—and finally conclude in a way that is either forced or unsatisfactory or else long foreseen by every one. Sometimes, too, the end is positively revolting, as in Lessing's Emilia Galotti, which sends the spectators home in a temper.

This difficulty in regard to the end of a play arises partly because it is everywhere easier to get things into a tangle than to get them out again; partly also because at the beginning we give the author carte blanche to do as he likes, but, at the end, make certain definite demands upon him. Thus we ask for a conclusion that shall be either quite happy or else quite tragic; whereas human affairs do not easily take so decided a turn; and then we expect that it shall be natural, fit and proper, unlabored, and at the same time foreseen by no one.

These remarks are also applicable to an epic and to a novel; but the more compact nature of the drama makes the difficulty plainer by increasing it.

E nihilo nihil fit. That nothing can come from nothing is a maxim true in fine art as elsewhere. In composing an historical picture, a good artist will use living men as a model, and take the groundwork of the faces from life; and then proceed to idealize them in point of beauty or expression. A similar method, I fancy, is adopted by good novelists. In drawing a character they take a general outline of it from some real person of their acquaintance, and then idealize and complete it to suit their purpose.

A novel will be of a high and noble order, the more it represents of inner, and the less it represents of outer, life; and the ratio between the two will supply a means of judging any novel, of whatever kind, from Tristram Shandy down to the crudest and most sensational tale of knight or robber. Tristram Shandy has, indeed, as good as no action at all; and there is not much in La Nouvelle Heloise and Wilhelm Meister. Even Don Quixote has relatively little; and what there is, very unimportant, and introduced merely for the sake of fun. And these four are the best of all existing novels.

Consider, further, the wonderful romances of Jean Paul, and how much inner life is shown on the narrowest basis of actual event. Even in Walter Scott's novels there is a great preponderance of inner over outer life, and incident is never brought in except for the purpose of giving play to thought and emotion; whereas, in bad novels, incident is there on its own account. Skill consists in setting the inner life in motion with the smallest possible array of circumstance; for it is this inner life that really excites our interest.

The business of the novelist is not to relate great events, but to make small ones interesting.

History, which I like to think of as the contrary of poetry [Greek: istoroumenon—pepoiaemenon], is for time what geography is for space; and it is no more to be called a science, in any strict sense of the word, than is geography, because it does not deal with universal truths, but only with particular details. History has always been the favorite study of those who wish to learn something, without having to face the effort demanded by any branch of real knowledge, which taxes the intelligence. In our time history is a favorite pursuit; as witness the numerous books upon the subject which appear every year.

If the reader cannot help thinking, with me, that history is merely the constant recurrence of similar things, just as in a kaleidoscope the same bits of glass are represented, but in different combinations, he will not be able to share all this lively interest; nor, however, will he censure it. But there is a ridiculous and absurd claim, made by many people, to regard history as a part of philosophy, nay, as philosophy itself; they imagine that history can take its place.

The preference shown for history by the greater public in all ages may be illustrated by the kind of conversation which is so much in vogue everywhere in society. It generally consists in one person relating something and then another person relating something else; so that in this way everyone is sure of receiving attention. Both here and in the case of history it is plain that the mind is occupied with particular details. But as in science, so also in every worthy conversation, the mind rises to the consideration of some general truth.

This objection does not, however, deprive history of its value. Human life is short and fleeting, and many millions of individuals share in it, who are swallowed by that monster of oblivion which is waiting for them with ever-open jaws. It is thus a very thankworthy task to try to rescue something—the memory of interesting and important events, or the leading features and personages of some epoch—from the general shipwreck of the world.

From another point of view, we might look upon history as the sequel to zoology; for while with all other animals it is enough to observe the species, with man individuals, and therefore individual events have to be studied; because every man possesses a character as an individual. And since individuals and events are without number or end, an essential imperfection attaches to history. In the study of it, all that a man learns never contributes to lessen that which he has still to learn. With any real science, a perfection of knowledge is, at any rate, conceivable.

When we gain access to the histories of China and of India, the endlessness of the subject-matter will reveal to us the defects in the study, and force our historians to see that the object of science is to recognize the many in the one, to perceive the rules in any given example, and to apply to the life of nations a knowledge of mankind; not to go on counting up facts ad infinitum.

There are two kinds of history; the history of politics and the history of literature and art. The one is the history of the will; the other, that of the intellect. The first is a tale of woe, even of terror: it is a record of agony, struggle, fraud, and horrible murder en masse. The second is everywhere pleasing and serene, like the intellect when left to itself, even though its path be one of error. Its chief branch is the history of philosophy. This is, in fact, its fundamental bass, and the notes of it are heard even in the other kind of history. These deep tones guide the formation of opinion, and opinion rules the world. Hence philosophy, rightly understood, is a material force of the most powerful kind, though very slow in its working. The philosophy of a period is thus the fundamental bass of its history.

The NEWSPAPER, is the second-hand in the clock of history; and it is not only made of baser metal than those which point to the minute and the hour, but it seldom goes right.

The so-called leading article is the chorus to the drama of passing events.

Exaggeration of every kind is as essential to journalism as it is to the dramatic art; for the object of journalism is to make events go as far as possible. Thus it is that all journalists are, in the very nature of their calling, alarmists; and this is their way of giving interest to what they write. Herein they are like little dogs; if anything stirs, they immediately set up a shrill bark.

Therefore, let us carefully regulate the attention to be paid to this trumpet of danger, so that it may not disturb our digestion. Let us recognize that a newspaper is at best but a magnifying-glass, and very often merely a shadow on the wall.

The pen is to thought what the stick is to walking; but you walk most easily when you have no stick, and you think with the greatest perfection when you have no pen in your hand. It is only when a man begins to be old that he likes to use a stick and is glad to take up his pen.

When an hypothesis has once come to birth in the mind, or gained a footing there, it leads a life so far comparable with the life of an organism, as that it assimilates matter from the outer world only when it is like in kind with it and beneficial; and when, contrarily, such matter is not like in kind but hurtful, the hypothesis, equally with the organism, throws it off, or, if forced to take it, gets rid of it again entire.

To gain immortality an author must possess so many excellences that while it will not be easy to find anyone to understand and appreciate them all, there will be men in every age who are able to recognize and value some of them. In this way the credit of his book will be maintained throughout the long course of centuries, in spite of the fact that human interests are always changing.

An author like this, who has a claim to the continuance of his life even with posterity, can only be a man who, over the wide earth, will seek his like in vain, and offer a palpable contrast with everyone else in virtue of his unmistakable distinction. Nay, more: were he, like the wandering Jew, to live through several generations, he would still remain in the same superior position. If this were not so, it would be difficult to see why his thoughts should not perish like those of other men.

Metaphors and similes are of great value, in so far as they explain an unknown relation by a known one. Even the more detailed simile which grows into a parable or an allegory, is nothing more than the exhibition of some relation in its simplest, most visible and palpable form. The growth of ideas rests, at bottom, upon similes; because ideas arise by a process of combining the similarities and neglecting the differences between things. Further, intelligence, in the strict sense of the word, ultimately consists in a seizing of relations; and a clear and pure grasp of relations is all the more often attained when the comparison is made between cases that lie wide apart from one another, and between things of quite different nature. As long as a relation is known to me as existing only in a single case, I have but an individual idea of it—in other words, only an intuitive knowledge of it; but as soon as I see the same relation in two different cases, I have a general idea of its whole nature, and this is a deeper and more perfect knowledge.

Since, then, similes and metaphors are such a powerful engine of knowledge, it is a sign of great intelligence in a writer if his similes are unusual and, at the same time, to the point. Aristotle also observes that by far the most important thing to a writer is to have this power of metaphor; for it is a gift which cannot be acquired, and it is a mark of genius.

As regards reading, to require that a man shall retain everything he has ever read, is like asking him to carry about with him all he has ever eaten. The one kind of food has given him bodily, and the other mental, nourishment; and it is through these two means that he has grown to be what he is. The body assimilates only that which is like it; and so a man retains in his mind only that which interests him, in other words, that which suits his system of thought or his purposes in life.

If a man wants to read good books, he must make a point of avoiding bad ones; for life is short, and time and energy limited.

Repetitio est mater studiorum. Any book that is at all important ought to be at once read through twice; partly because, on a second reading, the connection of the different portions of the book will be better understood, and the beginning comprehended only when the end is known; and partly because we are not in the same temper and disposition on both readings. On the second perusal we get a new view of every passage and a different impression of the whole book, which then appears in another light.

A man's works are the quintessence of his mind, and even though he may possess very great capacity, they will always be incomparably more valuable than his conversation. Nay, in all essential matters his works will not only make up for the lack of personal intercourse with him, but they will far surpass it in solid advantages. The writings even of a man of moderate genius may be edifying, worth reading and instructive, because they are his quintessence—the result and fruit of all his thought and study; whilst conversation with him may be unsatisfactory.

So it is that we can read books by men in whose company we find nothing to please, and that a high degree of culture leads us to seek entertainment almost wholly from books and not from men.



ON CRITICISM.

The following brief remarks on the critical faculty are chiefly intended to show that, for the most part, there is no such thing. It is a rara avis; almost as rare, indeed, as the phoenix, which appears only once in five hundred years.

When we speak of taste—an expression not chosen with any regard for it—we mean the discovery, or, it may be only the recognition, of what is right aesthetically, apart from the guidance of any rule; and this, either because no rule has as yet been extended to the matter in question, or else because, if existing, it is unknown to the artist, or the critic, as the case may be. Instead of taste, we might use the expression aesthetic sense, if this were not tautological.

The perceptive critical taste is, so to speak, the female analogue to the male quality of productive talent or genius. Not capable of begetting great work itself, it consists in a capacity of reception, that is to say, of recognizing as such what is right, fit, beautiful, or the reverse; in other words, of discriminating the good from the bad, of discovering and appreciating the one and condemning the other.

In appreciating a genius, criticism should not deal with the errors in his productions or with the poorer of his works, and then proceed to rate him low; it should attend only to the qualities in which he most excels. For in the sphere of intellect, as in other spheres, weakness and perversity cleave so firmly to human nature that even the most brilliant mind is not wholly and at all times free from them. Hence the great errors to be found even in the works of the greatest men; or as Horace puts it, quandoque bonus dormitat Homerus.

That which distinguishes genius, and should be the standard for judging it, is the height to which it is able to soar when it is in the proper mood and finds a fitting occasion—a height always out of the reach of ordinary talent. And, in like manner, it is a very dangerous thing to compare two great men of the same class; for instance, two great poets, or musicians, or philosophers, or artists; because injustice to the one or the other, at least for the moment, can hardly be avoided. For in making a comparison of the kind the critic looks to some particular merit of the one and at once discovers that it is absent in the other, who is thereby disparaged. And then if the process is reversed, and the critic begins with the latter and discovers his peculiar merit, which is quite of a different order from that presented by the former, with whom it may be looked for in vain, the result is that both of them suffer undue depreciation.

There are critics who severally think that it rests with each one of them what shall be accounted good, and what bad. They all mistake their own toy-trumpets for the trombones of fame.

A drug does not effect its purpose if the dose is too large; and it is the same with censure and adverse criticism when it exceeds the measure of justice.

The disastrous thing for intellectual merit is that it must wait for those to praise the good who have themselves produced nothing but what is bad; nay, it is a primary misfortune that it has to receive its crown at the hands of the critical power of mankind—a quality of which most men possess only the weak and impotent semblance, so that the reality may be numbered amongst the rarest gifts of nature. Hence La Bruyere's remark is, unhappily, as true as it is neat. Apres l'esprit de discernement, he says, ce qu'il y a au monde de plus rare, ce sont les diamans et les perles. The spirit of discernment! the critical faculty! it is these that are lacking. Men do not know how to distinguish the genuine from the false, the corn from the chaff, gold from copper; or to perceive the wide gulf that separates a genius from an ordinary man. Thus we have that bad state of things described in an old-fashioned verse, which gives it as the lot of the great ones here on earth to be recognized only when they are gone:

Es ist nun das Geschick der Grossen fiier auf Erden, Erst wann sie nicht mehr sind; von uns erkannt zu werden.

When any genuine and excellent work makes its appearance, the chief difficulty in its way is the amount of bad work it finds already in possession of the field, and accepted as though it were good. And then if, after a long time, the new comer really succeeds, by a hard struggle, in vindicating his place for himself and winning reputation, he will soon encounter fresh difficulty from some affected, dull, awkward imitator, whom people drag in, with the object of calmly setting him up on the altar beside the genius; not seeing the difference and really thinking that here they have to do with another great man. This is what Yriarte means by the first lines of his twenty-eighth Fable, where he declares that the ignorant rabble always sets equal value on the good and the bad:

Siempre acostumbra hacer el vulgo necio De lo bueno y lo malo igual aprecio.

So even Shakespeare's dramas had, immediately after his death, to give place to those of Ben Jonson, Massinger, Beaumont and Fletcher, and to yield the supremacy for a hundred years. So Kant's serious philosophy was crowded out by the nonsense of Fichte, Schelling, Jacobi, Hegel. And even in a sphere accessible to all, we have seen unworthy imitators quickly diverting public attention from the incomparable Walter Scott. For, say what you will, the public has no sense for excellence, and therefore no notion how very rare it is to find men really capable of doing anything great in poetry, philosophy, or art, or that their works are alone worthy of exclusive attention. The dabblers, whether in verse or in any other high sphere, should be every day unsparingly reminded that neither gods, nor men, nor booksellers have pardoned their mediocrity:

mediocribus esse poetis Non homines, non Di, non concessere columnae.[1]

[Footnote 1: Horace, Ars Poetica, 372.]

Are they not the weeds that prevent the corn coming up, so that they may cover all the ground themselves? And then there happens that which has been well and freshly described by the lamented Feuchtersleben,[1] who died so young: how people cry out in their haste that nothing is being done, while all the while great work is quietly growing to maturity; and then, when it appears, it is not seen or heard in the clamor, but goes its way silently, in modest grief:

"Ist doch"—rufen sie vermessen— Nichts im Werke, nichts gethan!" Und das Grosse, reift indessen Still heran.

Es ersheint nun: niemand sieht es, Niemand hoert es im Geschrei Mit bescheid'ner Trauer zieht es Still vorbei.

[Footnote 1: Translator's Note.—Ernst Freiherr von Feuchtersleben (1806-49), an Austrian physician, philosopher, and poet, and a specialist in medical psychology. The best known of his songs is that beginning "Es ist bestimmt in Gottes Rath" to which Mendelssohn composed one of his finest melodies.]

This lamentable death of the critical faculty is not less obvious in the case of science, as is shown by the tenacious life of false and disproved theories. If they are once accepted, they may go on bidding defiance to truth for fifty or even a hundred years and more, as stable as an iron pier in the midst of the waves. The Ptolemaic system was still held a century after Copernicus had promulgated his theory. Bacon, Descartes and Locke made their way extremely slowly and only after a long time; as the reader may see by d'Alembert's celebrated Preface to the Encyclopedia. Newton was not more successful; and this is sufficiently proved by the bitterness and contempt with which Leibnitz attacked his theory of gravitation in the controversy with Clarke.[1] Although Newton lived for almost forty years after the appearance of the Principia, his teaching was, when he died, only to some extent accepted in his own country, whilst outside England he counted scarcely twenty adherents; if we may believe the introductory note to Voltaire's exposition of his theory. It was, indeed, chiefly owing to this treatise of Voltaire's that the system became known in France nearly twenty years after Newton's death. Until then a firm, resolute, and patriotic stand was made by the Cartesian Vortices; whilst only forty years previously, this same Cartesian philosophy had been forbidden in the French schools; and now in turn d'Agnesseau, the Chancellor, refused Voltaire the Imprimatur for his treatise on the Newtonian doctrine. On the other hand, in our day Newton's absurd theory of color still completely holds the field, forty years after the publication of Goethe's. Hume, too, was disregarded up to his fiftieth year, though he began very early and wrote in a thoroughly popular style. And Kant, in spite of having written and talked all his life long, did not become a famous man until he was sixty.

[Footnote 1: See especially Sec.Sec. 35, 113, 118, 120, 122, 128.]

Artists and poets have, to be sure, more chance than thinkers, because their public is at least a hundred times as large. Still, what was thought of Beethoven and Mozart during their lives? what of Dante? what even of Shakespeare? If the latter's contemporaries had in any way recognized his worth, at least one good and accredited portrait of him would have come down to us from an age when the art of painting flourished; whereas we possess only some very doubtful pictures, a bad copperplate, and a still worse bust on his tomb.[1] And in like manner, if he had been duly honored, specimens of his handwriting would have been preserved to us by the hundred, instead of being confined, as is the case, to the signatures to a few legal documents. The Portuguese are still proud of their only poet Camoens. He lived, however, on alms collected every evening in the street by a black slave whom he had brought with him from the Indies. In time, no doubt, justice will be done everyone; tempo e galant uomo; but it is as late and slow in arriving as in a court of law, and the secret condition of it is that the recipient shall be no longer alive. The precept of Jesus the son of Sirach is faithfully followed: Judge none blessed before his death.[2] He, then, who has produced immortal works, must find comfort by applying to them the words of the Indian myth, that the minutes of life amongst the immortals seem like years of earthly existence; and so, too, that years upon earth are only as the minutes of the immortals.

[Footnote 1: A. Wivell: An Inquiry into the History, Authenticity, and Characteristics of Shakespeare's Portraits; with 21 engravings. London, 1836.]

[Footnote 2: Ecclesiasticus, xi. 28.]

This lack of critical insight is also shown by the fact that, while in every century the excellent work of earlier time is held in honor, that of its own is misunderstood, and the attention which is its due is given to bad work, such as every decade carries with it only to be the sport of the next. That men are slow to recognize genuine merit when it appears in their own age, also proves that they do not understand or enjoy or really value the long-acknowledged works of genius, which they honor only on the score of authority. The crucial test is the fact that bad work—Fichte's philosophy, for example—if it wins any reputation, also maintains it for one or two generations; and only when its public is very large does its fall follow sooner.

Now, just as the sun cannot shed its light but to the eye that sees it, nor music sound but to the hearing ear, so the value of all masterly work in art and science is conditioned by the kinship and capacity of the mind to which it speaks. It is only such a mind as this that possesses the magic word to stir and call forth the spirits that lie hidden in great work. To the ordinary mind a masterpiece is a sealed cabinet of mystery,—an unfamiliar musical instrument from which the player, however much he may flatter himself, can draw none but confused tones. How different a painting looks when seen in a good light, as compared with some dark corner! Just in the same way, the impression made by a masterpiece varies with the capacity of the mind to understand it.

A fine work, then, requires a mind sensitive to its beauty; a thoughtful work, a mind that can really think, if it is to exist and live at all. But alas! it may happen only too often that he who gives a fine work to the world afterwards feels like a maker of fireworks, who displays with enthusiasm the wonders that have taken him so much time and trouble to prepare, and then learns that he has come to the wrong place, and that the fancied spectators were one and all inmates of an asylum for the blind. Still even that is better than if his public had consisted entirely of men who made fireworks themselves; as in this case, if his display had been extraordinarily good, it might possibly have cost him his head.

The source of all pleasure and delight is the feeling of kinship. Even with the sense of beauty it is unquestionably our own species in the animal world, and then again our own race, that appears to us the fairest. So, too, in intercourse with others, every man shows a decided preference for those who resemble him; and a blockhead will find the society of another blockhead incomparably more pleasant than that of any number of great minds put together. Every man must necessarily take his chief pleasure in his own work, because it is the mirror of his own mind, the echo of his own thought; and next in order will come the work of people like him; that is to say, a dull, shallow and perverse man, a dealer in mere words, will give his sincere and hearty applause only to that which is dull, shallow, perverse or merely verbose. On the other hand, he will allow merit to the work of great minds only on the score of authority, in other words, because he is ashamed to speak his opinion; for in reality they give him no pleasure at all. They do not appeal to him; nay, they repel him; and he will not confess this even to himself. The works of genius cannot be fully enjoyed except by those who are themselves of the privileged order. The first recognition of them, however, when they exist without authority to support them, demands considerable superiority of mind.

When the reader takes all this into consideration, he should be surprised, not that great work is so late in winning reputation, but that it wins it at all. And as a matter of fact, fame comes only by a slow and complex process. The stupid person is by degrees forced, and as it were, tamed, into recognizing the superiority of one who stands immediately above him; this one in his turn bows before some one else; and so it goes on until the weight of the votes gradually prevail over their number; and this is just the condition of all genuine, in other words, deserved fame. But until then, the greatest genius, even after he has passed his time of trial, stands like a king amidst a crowd of his own subjects, who do not know him by sight and therefore will not do his behests; unless, indeed, his chief ministers of state are in his train. For no subordinate official can be the direct recipient of the royal commands, as he knows only the signature of his immediate superior; and this is repeated all the way up into the highest ranks, where the under-secretary attests the minister's signature, and the minister that of the king. There are analogous stages to be passed before a genius can attain widespread fame. This is why his reputation most easily comes to a standstill at the very outset; because the highest authorities, of whom there can be but few, are most frequently not to be found; but the further down he goes in the scale the more numerous are those who take the word from above, so that his fame is no more arrested.

We must console ourselves for this state of things by reflecting that it is really fortunate that the greater number of men do not form a judgment on their own responsibility, but merely take it on authority. For what sort of criticism should we have on Plato and Kant, Homer, Shakespeare and Goethe, if every man were to form his opinion by what he really has and enjoys of these writers, instead of being forced by authority to speak of them in a fit and proper way, however little he may really feel what he says. Unless something of this kind took place, it would be impossible for true merit, in any high sphere, to attain fame at all. At the same time it is also fortunate that every man has just so much critical power of his own as is necessary for recognizing the superiority of those who are placed immediately over him, and for following their lead. This means that the many come in the end to submit to the authority of the few; and there results that hierarchy of critical judgments on which is based the possibility of a steady, and eventually wide-reaching, fame.

The lowest class in the community is quite impervious to the merits of a great genius; and for these people there is nothing left but the monument raised to him, which, by the impression it produces on their senses, awakes in them a dim idea of the man's greatness.

Literary journals should be a dam against the unconscionable scribbling of the age, and the ever-increasing deluge of bad and useless books. Their judgments should be uncorrupted, just and rigorous; and every piece of bad work done by an incapable person; every device by which the empty head tries to come to the assistance of the empty purse, that is to say, about nine-tenths of all existing books, should be mercilessly scourged. Literary journals would then perform their duty, which is to keep down the craving for writing and put a check upon the deception of the public, instead of furthering these evils by a miserable toleration, which plays into the hands of author and publisher, and robs the reader of his time and his money.

If there were such a paper as I mean, every bad writer, every brainless compiler, every plagiarist from other's books, every hollow and incapable place-hunter, every sham-philosopher, every vain and languishing poetaster, would shudder at the prospect of the pillory in which his bad work would inevitably have to stand soon after publication. This would paralyze his twitching fingers, to the true welfare of literature, in which what is bad is not only useless but positively pernicious. Now, most books are bad and ought to have remained unwritten. Consequently praise should be as rare as is now the case with blame, which is withheld under the influence of personal considerations, coupled with the maxim accedas socius, laudes lauderis ut absens.

It is quite wrong to try to introduce into literature the same toleration as must necessarily prevail in society towards those stupid, brainless people who everywhere swarm in it. In literature such people are impudent intruders; and to disparage the bad is here duty towards the good; for he who thinks nothing bad will think nothing good either. Politeness, which has its source in social relations, is in literature an alien, and often injurious, element; because it exacts that bad work shall be called good. In this way the very aim of science and art is directly frustrated.

The ideal journal could, to be sure, be written only by people who joined incorruptible honesty with rare knowledge and still rarer power of judgment; so that perhaps there could, at the very most, be one, and even hardly one, in the whole country; but there it would stand, like a just Aeropagus, every member of which would have to be elected by all the others. Under the system that prevails at present, literary journals are carried on by a clique, and secretly perhaps also by booksellers for the good of the trade; and they are often nothing but coalitions of bad heads to prevent the good ones succeeding. As Goethe once remarked to me, nowhere is there so much dishonesty as in literature.

But, above all, anonymity, that shield of all literary rascality, would have to disappear. It was introduced under the pretext of protecting the honest critic, who warned the public, against the resentment of the author and his friends. But where there is one case of this sort, there will be a hundred where it merely serves to take all responsibility from the man who cannot stand by what he has said, or possibly to conceal the shame of one who has been cowardly and base enough to recommend a book to the public for the purpose of putting money into his own pocket. Often enough it is only a cloak for covering the obscurity, incompetence and insignificance of the critic. It is incredible what impudence these fellows will show, and what literary trickery they will venture to commit, as soon as they know they are safe under the shadow of anonymity. Let me recommend a general Anti-criticism, a universal medicine or panacea, to put a stop to all anonymous reviewing, whether it praises the bad or blames the good: Rascal! your name! For a man to wrap himself up and draw his hat over his face, and then fall upon people who are walking about without any disguise—this is not the part of a gentleman, it is the part of a scoundrel and a knave.

An anonymous review has no more authority than an anonymous letter; and one should be received with the same mistrust as the other. Or shall we take the name of the man who consents to preside over what is, in the strict sense of the word, une societe anonyme as a guarantee for the veracity of his colleagues?

Even Rousseau, in the preface to the Nouvelle Heloise, declares tout honnete homme doit avouer les livres qu'il public; which in plain language means that every honorable man ought to sign his articles, and that no one is honorable who does not do so. How much truer this is of polemical writing, which is the general character of reviews! Riemer was quite right in the opinion he gives in his Reminiscences of Goethe:[1] An overt enemy, he says, an enemy who meets you face to face, is an honorable man, who will treat you fairly, and with whom you can come to terms and be reconciled: but an enemy who conceals himself is a base, cowardly scoundrel, who has not courage enough to avow his own judgment; it is not his opinion that he cares about, but only the secret pleasures of wreaking his anger without being found out or punished. This will also have been Goethe's opinion, as he was generally the source from which Riemer drew his observations. And, indeed, Rousseau's maxim applies to every line that is printed. Would a man in a mask ever be allowed to harangue a mob, or speak in any assembly; and that, too, when he was going to attack others and overwhelm them with abuse?

[Footnote 1: Preface, p. xxix.]

Anonymity is the refuge for all literary and journalistic rascality. It is a practice which must be completely stopped. Every article, even in a newspaper, should be accompanied by the name of its author; and the editor should be made strictly responsible for the accuracy of the signature. The freedom of the press should be thus far restricted; so that when a man publicly proclaims through the far-sounding trumpet of the newspaper, he should be answerable for it, at any rate with his honor, if he has any; and if he has none, let his name neutralize the effect of his words. And since even the most insignificant person is known in his own circle, the result of such a measure would be to put an end to two-thirds of the newspaper lies, and to restrain the audacity of many a poisonous tongue.



ON REPUTATION.

Writers may be classified as meteors, planets and fixed stars. A meteor makes a striking effect for a moment. You look up and cry There! and it is gone for ever. Planets and wandering stars last a much longer time. They often outshine the fixed stars and are confounded with them by the inexperienced; but this only because they are near. It is not long before they must yield their place; nay, the light they give is reflected only, and the sphere of their influence is confined to their own orbit—their contemporaries. Their path is one of change and movement, and with the circuit of a few years their tale is told. Fixed stars are the only ones that are constant; their position in the firmament is secure; they shine with a light of their own; their effect to-day is the same as it was yesterday, because, having no parallax, their appearance does not alter with a difference in our standpoint. They belong not to one system, one nation only, but to the universe. And just because they are so very far away, it is usually many years before their light is visible to the inhabitants of this earth.

We have seen in the previous chapter that where a man's merits are of a high order, it is difficult for him to win reputation, because the public is uncritical and lacks discernment. But another and no less serious hindrance to fame comes from the envy it has to encounter. For even in the lowest kinds of work, envy balks even the beginnings of a reputation, and never ceases to cleave to it up to the last. How great a part is played by envy in the wicked ways of the world! Ariosto is right in saying that the dark side of our mortal life predominates, so full it is of this evil:

questa assai piu oscura che serena Vita mortal, tutta d'invidia piena.

For envy is the moving spirit of that secret and informal, though flourishing, alliance everywhere made by mediocrity against individual eminence, no matter of what kind. In his own sphere of work no one will allow another to be distinguished: he is an intruder who cannot be tolerated. Si quelq'un excelle parmi nous, qu'il aille exceller ailleurs! this is the universal password of the second-rate. In addition, then, to the rarity of true merit and the difficulty it has in being understood and recognized, there is the envy of thousands to be reckoned with, all of them bent on suppressing, nay, on smothering it altogether. No one is taken for what he is, but for what others make of him; and this is the handle used by mediocrity to keep down distinction, by not letting it come up as long as that can possibly be prevented.

There are two ways of behaving in regard to merit: either to have some of one's own, or to refuse any to others. The latter method is more convenient, and so it is generally adopted. As envy is a mere sign of deficiency, so to envy merit argues the lack of it. My excellent Balthazar Gracian has given a very fine account of this relation between envy and merit in a lengthy fable, which may be found in his Discreto under the heading Hombre de ostentacion. He describes all the birds as meeting together and conspiring against the peacock, because of his magnificent feathers. If, said the magpie, we could only manage to put a stop to the cursed parading of his tail, there would soon be an end of his beauty; for what is not seen is as good as what does not exist.

This explains how modesty came to be a virtue. It was invented only as a protection against envy. That there have always been rascals to urge this virtue, and to rejoice heartily over the bashfulness of a man of merit, has been shown at length in my chief work.[1] In Lichtenberg's Miscellaneous Writings I find this sentence quoted: Modesty should be the virtue of those who possess no other. Goethe has a well-known saying, which offends many people: It is only knaves who are modest!—Nur die Lumpen sind bescheiden! but it has its prototype in Cervantes, who includes in his Journey up Parnassus certain rules of conduct for poets, and amongst them the following: Everyone whose verse shows him to be a poet should have a high opinion of himself, relying on the proverb that he is a knave who thinks himself one. And Shakespeare, in many of his Sonnets, which gave him the only opportunity he had of speaking of himself, declares, with a confidence equal to his ingenuousness, that what he writes is immortal.[2]

[Footnote 1: Welt als Wille, Vol. II. c. 37.]

[Footnote 2: Collier, one of his critical editors, in his Introduction to the Sonettes, remarks upon this point: "In many of them are to be found most remarkable indications of self-confidence and of assurance in the immortality of his verses, and in this respect the author's opinion was constant and uniform. He never scruples to express it,... and perhaps there is no writer of ancient or modern times who, for the quantity of such writings left behind him, has so frequently or so strongly declared that what he had produced in this department of poetry 'the world would not willingly let die.'"]

A method of underrating good work often used by envy—in reality, however, only the obverse side of it—consists in the dishonorable and unscrupulous laudation of the bad; for no sooner does bad work gain currency than it draws attention from the good. But however effective this method may be for a while, especially if it is applied on a large scale, the day of reckoning comes at last, and the fleeting credit given to bad work is paid off by the lasting discredit which overtakes those who abjectly praised it. Hence these critics prefer to remain anonymous.

A like fate threatens, though more remotely, those who depreciate and censure good work; and consequently many are too prudent to attempt it. But there is another way; and when a man of eminent merit appears, the first effect he produces is often only to pique all his rivals, just as the peacock's tail offended the birds. This reduces them to a deep silence; and their silence is so unanimous that it savors of preconcertion. Their tongues are all paralyzed. It is the silentium livoris described by Seneca. This malicious silence, which is technically known as ignoring, may for a long time interfere with the growth of reputation; if, as happens in the higher walks of learning, where a man's immediate audience is wholly composed of rival workers and professed students, who then form the channel of his fame, the greater public is obliged to use its suffrage without being able to examine the matter for itself. And if, in the end, that malicious silence is broken in upon by the voice of praise, it will be but seldom that this happens entirely apart from some ulterior aim, pursued by those who thus manipulate justice. For, as Goethe says in the West-oestlicher Divan, a man can get no recognition, either from many persons or from only one, unless it is to publish abroad the critic's own discernment:

Denn es ist kein Anerkenen, Weder Vieler, noch des Einen, Wenn es nicht am Tage foerdert, Wo man selbst was moechte scheinen.

The credit you allow to another man engaged in work similar to your own or akin to it, must at bottom be withdrawn from yourself; and you can praise him only at the expense of your own claims.

Accordingly, mankind is in itself not at all inclined to award praise and reputation; it is more disposed to blame and find fault, whereby it indirectly praises itself. If, notwithstanding this, praise is won from mankind, some extraneous motive must prevail. I am not here referring to the disgraceful way in which mutual friends will puff one another into a reputation; outside of that, an effectual motive is supplied by the feeling that next to the merit of doing something oneself, comes that of correctly appreciating and recognizing what others have done. This accords with the threefold division of heads drawn up by Hesiod[1] and afterwards by Machiavelli[2] There are, says the latter, in the capacities of mankind, three varieties: one man will understand a thing by himself; another so far as it is explained to him; a third, neither of himself nor when it is put clearly before him. He, then, who abandons hope of making good his claims to the first class, will be glad to seize the opportunity of taking a place in the second. It is almost wholly owing to this state of things that merit may always rest assured of ultimately meeting with recognition.

[Footnote 1: Works and Days, 293.]

[Footnote 2: The Prince, ch. 22.]

To this also is due the fact that when the value of a work has once been recognized and may no longer be concealed or denied, all men vie in praising and honoring it; simply because they are conscious of thereby doing themselves an honor. They act in the spirit of Xenophon's remark: he must be a wise man who knows what is wise. So when they see that the prize of original merit is for ever out of their reach, they hasten to possess themselves of that which comes second best—the correct appreciation of it. Here it happens as with an army which has been forced to yield; when, just as previously every man wanted to be foremost in the fight, so now every man tries to be foremost in running away. They all hurry forward to offer their applause to one who is now recognized to be worthy of praise, in virtue of a recognition, as a rule unconscious, of that law of homogeneity which I mentioned in the last chapter; so that it may seem as though their way of thinking and looking at things were homogeneous with that of the celebrated man, and that they may at least save the honor of their literary taste, since nothing else is left them.

From this it is plain that, whereas it is very difficult to win fame, it is not hard to keep it when once attained; and also that a reputation which comes quickly does not last very long; for here too, quod cito fit, cito perit. It is obvious that if the ordinary average man can easily recognize, and the rival workers willingly acknowledge, the value of any performance, it will not stand very much above the capacity of either of them to achieve it for themselves. Tantum quisque laudat, quantum se posse sperat imitari—a man will praise a thing only so far as he hopes to be able to imitate it himself. Further, it is a suspicious sign if a reputation comes quickly; for an application of the laws of homogeneity will show that such a reputation is nothing but the direct applause of the multitude. What this means may be seen by a remark once made by Phocion, when he was interrupted in a speech by the loud cheers of the mob. Turning to his friends who were standing close by, he asked: Have I made a mistake and said something stupid?[1]

[Footnote 1: Plutarch, Apophthegms.]

Contrarily, a reputation that is to last a long time must be slow in maturing, and the centuries of its duration have generally to be bought at the cost of contemporary praise. For that which is to keep its position so long, must be of a perfection difficult to attain; and even to recognize this perfection requires men who are not always to be found, and never in numbers sufficiently great to make themselves heard; whereas envy is always on the watch and doing its best to smother their voice. But with moderate talent, which soon meets with recognition, there is the danger that those who possess it will outlive both it and themselves; so that a youth of fame may be followed by an old age of obscurity. In the case of great merit, on the other hand, a man may remain unknown for many years, but make up for it later on by attaining a brilliant reputation. And if it should be that this comes only after he is no more, well! he is to be reckoned amongst those of whom Jean Paul says that extreme unction is their baptism. He may console himself by thinking of the Saints, who also are canonized only after they are dead.

Thus what Mahlmann[1] has said so well in Herodes holds good; in this world truly great work never pleases at once, and the god set up by the multitude keeps his place on the altar but a short time:

Ich denke, das wahre Grosse in der Welt Ist immer nur Das was nicht gleich gefaellt Und wen der Poebel zum Gotte weiht, Der steht auf dem Altar nur kurze Zeit.

[Footnote 1: Translator's Note.—August Mahlmann (1771-1826), journalist, poet and story-writer. His Herodes vor Bethlehem is a parody of Kotzebue's Hussiten vor Naumburg.]

It is worth mention that this rule is most directly confirmed in the case of pictures, where, as connoisseurs well know, the greatest masterpieces are not the first to attract attention. If they make a deep impression, it is not after one, but only after repeated, inspection; but then they excite more and more admiration every time they are seen.

Moreover, the chances that any given work will be quickly and rightly appreciated, depend upon two conditions: firstly, the character of the work, whether high or low, in other words, easy or difficult to understand; and, secondly, the kind of public it attracts, whether large or small. This latter condition is, no doubt, in most instances a, corollary of the former; but it also partly depends upon whether the work in question admits, like books and musical compositions, of being produced in great numbers. By the compound action of these two conditions, achievements which serve no materially useful end—and these alone are under consideration here—will vary in regard to the chances they have of meeting with timely recognition and due appreciation; and the order of precedence, beginning with those who have the greatest chance, will be somewhat as follows: acrobats, circus riders, ballet-dancers, jugglers, actors, singers, musicians, composers, poets (both the last on account of the multiplication of their works), architects, painters, sculptors, philosophers.

The last place of all is unquestionably taken by philosophers because their works are meant not for entertainment, but for instruction, and because they presume some knowledge on the part of the reader, and require him to make an effort of his own to understand them. This makes their public extremely small, and causes their fame to be more remarkable for its length than for its breadth. And, in general, it may be said that the possibility of a man's fame lasting a long time, stands in almost inverse ratio with the chance that it will be early in making its appearance; so that, as regards length of fame, the above order of precedence may be reversed. But, then, the poet and the composer will come in the end to stand on the same level as the philosopher; since, when once a work is committed to writing, it is possible to preserve it to all time. However, the first place still belongs by right to the philosopher, because of the much greater scarcity of good work in this sphere, and the high importance of it; and also because of the possibility it offers of an almost perfect translation into any language. Sometimes, indeed, it happens that a philosopher's fame outlives even his works themselves; as has happened with Thales, Empedocles, Heraclitus, Democritus, Parmenides, Epicurus and many others.

My remarks are, as I have said, confined to achievements that are not of any material use. Work that serves some practical end, or ministers directly to some pleasure of the senses, will never have any difficulty in being duly appreciated. No first-rate pastry-cook could long remain obscure in any town, to say nothing of having to appeal to posterity.

Under fame of rapid growth is also to be reckoned fame of a false and artificial kind; where, for instance, a book is worked into a reputation by means of unjust praise, the help of friends, corrupt criticism, prompting from above and collusion from below. All this tells upon the multitude, which is rightly presumed to have no power of judging for itself. This sort of fame is like a swimming bladder, by its aid a heavy body may keep afloat. It bears up for a certain time, long or short according as the bladder is well sewed up and blown; but still the air comes out gradually, and the body sinks. This is the inevitable fate of all works which are famous by reason of something outside of themselves. False praise dies away; collusion comes to an end; critics declare the reputation ungrounded; it vanishes, and is replaced by so much the greater contempt. Contrarily, a genuine work, which, having the source of its fame in itself, can kindle admiration afresh in every age, resembles a body of low specific gravity, which always keeps up of its own accord, and so goes floating down the stream of time.

Men of great genius, whether their work be in poetry, philosophy or art, stand in all ages like isolated heroes, keeping up single-handed a desperate struggling against the onslaught of an army of opponents.[1] Is not this characteristic of the miserable nature of mankind? The dullness, grossness, perversity, silliness and brutality of by far the greater part of the race, are always an obstacle to the efforts of the genius, whatever be the method of his art; they so form that hostile army to which at last he has to succumb. Let the isolated champion achieve what he may: it is slow to be acknowledged; it is late in being appreciated, and then only on the score of authority; it may easily fall into neglect again, at any rate for a while. Ever afresh it finds itself opposed by false, shallow, and insipid ideas, which are better suited to that large majority, that so generally hold the field. Though the critic may step forth and say, like Hamlet when he held up the two portraits to his wretched mother, Have you eyes? Have you eyes? alas! they have none. When I watch the behavior of a crowd of people in the presence of some great master's work, and mark the manner of their applause, they often remind me of trained monkeys in a show. The monkey's gestures are, no doubt, much like those of men; but now and again they betray that the real inward spirit of these gestures is not in them. Their irrational nature peeps out.

[Footnote 1: Translator's Note.—At this point Schopenhauer interrupts the thread of his discourse to speak at length upon an example of false fame. Those who are at all acquainted with the philosopher's views will not be surprised to find that the writer thus held up to scorn is Hegel; and readers of the other volumes in this series will, with the translator, have had by now quite enough of the subject. The passage is therefore omitted.]

It is often said of a man that he is in advance of his age; and it follows from the above remarks that this must be taken to mean that he is in advance of humanity in general. Just because of this fact, a genius makes no direct appeal except to those who are too rare to allow of their ever forming a numerous body at any one period. If he is in this respect not particularly favored by fortune, he will be misunderstood by his own age; in other words, he will remain unaccepted until time gradually brings together the voices of those few persons who are capable of judging a work of such high character. Then posterity will say: This man was in advance of his age, instead of in advance of humanity; because humanity will be glad to lay the burden of its own faults upon a single epoch.

Hence, if a man has been superior to his own age, he would also have been superior to any other; provided that, in that age, by some rare and happy chance, a few just men, capable of judging in the sphere of his achievements, had been born at the same time with him; just as when, according to a beautiful Indian myth, Vischnu becomes incarnate as a hero, so, too, Brahma at the same time appears as the singer of his deeds; and hence Valmiki, Vyasa and Kalidasa are incarnations of Brahma.

In this sense, then, it may be said that every immortal work puts its age to the proof, whether or no it will be able to recognize the merit of it. As a rule, the men of any age stand such a test no better than the neighbors of Philemon and Baucis, who expelled the deities they failed to recognize. Accordingly, the right standard for judging the intellectual worth of any generation is supplied, not by the great minds that make their appearance in it—for their capacities are the work of Nature, and the possibility of cultivating them a matter of chance circumstance—but by the way in which contemporaries receive their works; whether, I mean, they give their applause soon and with a will, or late and in niggardly fashion, or leave it to be bestowed altogether by posterity.

This last fate will be especially reserved for works of a high character. For the happy chance mentioned above will be all the more certain not to come, in proportion as there are few to appreciate the kind of work done by great minds. Herein lies the immeasurable advantage possessed by poets in respect of reputation; because their work is accessible to almost everyone. If it had been possible for Sir Walter Scott to be read and criticised by only some hundred persons, perhaps in his life-time any common scribbler would have been preferred to him; and afterwards, when he had taken his proper place, it would also have been said in his honor that he was in advance of his age. But if envy, dishonesty and the pursuit of personal aims are added to the incapacity of those hundred persons who, in the name of their generation, are called upon to pass judgment on a work, then indeed it meets with the same sad fate as attends a suitor who pleads before a tribunal of judges one and all corrupt.

In corroboration of this, we find that the history of literature generally shows all those who made knowledge and insight their goal to have remained unrecognized and neglected, whilst those who paraded with the vain show of it received the admiration of their contemporaries, together with the emoluments.

The effectiveness of an author turns chiefly upon his getting the reputation that he should be read. But by practicing various arts, by the operation of chance, and by certain natural affinities, this reputation is quickly won by a hundred worthless people: while a worthy writer may come by it very slowly and tardily. The former possess friends to help them; for the rabble is always a numerous body which holds well together. The latter has nothing but enemies; because intellectual superiority is everywhere and under all circumstances the most hateful thing in the world, and especially to bunglers in the same line of work, who want to pass for something themselves.[1]

[Footnote 1: If the professors of philosophy should chance to think that I am here hinting at them and the tactics they have for more than thirty years pursued toward my works, they have hit the nail upon the head.]

This being so, it is a prime condition for doing any great work—any work which is to outlive its own age, that a man pay no heed to his contemporaries, their views and opinions, and the praise or blame which they bestow. This condition is, however, fulfilled of itself when a man really does anything great, and it is fortunate that it is so. For if, in producing such a work, he were to look to the general opinion or the judgment of his colleagues, they would lead him astray at every step. Hence, if a man wants to go down to posterity, he must withdraw from the influence of his own age. This will, of course, generally mean that he must also renounce any influence upon it, and be ready to buy centuries of fame by foregoing the applause of his contemporaries.

For when any new and wide-reaching truth comes into the world—and if it is new, it must be paradoxical—an obstinate stand will be made against it as long as possible; nay, people will continue to deny it even after they slacken their opposition and are almost convinced of its truth. Meanwhile it goes on quietly working its way, and, like an acid, undermining everything around it. From time to time a crash is heard; the old error comes tottering to the ground, and suddenly the new fabric of thought stands revealed, as though it were a monument just uncovered. Everyone recognizes and admires it. To be sure, this all comes to pass for the most part very slowly. As a rule, people discover a man to be worth listening to only after he is gone; their hear, hear, resounds when the orator has left the platform.

Works of the ordinary type meet with a better fate. Arising as they do in the course of, and in connection with, the general advance in contemporary culture, they are in close alliance with the spirit of their age—in other words, just those opinions which happen to be prevalent at the time. They aim at suiting the needs of the moment. If they have any merit, it is soon recognized; and they gain currency as books which reflect the latest ideas. Justice, nay, more than justice, is done to them. They afford little scope for envy; since, as was said above, a man will praise a thing only so far as he hopes to be able to imitate it himself.

But those rare works which are destined to become the property of all mankind and to live for centuries, are, at their origin, too far in advance of the point at which culture happens to stand, and on that very account foreign to it and the spirit of their own time. They neither belong to it nor are they in any connection with it, and hence they excite no interest in those who are dominated by it. They belong to another, a higher stage of culture, and a time that is still far off. Their course is related to that of ordinary works as the orbit of Uranus to the orbit of Mercury. For the moment they get no justice done to them. People are at a loss how to treat them; so they leave them alone, and go their own snail's pace for themselves. Does the worm see the eagle as it soars aloft?

Of the number of books written in any language about one in 100,000 forms a part of its real and permanent literature. What a fate this one book has to endure before it outstrips those 100,000 and gains its due place of honor! Such a book is the work of an extraordinary and eminent mind, and therefore it is specifically different from the others; a fact which sooner or later becomes manifest.

Let no one fancy that things will ever improve in this respect. No! the miserable constitution of humanity never changes, though it may, to be sure, take somewhat varying forms with every generation. A distinguished mind seldom has its full effect in the life-time of its possessor; because, at bottom, it is completely and properly understood only by minds already akin to it.

As it is a rare thing for even one man out of many millions to tread the path that leads to immortality, he must of necessity be very lonely. The journey to posterity lies through a horribly dreary region, like the Lybian desert, of which, as is well known, no one has any idea who has not seen it for himself. Meanwhile let me before all things recommend the traveler to take light baggage with him; otherwise he will have to throw away too much on the road. Let him never forget the words of Balthazar Gracian: lo bueno si breve, dos vezes bueno—good work is doubly good if it is short. This advice is specially applicable to my own countrymen.

Compared with the short span of time they live, men of great intellect are like huge buildings, standing on a small plot of ground. The size of the building cannot be seen by anyone, just in front of it; nor, for an analogous reason, can the greatness of a genius be estimated while he lives. But when a century has passed, the world recognizes it and wishes him back again.

If the perishable son of time has produced an imperishable work, how short his own life seems compared with that of his child! He is like Semela or Maia—a mortal mother who gave birth to an immortal son; or, contrarily, he is like Achilles in regard to Thetis. What a contrast there is between what is fleeting and what is permanent! The short span of a man's life, his necessitous, afflicted, unstable existence, will seldom allow of his seeing even the beginning of his immortal child's brilliant career; nor will the father himself be taken for that which he really is. It may be said, indeed, that a man whose fame comes after him is the reverse of a nobleman, who is preceded by it.

However, the only difference that it ultimately makes to a man to receive his fame at the hands of contemporaries rather than from posterity is that, in the former case, his admirers are separated from him by space, and in the latter by time. For even in the case of contemporary fame, a man does not, as a rule, see his admirers actually before him. Reverence cannot endure close proximity; it almost always dwells at some distance from its object; and in the presence of the person revered it melts like butter in the sun. Accordingly, if a man is celebrated with his contemporaries, nine-tenths of those amongst whom he lives will let their esteem be guided by his rank and fortune; and the remaining tenth may perhaps have a dull consciousness of his high qualities, because they have heard about him from remote quarters. There is a fine Latin letter of Petrarch's on this incompatibility between reverence and the presence of the person, and between fame and life. It comes second in his Epistolae familiares?[1] and it is addressed to Thomas Messanensis. He there observes, amongst other things, that the learned men of his age all made it a rule to think little of a man's writings if they had even once seen him.

[Footnote 1: In the Venetian edition of 1492.]

Since distance, then, is essential if a famous man is to be recognized and revered, it does not matter whether it is distance of space or of time. It is true that he may sometimes hear of his fame in the one case, but never in the other; but still, genuine and great merit may make up for this by confidently anticipating its posthumous fame. Nay, he who produces some really great thought is conscious of his connection with coming generations at the very moment he conceives it; so that he feels the extension of his existence through centuries and thus lives with posterity as well as for it. And when, after enjoying a great man's work, we are seized with admiration for him, and wish him back, so that we might see and speak with him, and have him in our possession, this desire of ours is not unrequited; for he, too, has had his longing for that posterity which will grant the recognition, honor, gratitude and love denied by envious contemporaries.

If intellectual works of the highest order are not allowed their due until they come before the tribunal of posterity, a contrary fate is prepared for certain brilliant errors which proceed from men of talent, and appear with an air of being well grounded. These errors are defended with so much acumen and learning that they actually become famous with their own age, and maintain their position at least during their author's lifetime. Of this sort are many false theories and wrong criticisms; also poems and works of art, which exhibit some false taste or mannerism favored by contemporary prejudice. They gain reputation and currency simply because no one is yet forthcoming who knows how to refute them or otherwise prove their falsity; and when he appears, as he usually does, in the next generation, the glory of these works is brought to an end. Posthumous judges, be their decision favorable to the appellant or not, form the proper court for quashing the verdict of contemporaries. That is why it is so difficult and so rare to be victorious alike in both tribunals.

The unfailing tendency of time to correct knowledge and judgment should always be kept in view as a means of allaying anxiety, whenever any grievous error appears, whether in art, or science, or practical life, and gains ground; or when some false and thoroughly perverse policy of movement is undertaken and receives applause at the hands of men. No one should be angry, or, still less, despondent; but simply imagine that the world has already abandoned the error in question, and now only requires time and experience to recognize of its own accord that which a clear vision detected at the first glance.

When the facts themselves are eloquent of a truth, there is no need to rush to its aid with words: for time will give it a thousand tongues. How long it may be before they speak, will of course depend upon the difficulty of the subject and the plausibility of the error; but come they will, and often it would be of no avail to try to anticipate them. In the worst cases it will happen with theories as it happens with affairs in practical life; where sham and deception, emboldened by success, advance to greater and greater lengths, until discovery is made almost inevitable. It is just so with theories; through the blind confidence of the blockheads who broach them, their absurdity reaches such a pitch that at last it is obvious even to the dullest eye. We may thus say to such people: the wilder your statements, the better.

There is also some comfort to be found in reflecting upon all the whims and crotchets which had their day and have now utterly vanished. In style, in grammar, in spelling, there are false notions of this sort which last only three or four years. But when the errors are on a large scale, while we lament the brevity of human life, we shall in any case, do well to lag behind our own age when we see it on a downward path. For there are two ways of not keeping on a level with the times. A man may be below it; or he may be above it.



ON GENIUS.

No difference of rank, position, or birth, is so great as the gulf that separates the countless millions who use their head only in the service of their belly, in other words, look upon it as an instrument of the will, and those very few and rare persons who have the courage to say: No! it is too good for that; my head shall be active only in its own service; it shall try to comprehend the wondrous and varied spectacle of this world, and then reproduce it in some form, whether as art or as literature, that may answer to my character as an individual. These are the truly noble, the real noblesse of the world. The others are serfs and go with the soil—glebae adscripti. Of course, I am here referring to those who have not only the courage, but also the call, and therefore the right, to order the head to quit the service of the will; with a result that proves the sacrifice to have been worth the making. In the case of those to whom all this can only partially apply, the gulf is not so wide; but even though their talent be small, so long as it is real, there will always be a sharp line of demarcation between them and the millions.[1]

[Footnote 1: The correct scale for adjusting the hierarchy of intelligences is furnished by the degree in which the mind takes merely individual or approaches universal views of things. The brute recognizes only the individual as such: its comprehension does not extend beyond the limits of the individual. But man reduces the individual to the general; herein lies the exercise of his reason; and the higher his intelligence reaches, the nearer do his general ideas approach the point at which they become universal.]

The works of fine art, poetry and philosophy produced by a nation are the outcome of the superfluous intellect existing in it.

For him who can understand aright—cum grano salis—the relation between the genius and the normal man may, perhaps, be best expressed as follows: A genius has a double intellect, one for himself and the service of his will; the other for the world, of which he becomes the mirror, in virtue of his purely objective attitude towards it. The work of art or poetry or philosophy produced by the genius is simply the result, or quintessence, of this contemplative attitude, elaborated according to certain technical rules.

The normal man, on the other hand, has only a single intellect, which may be called subjective by contrast with the objective intellect of genius. However acute this subjective intellect may be—and it exists in very various degrees of perfection—it is never on the same level with the double intellect of genius; just as the open chest notes of the human voice, however high, are essentially different from the falsetto notes. These, like the two upper octaves of the flute and the harmonics of the violin, are produced by the column of air dividing itself into two vibrating halves, with a node between them; while the open chest notes of the human voice and the lower octave of the flute are produced by the undivided column of air vibrating as a whole. This illustration may help the reader to understand that specific peculiarity of genius which is unmistakably stamped on the works, and even on the physiognomy, of him who is gifted with it. At the same time it is obvious that a double intellect like this must, as a rule, obstruct the service of the will; and this explains the poor capacity often shown by genius in the conduct of life. And what specially characterizes genius is that it has none of that sobriety of temper which is always to be found in the ordinary simple intellect, be it acute or dull.

The brain may be likened to a parasite which is nourished as a part of the human frame without contributing directly to its inner economy; it is securely housed in the topmost story, and there leads a self-sufficient and independent life. In the same way it may be said that a man endowed with great mental gifts leads, apart from the individual life common to all, a second life, purely of the intellect. He devotes himself to the constant increase, rectification and extension, not of mere learning, but of real systematic knowledge and insight; and remains untouched by the fate that overtakes him personally, so long as it does not disturb him in his work. It is thus a life which raises a man and sets him above fate and its changes. Always thinking, learning, experimenting, practicing his knowledge, the man soon comes to look upon this second life as the chief mode of existence, and his merely personal life as something subordinate, serving only to advance ends higher than itself.

An example of this independent, separate existence is furnished by Goethe. During the war in the Champagne, and amid all the bustle of the camp, he made observations for his theory of color; and as soon as the numberless calamities of that war allowed of his retiring for a short time to the fortress of Luxembourg, he took up the manuscript of his Farbenlehre. This is an example which we, the salt of the earth, should endeavor to follow, by never letting anything disturb us in the pursuit of our intellectual life, however much the storm of the world may invade and agitate our personal environment; always remembering that we are the sons, not of the bondwoman, but of the free. As our emblem and coat of arms, I propose a tree mightily shaken by the wind, but still bearing its ruddy fruit on every branch; with the motto Dum convellor mitescunt, or Conquassata sed ferax.

That purely intellectual life of the individual has its counterpart in humanity as a whole. For there, too, the real life is the life of the will, both in the empirical and in the transcendental meaning of the word. The purely intellectual life of humanity lies in its effort to increase knowledge by means of the sciences, and its desire to perfect the arts. Both science and art thus advance slowly from one generation to another, and grow with the centuries, every race as it hurries by furnishing its contribution. This intellectual life, like some gift from heaven, hovers over the stir and movement of the world; or it is, as it were, a sweet-scented air developed out of the ferment itself—the real life of mankind, dominated by will; and side by side with the history of nations, the history of philosophy, science and art takes its innocent and bloodless way.

The difference between the genius and the ordinary man is, no doubt, a quantitative one, in so far as it is a difference of degree; but I am tempted to regard it also as qualitative, in view of the fact that ordinary minds, notwithstanding individual variation, have a certain tendency to think alike. Thus on similar occasions their thoughts at once all take a similar direction, and run on the same lines; and this explains why their judgments constantly agree—not, however, because they are based on truth. To such lengths does this go that certain fundamental views obtain amongst mankind at all times, and are always being repeated and brought forward anew, whilst the great minds of all ages are in open or secret opposition to them.

A genius is a man in whose mind the world is presented as an object is presented in a mirror, but with a degree more of clearness and a greater distinction of outline than is attained by ordinary people. It is from him that humanity may look for most instruction; for the deepest insight into the most important matters is to be acquired, not by an observant attention to detail, but by a close study of things as a whole. And if his mind reaches maturity, the instruction he gives will be conveyed now in one form, now in another. Thus genius may be defined as an eminently clear consciousness of things in general, and therefore, also of that which is opposed to them, namely, one's own self.

The world looks up to a man thus endowed, and expects to learn something about life and its real nature. But several highly favorable circumstances must combine to produce genius, and this is a very rare event. It happens only now and then, let us say once in a century, that a man is born whose intellect so perceptibly surpasses the normal measure as to amount to that second faculty which seems to be accidental, as it is out of all relation to the will. He may remain a long time without being recognized or appreciated, stupidity preventing the one and envy the other. But should this once come to pass, mankind will crowd round him and his works, in the hope that he may be able to enlighten some of the darkness of their existence or inform them about it. His message is, to some extent, a revelation, and he himself a higher being, even though he may be but little above the ordinary standard.

Like the ordinary man, the genius is what he is chiefly for himself. This is essential to his nature: a fact which can neither be avoided nor altered, he may be for others remains a matter of chance and of secondary importance. In no case can people receive from his mind more than a reflection, and then only when he joins with them in the attempt to get his thought into their heads; where, however, it is never anything but an exotic plant, stunted and frail.

In order to have original, uncommon, and perhaps even immortal thoughts, it is enough to estrange oneself so fully from the world of things for a few moments, that the most ordinary objects and events appear quite new and unfamiliar. In this way their true nature is disclosed. What is here demanded cannot, perhaps, be said to be difficult; it is not in our power at all, but is just the province of genius.

By itself, genius can produce original thoughts just as little as a woman by herself can bear children. Outward circumstances must come to fructify genius, and be, as it were, a father to its progeny.

The mind of genius is among other minds what the carbuncle is among precious stones: it sends forth light of its own, while the others reflect only that which they have received. The relation of the genius to the ordinary mind may also be described as that of an idio-electrical body to one which merely is a conductor of electricity.

The mere man of learning, who spends his life in teaching what he has learned, is not strictly to be called a man of genius; just as idio-electrical bodies are not conductors. Nay, genius stands to mere learning as the words to the music in a song. A man of learning is a man who has learned a great deal; a man of genius, one from whom we learn something which the genius has learned from nobody. Great minds, of which there is scarcely one in a hundred millions, are thus the lighthouses of humanity; and without them mankind would lose itself in the boundless sea of monstrous error and bewilderment.

And so the simple man of learning, in the strict sense of the word—the ordinary professor, for instance—looks upon the genius much as we look upon a hare, which is good to eat after it has been killed and dressed up. So long as it is alive, it is only good to shoot at.

He who wishes to experience gratitude from his contemporaries, must adjust his pace to theirs. But great things are never produced in this way. And he who wants to do great things must direct his gaze to posterity, and in firm confidence elaborate his work for coming generations. No doubt, the result may be that he will remain quite unknown to his contemporaries, and comparable to a man who, compelled to spend his life upon a lonely island, with great effort sets up a monument there, to transmit to future sea-farers the knowledge of his existence. If he thinks it a hard fate, let him console himself with the reflection that the ordinary man who lives for practical aims only, often suffers a like fate, without having any compensation to hope for; inasmuch as he may, under favorable conditions, spend a life of material production, earning, buying, building, fertilizing, laying out, founding, establishing, beautifying with daily effort and unflagging zeal, and all the time think that he is working for himself; and yet in the end it is his descendants who reap the benefit of it all, and sometimes not even his descendants. It is the same with the man of genius; he, too, hopes for his reward and for honor at least; and at last finds that he has worked for posterity alone. Both, to be sure, have inherited a great deal from their ancestors.

The compensation I have mentioned as the privilege of genius lies, not in what it is to others, but in what it is to itself. What man has in any real sense lived more than he whose moments of thought make their echoes heard through the tumult of centuries? Perhaps, after all, it would be the best thing for a genius to attain undisturbed possession of himself, by spending his life in enjoying the pleasure of his own thoughts, his own works, and by admitting the world only as the heir of his ample existence. Then the world would find the mark of his existence only after his death, as it finds that of the Ichnolith.[1]

[Footnote 1: Translator's Note.—For an illustration of this feeling in poetry, Schopenhauer refers the reader to Byron's Prophecy of Dante: introd. to C. 4.]

It is not only in the activity of his highest powers that the genius surpasses ordinary people. A man who is unusually well-knit, supple and agile, will perform all his movements with exceptional ease, even with comfort, because he takes a direct pleasure in an activity for which he is particularly well-equipped, and therefore often exercises it without any object. Further, if he is an acrobat or a dancer, not only does he take leaps which other people cannot execute, but he also betrays rare elasticity and agility in those easier steps which others can also perform, and even in ordinary walking. In the same way a man of superior mind will not only produce thoughts and works which could never have come from another; it will not be here alone that he will show his greatness; but as knowledge and thought form a mode of activity natural and easy to him, he will also delight himself in them at all times, and so apprehend small matters which are within the range of other minds, more easily, quickly and correctly than they. Thus he will take a direct and lively pleasure in every increase of Knowledge, every problem solved, every witty thought, whether of his own or another's; and so his mind will have no further aim than to be constantly active. This will be an inexhaustible spring of delight; and boredom, that spectre which haunts the ordinary man, can never come near him.