Then, too, the masterpieces of past and contemporary men of genius exist in their fullness for him alone. If a great product of genius is recommended to the ordinary, simple mind, it will take as much pleasure in it as the victim of gout receives in being invited to a ball. The one goes for the sake of formality, and the other reads the book so as not to be in arrear. For La Bruyere was quite right when he said: All the wit in the world is lost upon him who has none. The whole range of thought of a man of talent, or of a genius, compared with the thoughts of the common man, is, even when directed to objects essentially the same, like a brilliant oil-painting, full of life, compared with a mere outline or a weak sketch in water-color.

All this is part of the reward of genius, and compensates him for a lonely existence in a world with which he has nothing in common and no sympathies. But since size is relative, it comes to the same thing whether I say, Caius was a great man, or Caius has to live amongst wretchedly small people: for Brobdingnack and Lilliput vary only in the point from which they start. However great, then, however admirable or instructive, a long posterity may think the author of immortal works, during his lifetime he will appear to his contemporaries small, wretched, and insipid in proportion. This is what I mean by saying that as there are three hundred degrees from the base of a tower to the summit, so there are exactly three hundred from the summit to the base. Great minds thus owe little ones some indulgence; for it is only in virtue of these little minds that they themselves are great.

Let us, then, not be surprised if we find men of genius generally unsociable and repellent. It is not their want of sociability that is to blame. Their path through the world is like that of a man who goes for a walk on a bright summer morning. He gazes with delight on the beauty and freshness of nature, but he has to rely wholly on that for entertainment; for he can find no society but the peasants as they bend over the earth and cultivate the soil. It is often the case that a great mind prefers soliloquy to the dialogue he may have in this world. If he condescends to it now and then, the hollowness of it may possibly drive him back to his soliloquy; for in forgetfulness of his interlocutor, or caring little whether he understands or not, he talks to him as a child talks to a doll.

Modesty in a great mind would, no doubt, be pleasing to the world; but, unluckily, it is a contradictio in adjecto. It would compel a genius to give the thoughts and opinions, nay, even the method and style, of the million preference over his own; to set a higher value upon them; and, wide apart as they are, to bring his views into harmony with theirs, or even suppress them altogether, so as to let the others hold the field. In that case, however, he would either produce nothing at all, or else his achievements would be just upon a level with theirs. Great, genuine and extraordinary work can be done only in so far as its author disregards the method, the thoughts, the opinions of his contemporaries, and quietly works on, in spite of their criticism, on his side despising what they praise. No one becomes great without arrogance of this sort. Should his life and work fall upon a time which cannot recognize and appreciate him, he is at any rate true to himself; like some noble traveler forced to pass the night in a miserable inn; when morning comes, he contentedly goes his way.

A poet or philosopher should have no fault to find with his age if it only permits him to do his work undisturbed in his own corner; nor with his fate if the corner granted him allows of his following his vocation without having to think about other people.

For the brain to be a mere laborer in the service of the belly, is indeed the common lot of almost all those who do not live on the work of their hands; and they are far from being discontented with their lot. But it strikes despair into a man of great mind, whose brain-power goes beyond the measure necessary for the service of the will; and he prefers, if need be, to live in the narrowest circumstances, so long as they afford him the free use of his time for the development and application of his faculties; in other words, if they give him the leisure which is invaluable to him.

It is otherwise with ordinary people: for them leisure has no value in itself, nor is it, indeed, without its dangers, as these people seem to know. The technical work of our time, which is done to an unprecedented perfection, has, by increasing and multiplying objects of luxury, given the favorites of fortune a choice between more leisure and culture upon the one side, and additional luxury and good living, but with increased activity, upon the other; and, true to their character, they choose the latter, and prefer champagne to freedom. And they are consistent in their choice; for, to them, every exertion of the mind which does not serve the aims of the will is folly. Intellectual effort for its own sake, they call eccentricity. Therefore, persistence in the aims of the will and the belly will be concentricity; and, to be sure, the will is the centre, the kernel of the world.

But in general it is very seldom that any such alternative is presented. For as with money, most men have no superfluity, but only just enough for their needs, so with intelligence; they possess just what will suffice for the service of the will, that is, for the carrying on of their business. Having made their fortune, they are content to gape or to indulge in sensual pleasures or childish amusements, cards or dice; or they will talk in the dullest way, or dress up and make obeisance to one another. And how few are those who have even a little superfluity of intellectual power! Like the others they too make themselves a pleasure; but it is a pleasure of the intellect. Either they will pursue some liberal study which brings them in nothing, or they will practice some art; and in general, they will be capable of taking an objective interest in things, so that it will be possible to converse with them. But with the others it is better not to enter into any relations at all; for, except when they tell the results of their own experience or give an account of their special vocation, or at any rate impart what they have learned from some one else, their conversation will not be worth listening to; and if anything is said to them, they will rarely grasp or understand it aright, and it will in most cases be opposed to their own opinions. Balthazar Gracian describes them very strikingly as men who are not men—hombres che non lo son. And Giordano Bruno says the same thing: What a difference there is in having to do with men compared with those who are only made in their image and likeness![1] And how wonderfully this passage agrees with that remark in the Kurral: The common people look like men but I have never seen anything quite like them. If the reader will consider the extent to which these ideas agree in thought and even in expression, and in the wide difference between them in point of date and nationality, he cannot doubt but that they are at one with the facts of life. It was certainly not under the influence of those passages that, about twenty years ago, I tried to get a snuff-box made, the lid of which should have two fine chestnuts represented upon it, if possible in mosaic; together with a leaf which was to show that they were horse-chestnuts. This symbol was meant to keep the thought constantly before my mind. If anyone wishes for entertainment, such as will prevent him feeling solitary even when he is alone, let me recommend the company of dogs, whose moral and intellectual qualities may almost afford delight and gratification.

[Footnote 1: Opera: ed. Wagner, 1. 224.]

Still, we should always be careful to avoid being unjust. I am often surprised by the cleverness, and now and again by the stupidity of my dog; and I have similar experiences with mankind. Countless times, in indignation at their incapacity, their total lack of discernment, their bestiality, I have been forced to echo the old complaint that folly is the mother and the nurse of the human race:

Humani generis mater nutrixque profecto Stultitia est.

But at other times I have been astounded that from such a race there could have gone forth so many arts and sciences, abounding in so much use and beauty, even though it has always been the few that produce them. Yet these arts and sciences have struck root, established and perfected themselves: and the race has with persistent fidelity preserved Homer, Plato, Horace and others for thousands of years, by copying and treasuring their writings, thus saving them from oblivion, in spite of all the evils and atrocities that have happened in the world. Thus the race has proved that it appreciates the value of these things, and at the same time it can form a correct view of special achievements or estimate signs of judgment and intelligence. When this takes place amongst those who belong to the great multitude, it is by a kind of inspiration. Sometimes a correct opinion will be formed by the multitude itself; but this is only when the chorus of praise has grown full and complete. It is then like the sound of untrained voices; where there are enough of them, it is always harmonious.

Those who emerge from the multitude, those who are called men of genius, are merely the lucida intervalla of the whole human race. They achieve that which others could not possibly achieve. Their originality is so great that not only is their divergence from others obvious, but their individuality is expressed with such force, that all the men of genius who have ever existed show, every one of them, peculiarities of character and mind; so that the gift of his works is one which he alone of all men could ever have presented to the world. This is what makes that simile of Ariosto's so true and so justly celebrated: Natura lo fece e poi ruppe lo stampo. After Nature stamps a man of genius, she breaks the die.

But there is always a limit to human capacity; and no one can be a great genius without having some decidedly weak side, it may even be, some intellectual narrowness. In other words, there will foe some faculty in which he is now and then inferior to men of moderate endowments. It will be a faculty which, if strong, might have been an obstacle to the exercise of the qualities in which he excels. What this weak point is, it will always be hard to define with any accuracy even in a given case. It may be better expressed indirectly; thus Plato's weak point is exactly that in which Aristotle is strong, and vice versa; and so, too, Kant is deficient just where Goethe is great.

Now, mankind is fond of venerating something; but its veneration is generally directed to the wrong object, and it remains so directed until posterity comes to set it right. But the educated public is no sooner set right in this, than the honor which is due to genius degenerates; just as the honor which the faithful pay to their saints easily passes into a frivolous worship of relics. Thousands of Christians adore the relics of a saint whose life and doctrine are unknown to them; and the religion of thousands of Buddhists lies more in veneration of the Holy Tooth or some such object, or the vessel that contains it, or the Holy Bowl, or the fossil footstep, or the Holy Tree which Buddha planted, than in the thorough knowledge and faithful practice of his high teaching. Petrarch's house in Arqua; Tasso's supposed prison in Ferrara; Shakespeare's house in Stratford, with his chair; Goethe's house in Weimar, with its furniture; Kant's old hat; the autographs of great men; these things are gaped at with interest and awe by many who have never read their works. They cannot do anything more than just gape.

The intelligent amongst them are moved by the wish to see the objects which the great man habitually had before his eyes; and by a strange illusion, these produce the mistaken notion that with the objects they are bringing back the man himself, or that something of him must cling to them. Akin to such people are those who earnestly strive to acquaint themselves with the subject-matter of a poet's works, or to unravel the personal circumstances and events in his life which have suggested particular passages. This is as though the audience in a theatre were to admire a fine scene and then rush upon the stage to look at the scaffolding that supports it. There are in our day enough instances of these critical investigators, and they prove the truth of the saying that mankind is interested, not in the form of a work, that is, in its manner of treatment, but in its actual matter. All it cares for is the theme. To read a philosopher's biography, instead of studying his thoughts, is like neglecting a picture and attending only to the style of its frame, debating whether it is carved well or ill, and how much it cost to gild it.

This is all very well. However, there is another class of persons whose interest is also directed to material and personal considerations, but they go much further and carry it to a point where it becomes absolutely futile. Because a great man has opened up to them the treasures of his inmost being, and, by a supreme effort of his faculties, produced works which not only redound to their elevation and enlightenment, but will also benefit their posterity to the tenth and twentieth generation; because he has presented mankind with a matchless gift, these varlets think themselves justified in sitting in judgment upon his personal morality, and trying if they cannot discover here or there some spot in him which will soothe the pain they feel at the sight of so great a mind, compared with the overwhelming feeling of their own nothingness.

This is the real source of all those prolix discussions, carried on in countless books and reviews, on the moral aspect of Goethe's life, and whether he ought not to have married one or other of the girls with whom he fell in love in his young days; whether, again, instead of honestly devoting himself to the service of his master, he should not have been a man of the people, a German patriot, worthy of a seat in the Paulskirche, and so on. Such crying ingratitude and malicious detraction prove that these self-constituted judges are as great knaves morally as they are intellectually, which is saying a great deal.

A man of talent will strive for money and reputation; but the spring that moves genius to the production of its works is not as easy to name. Wealth is seldom its reward. Nor is it reputation or glory; only a Frenchman could mean that. Glory is such an uncertain thing, and, if you look at it closely, of so little value. Besides it never corresponds to the effort you have made:

Responsura tuo nunquam est par fama labori.

Nor, again, is it exactly the pleasure it gives you; for this is almost outweighed by the greatness of the effort. It is rather a peculiar kind of instinct, which drives the man of genius to give permanent form to what he sees and feels, without being conscious of any further motive. It works, in the main, by a necessity similar to that which makes a tree bear its fruit; and no external condition is needed but the ground upon which it is to thrive.

On a closer examination, it seems as though, in the case of a genius, the will to live, which is the spirit of the human species, were conscious of having, by some rare chance, and for a brief period, attained a greater clearness of vision, and were now trying to secure it, or at least the outcome of it, for the whole species, to which the individual genius in his inmost being belongs; so that the light which he sheds about him may pierce the darkness and dullness of ordinary human consciousness and there produce some good effect.

Arising in some such way, this instinct drives the genius to carry his work to completion, without thinking of reward or applause or sympathy; to leave all care for his own personal welfare; to make his life one of industrious solitude, and to strain his faculties to the utmost. He thus comes to think more about posterity than about contemporaries; because, while the latter can only lead him astray, posterity forms the majority of the species, and time will gradually bring the discerning few who can appreciate him. Meanwhile it is with him as with the artist described by Goethe; he has no princely patron to prize his talents, no friend to rejoice with him:

Ein Fuerst der die Talente schaetzt, Ein Freund, der sich mit mir ergoetzt, Die haben leider mir gefehlt.

His work is, as it were, a sacred object and the true fruit of his life, and his aim in storing it away for a more discerning posterity will be to make it the property of mankind. An aim like this far surpasses all others, and for it he wears the crown of thorns which is one day to bloom into a wreath of laurel. All his powers are concentrated in the effort to complete and secure his work; just as the insect, in the last stage of its development, uses its whole strength on behalf of a brood it will never live to see; it puts its eggs in some place of safety, where, as it well knows, the young will one day find life and nourishment, and then dies in confidence.

THE END