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own way, which I think best for this purpose. And what is simpler than this way? I would not have the impure water, which has long been unfit to use, preserved ; but I would not have it thrown away before we know whence to get purer. . . . Orthodoxy, thank God, we were pretty well done with ; a partition-wall had been built between it and Philosopley, behind which each could go her own way without troubling the other. But what are they doing now? They are tearing down this wall, and, under the pretext of making us rational Christians, are making us very irrational philosophers. . . We are agreed that our old religious system is false ; but I cannot say with you that it is a patchwork of bunglers and half-philosophers. I know nothing in the world in which human acuteness has been more displayed or exercised than in that.” Lessing was always for freedom, never for looseness, of thought, still less for laxity of principle. But it must be a real freedom, and not that vain struggle to become a majority, which, if it succeed, escapes from heresy only to make heretics of the other șide. Abire ad plures would with him have meant, not bodily but spiritual death. He did not love the fanaticism of innovation a whit better than that of conservatism. To his sane understanding, both were equally hateful, as different masks of the same selfish bully. Coleridge said that toleration was impossible till indifference made it worthless. Lessing did not wish for toleration, because that implies authority, nor could his earnest temper have conceived of indifference. But he thought it as absurd to regulate opinion as the colour of the hair. Here, too, he would have agreed with Selden, that “it is a vain thing to talk of an heretic, for a man for his heart cannot think any otherwise than he does think.” Herr Stahr's chapters on this point, bating a little exaltation of tone, are very satisfactory; though, in his desire to make a leader of Lessing, he almost represents him as being what he shunned-the founder of a sect. The fact is, that Lessing only formulated in his own way a general movement of thought, and what mainly interests us is

* To the same, 2nd February 1774.

that in him we see a layman, alike indifferent to clerisy and heresy, giving energetic and pointed utterance to those opinions of his class which the clergy are content to ignore so long as they remain esoteric. At present the world has advanced to where Lessing stood, while the Church has done its best to stand stock-still; and it would be a curious were it not a melancholy spectacle, to see the indifference with which the laity look on while theologians thrash their wheatless straw, utterly unconscious that there is no longer any common term possible that could bring their creeds again to any point of bearing on the practical life of men. Fielding never made a profounder stroke of satire than in Squire Western's indignant “Art not in the pulpit now! When art got up there, I never mind what dost say."

As an author, Lessing began his career at a period when we cannot say that German literature was at its lowest ebb, only because there had not yet been any flood-tide. That may be said to have begun with him. When we say German literature, we mean so much of it as has any interest outside of Germany. That part of the literary histories which treats of the dead waste and middle of the eighteenth century reads like a collection of obituaries, and were better reduced to the conciseness of epitaph, though the authors of them seem to find a melancholy pleasure, much like that of undertakers, in the task by which they live. Gottsched reigned supreme on the legitimate throne of dulness. In Switzerland, Bodmer essayed a more republican form of the same authority. At that time a traveller reports eight hundred authors in Zürich alonel Young aspirants for lettered fame, in imagination clear away the lichens from their forgotten headstones, and read humbly the “As I am, so thou must be," on all ! Everybody remembers how Goethe, in the seventh book of his autobiography, tells the story of his visit to Gottsched. He enters by mistake an inner room at the moment when a frightened servant brings the discrowned potentate a periwig large enough to reach to the elbows. That awful emblem of pretentious sham seems to be the best type of the literature then predominant. We always fancy it


set upon a pole, like Gessler's hat, with nothing in it that was not wooden, for all men to bow down before. The periwig style had its natural place in the age of Louis XIV., and there were certainly brains under it. But it had run out in France, as the tie-wig style of Pope had in England. In Germany it was the mere imitation of an imitation. Will it be believed that Gottsched recommends his Art of Poetry to beginners, in preference to Breitinger's, because it “ will enable them to produce every species of poem in a correct style, while out of that no one can learn to make an ode or a cantata ?” "Whoever," he says, “buys Breitinger's book in order to learn how to make poems, will too late regret his money.' Gottsched, perhaps, did some service even by his advocacy of French models, by calling attention to the fact that there was such a thing as style, and that it was of some consequence.

But not one of the authors of that time can be said to survive, nor to be known even by rame except to Germans, unless it be Klopstock, Herder, Wieland, and Gellert. And the latter's immortality, such as it is, reminds us somewhat of that Lady Gosling's, whose obituary stated that she was “mentioned by Mrs. Barbauld in her Life of Richardson 'under the name of Miss M., afterwards Lady G.”” Klopstock himself is rather remembered for what he was than what he is-an immortality of unreadableness ; and we much doubt if many Germans put the “ Oberon" in their trunks when they start on a journey. Herder alone survives, if not as a contributor to literature, strictly so called, yet as a thinker and as part of the intellectual impulse of the day. But at the time, though there were two parties, yet within the lines of each there was a loyal reciprocity of what is called on such occasions appreciation. Wig ducked to wig, each blockhead had a brother, and there was a universal apotheosis of the mediocrity of our set. If the greatest happiness of the greatest number be the true theory, this was all that could be desired. Even Lessing at one time looked up to Hagedorn as the German Horace. If Hagedorn were pleased,

* Gervinus, iv. 62.

what mattered it to Horace? Worse almost than this was the universal pedantry. The solemn bray of one pedagogue was taken up and prolonged in a thousand echoes. There was not only no originality, but no desire for it-perhaps even a dread of it, as something that would break the entente cordiale of placid mutual assurance. No great writer had given that tone of good-breeding to the language which would gain it entrance to the society of European literature. No man of genius had made it a necessity of polite culture. It was still as rudely provincial as the Scotch of Allan Ramsay. Frederick the Great was to be forgiven if, with his practical turn, he gave himself wholly to French, which had replaced Latin as a cosmopolitan tongue. It had lightness, ease, fluency, elegance-in short, all the good qualities that German lacked. The study of French models was perhaps the best thing for German literature before it got out of long-clothes. It was bad only when it became a tradition and a tyranny. Lessing did more than any other man to overthrow this foreign usurpation when it had done its work.

The same battle had to be fought on English soil also, and indeed is hardly over yet. For the renewed outbreak of the old quarrel between Classical and Romantic grew out of nothing more than an attempt of the modern spirit to free itself from laws of taste laid down by the Grand Siècle. But we must not forget the debt which all modern prose literature owes to France. It is true that Machiavelli was the first to write with classic pith and point in a living language ; but he is, for all that, properly an ancient. Montaigne is really the first modern writer—the first who assimilated his Greek and Latin, and showed that an author might be original and charming, even classical, if he did not try too hard. He is also the first modern critic, and his judgments of the writers of antiquity are those of an equal. He made the ancients his servants, to help him think in Gascon French ; and, in spite of his endless quotations, began the crusade against pedantry. It was not, however, till a century later that the reform became complete in France, and then crossed the Channel. Milton is

still a pedant in his prose, and not seldom even in his great poem. Dryden was the first Englishman who wrote perfectly easy prose, and he owed his style and turn of thought to his French reading. His learning sits easily on him, and has a modern cut. So far, the French influence was one of unmixed good, for it rescued us from pedantry. It must have done something for Germany in the same direction. For its effect on poetry we cannot say as much ; and its traditions had themselves become pedantry in another shape when Lessing made an end of it. He himself certainly learned to write prose of Diderot; and whatever Herr Stahr may think of it, his share in the Letters on German Literature got its chief inspiration from France.

It is in the Dramaturgie that Lessing first properly enters as an influence into European literature. He may be said to have begun the revolt from pseudo-classicism in poetry, and to have

thus unconsciously the founder of romanticism. Wieland's translation of Shakespeare had, it is true, appeared in 1762 ; but Lessing was the first critic whose profound knowledge of the Greek drama and apprehension of its principles gave weight to his judgment, who recognised in what the true greatness of the poet consisted, and found him to be really nearer the Greeks than any other modern. This was because Lessing looked always more to the life than the form—because he knew the classics, and did not merely cant about them. But if the authority of Lessing, by making people feel easy in their admiration for Shakespeare, perhaps increased the influence of his works, and if his discussions of Aristotle had given à new starting-point to modern criticism, it may be doubted whether the immediate effect on literature of his own critical essays was so great as Herr Stahr supposes. Surely “Götz” and “The Robbers” are nothing like what he would have called Shakespearian, and the whole Sturm und Drang tendency would have roused in him nothing but antipathy. Fixed principles in criticism are useful in helping us to form a judgment of works already produced, but it is questionable whether they are not rather a hindrance than a help to living

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