upon Wilhelm in moulding and modifying his character, raising it from mere impulse to the subordination of reason, from dreaming self-indulgence to practical duty, from self-culture to sympathy; but the way this lesson is taught is the artist's not the preacher's way, and therefore may be missed by those who wait for the moral to be pointed' before they are awake to its significance.

The Confessions of a Fair Saint,' which occupy the Sixth Book, have, in some circles, embalmed what was pronounced the corruption of the other books. Stolberg burned all the rest of the work, and kept these chapters as a treasure. Curious indeed is the picture presented of a quiet mystic, who is at the same time an original and strongly marked character; and the effect of religious convictions on life is subtly delineated in the gradual encroachment and final predominance of mysticism on the mind of one who seemed every way so well fitted for the world. Nevertheless, while duly appreciating the picture, I regret that it was not published separately, for it interrupts the story in a most inartistic manner, and has really nothing to do with the rest of the work.

The criticism on Hamlet, which Wilhelm makes, still remains the best criticism we have on that wonderful play. Very artfully is Hamlet made as it were a part of the novel; and Rosenkrantz praises its introduction not only because it illustrates the affinity between Hamlet and Wilhelm, both of whom are reflective, vacillating characters, but because Hamlet is further allied to Wilhelm in making the play a touchstone, whereby to detect the truth, and determine his own actions.

Were space at disposal, the whole of Schiller's criticism on this work might fitly be given here from his enthusiastic letters; but I must content myself with one extract, which is quite delightful to read: 'I account it the most fortunate

incident in my existence, that I have lived to see the completion of this work; that it has taken place while my faculties are still capable of improvement; that I can yet draw from this pure spring; and the beautiful relation there is between us makes it a kind of religion with me to feel towards what is yours as if it were my own, and so to purify and elevate my nature that my mind may be a clear mirror, and that I may thus deserve, in a higher sense, the name of your friend. How strongly have I felt on this occasion that the Excellent is a power; that by selfish natures it can be felt only as a power; and that only where there is disinterested love can it be enjoyed. I cannot describe to you how deeply the truth, the beautiful vitality, the simple fulness of this work has affected The excitement into which it has thrown my mind will subside when I shall have perfectly mastered it, and that will be an important crisis in my being. This excitement is the effect of the beautiful, and only the beautiful, and proceeds from the fact that my intellect is not yet entirely in accordance with my feelings. I understand now perfectly what you mean when you say that it is strictly the beautiful, the true, that can move you even to tears. Tranquil and deep, clear, and yet like nature unintelligible, is this work; and all, even the most trivial collateral incident, shows the clearness, the equanimity of the mind whence it flowed.'

me.

CHAPTER III.

THE ROMANTIC SCHOOL.

'AFTER the mad challenge of the Xenien,' writes Goethe to Schiller, we must busy ourselves only with great and worthy works of Art, and shame our opponents by the manifestation of our poetical natures in forms of the Good and Noble.' This trumpet-sound found Schiller alert. The two earnest men went earnestly to work, and produced their matchless ballads, and their great poems Hermann und Dorothea and Wallenstein. The influence of these men on each other was very peculiar. It made Goethe speculative and theoretical, in contradiction to his native tendency. It made Schiller realistic, in contradiction to his native tendency. Had it not urged Goethe to rapid production, we should have called the influence wholly noxious; but seeing what was produced, makes us pause ere we condemn. 'You have created a new youth for me,' writes Goethe, and once more restored me to Poetry, which I had almost entirely given up.' They were both much troubled with Philosophy at this epoch. Kant and Spinoza occupied Schiller; Kant and scientific theories occupied Goethe. They were both, moreover, becoming more and more imbued with the spirit of ancient Art, and were bent on restoring its principles. They were men of genius, and therefore these two false tendencies the tendency to Reflection, and the tendency to

Imitation were less hurtful to their works than to the national culture. Their genius saved them, in spite of their errors; but their errors misled the nation. It is remarked by Gervinus, that 'Philosophy was restored in the year 1781, and profoundly affected all Germany. Let any one draw up a statistical table of our literary productions, and he will be amazed at the decadence of Poetry during the last fifty years in which Philosophy has been supreme.' Philosophy has distorted Poetry, and been the curse of Criticism. It has crippled Art by a consciousness and a desire for theorizing, which great artists usually leave to critics.* It has vitiated German Literature; and it produced, in combination with the tendency to Imitation, that brilliant error known as the Romantic School.

A few words on this much-talked of school may not be unacceptable. Like its offspring, L'Ecole Romantique in France, it had a critical purpose which was good, and a retrograde purpose which was bad. Both were insurgent against narrow critical canons, both proclaimed the superiority of Mediæval Art; both sought, in Catholicism and in national Legends, meanings profounder than those current in the literature of the day. In other respects these schools greatly differed. The Schlegels, Tieck, Novalis and Werner, had no enemy to combat in the shape of a severe National Taste, such as opposed the tentatives of Victor Hugo, Dumas and Alfred de Vigny. On the contrary, they were supported by a large body of the nation, for their theories only carried further certain tendencies which had become general. Thus in as far as these theories were critical, they were little more than jubilates over the victorious campaigns won by Lessing, Herder, Goethe

*If you once think of how you are to do it you will never do anything,' said Mozart; I write because I cannot help it.'

and Schiller. The Schlegels stood upon the battle-field, now silent, and sang a hymn of victory over the bodies of the slain. Frederick Schlegel, by many degrees the most considerable critic of this school, began his career with an Anthology from Lessing's works: Lessing's Geist; eine Blumenlese seiner Ansichten; he ended it with admiration for Philip the Second and the cruel Alva, and with the proclamation that Calderon was a greater poet than Shakespeare. Frederick Schlegel thus represents the whole Romantic School from its origin to its close.

6

6

Fichte, Schelling, Schleiermacher, and Solger are the philosophers of this school; from the two former came the once famous, now almost forgotten, principle of Irony,' which Hegel not only disposed of as a principle, but showed that the critics themselves made no use of it. Indeed, the only serious instance of its application I remember, is the ingenious Essay by Schleiermacher on the Irony of Sophocles,' translated for the Classical Museum by the present Bishop of St. David's. No one, not even Tieck, attempted to exhibit the 'irony' of Shakespeare, the god of their idolatry. Among the services rendered by Tieck and A. W. Schlegel, the translation of Shakespeare must never be forgotten, for although that translation is by no means so accurate as Germans suppose, being often miserably weak, and sometimes grossly mistaken in its interpretation of the meaning, it is nevertheless a translation which, on the whole, has, perhaps, no rival in literature, and has served to make Shakespeare as familiar to the Germans as to us.

In their crusade against the French, in their naturalization of Shakespeare, and their furtherance of Herder's efforts towards the restoration of a Ballad Literature and