Works of Johann Wolfgang von Goethe

by Johann Wolfgang von Goethe

  FROM OTTILIE’S DIARY

  “We accept every person in the world as that for which he gives himself out, only he must give himself out for something. We can put up with the unpleasant more easily than we can endure the insignificant.

  “We venture upon anything in society except only what involves a consequence.

  “We never learn to know people when they come to us: we must go to them to find out how things stand with them.

  “I find it almost natural that we should see many faults in visitors, and that directly they are gone we should judge them not in the most amiable manner. For we have, so to say, a right to measure them by our own standard. Even cautious, sensible men can scarcely keep themselves in such cases from being sharp censors.

  “When, on the contrary, we are staying at the houses of others, when we have seen them in the midst of all their habits and environments among those necessary conditions from which they cannot escape, when we have seen how they affect those about them, and how they adapt themselves to their circumstances, it is ignorance nay, worse, it is ill-will, to find ridiculous what in more than one sense has a claim on our respect.

  “That which we call politeness and good breeding effects what otherwise can only be obtained by violence, or not even by that.

  “Intercourse with women is the element of good manners.

  “How can the character, the individuality, of a man co-exist with polish of manner?

  “The individuality can only be properly made prominent through good manners. Every one likes what has something in it, only it not be a disagreeable something.

  “In life generally, and in society, no one has such high advantages as a well-cultivated soldier.

  “The rudest fighting people at least do not go out of their character, and generally behind the roughness there is a certain latent good humor, so that in difficulties it is possible to get on, even with them.

  “No one is more intolerable than an underbred civilian. From him one has a right to look for a delicacy, as he has no rough work to do.

  “When we are living with people who have a delicate sense of propriety, we are in misery on their account when anything unbecoming is committed. So I always feel for and with Charlotte, when a person is tipping his chair. She cannot endure it.

  “No one would ever come into a mixed party with spectacles on his nose, if he did but know that at once we women lose all pleasure in looking at him or listening to what he has to say.

  “Free-and-easiness, where there ought to be respect, is always ridiculous. No one would put his hat down when he had scarcely paid the ordinary compliments if he knew how comical it looks.

  “There is no outward sign of courtesy that does not rest on a deep moral foundation. The proper education would be that which communicated the sign and the foundation of it at the same time.

  “Behavior is a mirror in which every one displays his own image.

  “There is a courtesy of the heart. It is akin to love. Out of it arises the purest courtesy in the outward behavior.

  “A freely offered homage is the most beautiful of all relations. And how were that possible without love?

  “We are never further from our wishes than when we imagine that we possess what we have desired.

  “No one is more a slave than the man who thinks himself free while he is not.

  “A man has only to declare that he is free, and the next moment he feels the conditions to which he is subject. Let him venture to declare that he is under conditions, and then he will feel that he is free.

  “Against great advantages in another, there are no means of defending ourselves except love.

  “There is something terrible in the sight of a highly-gifted man lying under obligations to a fool.

  “‘No man is a hero to his valet,’ the proverb says. But that is only because it requires a hero to recognize a hero. The valet will probably know how to value the valet-hero.

  “Mediocrity has no greater consolation than in the thought that genius is not immortal.

  “The greatest men are connected with their own century always through some weakness.

  “One is apt to regard people as more dangerous than they are.

  “Fools and modest people are alike innocuous. It is only your half-fools and your half-wise who are really and truly dangerous.

  “There is no better deliverance from the world than through art; and a man can form no surer bond with it than through art.

  “Alike in the moment of our highest fortune and our deepest necessity, we require the artist.

  “The business of art is with the difficult and the good.

  “To see the difficult easily handled, gives us the feeling of the impossible.

  “Difficulties increase the nearer we are to our end.

  “Sowing is not so difficult as reaping.”

  CHAPTER VI

  The very serious discomfort which this visit had caused to Charlotte was in some way compensated to her through the fuller insight which it had enabled her to gain into her daughter’s character. In this, her knowledge of the world was of no slight service to her. It was not the first time that so singular a character had come across her, although she had never seen any in which the unusual features were so largely developed; and she had had experience enough to show her that such persons, after having felt the discipline of life, after having gone through something of it, and been in intercourse with older people, may come out at last really charming and amiable; the selfishness may soften and eager restless activity find a definite direction for itself. And therefore, as a mother, Charlotte was able to endure the appearance of symptoms which for others might perhaps have been unpleasing, from a sense that where strangers only desire to enjoy, or at least not to have their taste offended, the business of parents is rather to hope.

  After her daughter’s departure, however, she had to be pained in a singular and unlooked-for manner, in finding that, not so much through what there really was objectionable in her behavior, as through what was good and praiseworthy in it, she had left an ill report of herself behind her. Luciana seemed to have prescribed it as a rule to herself not only to be merry with the merry, but miserable with the miserable; and in order to give full swing to the spirit of contradiction in her, often to make the happy, uncomfortable, and the sad, cheerful. In every family among whom she came, she inquired after such members of it as were ill or infirm, and unable to appear in society. She would go to see them in their rooms, enact the physician, and insist on prescribing powerful doses for them out of her own traveling medicine-chest, which she constantly took with her in her carriage; her attempted cures, as may be supposed, either succeeding or failing as chance happened to direct.

  In this sort of benevolence she was thoroughly cruel, and would listen to nothing that was said to her, because she was convinced that she was managing admirably. One of these attempts of hers on the moral side failed very disastrously, and this it was which gave Charlotte so much trouble, inasmuch as it involved consequences and every one was talking about it. She never had heard of the story till Luciana was gone; Ottilie, who had made one of the party present at the time, had to give her a circumstantial account of it.

  One of several daughters of a family of rank had the misfortune to have caused the death of one of her younger sisters; it had destroyed her peace of mind, and she had never been properly herself since. She lived in her own room, occupying herself and keeping quiet; and she could only bear to see the members of her own family when they came one by one. If there were several together, she suspected at once that they were making reflections upon her, and upon her condition. To each of them singly she would speak rationally enough, and talk freely for an hour at a time.

  Luciana had heard of this, and had secretly determined with herself, as soon as she got into the house, that she would forthwith work a miracle, and restore the young lady to society. She conducted herself in the matter more prudently than usual, managed to introduce herself al
one to the poor sick-souled girl, and, as far as people could understand, had wound her way into her confidence through music. At last came her fatal mistake; wishing to make a scene, and fancying that she had sufficiently prepared her for it, one evening she suddenly introduced the beautiful pale creature into the midst of the brilliant, glittering assembly; and perhaps, even then, the attempt might not have so utterly failed, had not the crowd themselves, between curiosity and apprehension, conducted themselves so unwisely, first gathering about the invalid, and then shrinking from her again; and with their whispers, and shaking their heads together, confusing and agitating her. Her delicate sensibility could not endure it. With a dreadful shriek, which expressed, as it seemed, a horror at some monster that was rushing upon her, she fainted. The crowd fell back in terror on every side, and Ottilie had been one of those who had carried back the sufferer utterly insensible to her room.

  Luciana meanwhile, just like herself, had been reading an angry lecture to the rest of the party, without reflecting for a moment that she herself was entirely to blame, and without letting herself be deterred by this and other failures, from going on with her experimentalizing.

  The state of the invalid herself had since that time become more and more serious; indeed, the disorder had increased to such a degree that the poor thing’s parents were unable to keep her any longer at home, and had been forced to confide her to the care of a public institution. Nothing remained for Charlotte, except, by the delicacy of her own attention to the family, in some degree to alleviate the pain which had been occasioned by her daughter. On Ottilie, the thing made a deep impression. She felt the more for the unhappy girl, as she was convinced, she did not attempt to deny it to Charlotte, that by a careful treatment the disorder might have been unquestionably removed.

  So there came, too, as it often happens, that we dwell more on past disagreeables than on past agreeables, a slight misunderstanding to be spoken of, which had led Ottilie to a wrong judgment of the Architect, when he did not choose to produce his collection that evening, although she had so eagerly begged him to produce it. His practical refusal had remained, ever since, hanging about her heart, she herself could not tell why. Her feelings about the matter were undoubtedly just; what a young lady like Ottilie could desire, a young man like the Architect ought not to have refused. The latter, however, when she took occasion to give him a gentle reproof for it, had a very valid excuse to offer for himself.

  “If you knew,” he said, “how roughly even cultivated people allow themselves to handle the most valuable works of art, you would forgive me for not producing mine among the crowd. No one will take the trouble to hold a medal by the rim. They will finger the most beautiful impressions, and the smoothest surfaces; they will take the rarest coins between the thumb and forefinger, and rub them up and down, as if they were testing the execution with the touch. Without remembering that a large sheet of paper ought to be held in two hands, they will lay hold, with one, of an invaluable proof-engraving of some drawing which cannot be replaced, like a conceited politician laying hold of a newspaper, and passing judgment by anticipation, as he is cutting the pages, on the occurrences of the world. Nobody cares to recollect that if twenty people, one after the other, treat a work of art in this way, the one-and-twentieth will not find much to see there.”

  “Have not I often vexed you in this way?” asked Ottilie. “Have not I, through my carelessness, many times injured your treasures?”

  “Never once,” answered the Architect, “never. For you it would be impossible. In you the right thing is innate.”

  “In any case,” replied Ottilie, “it would not be a bad plan, if in the next edition of the book of good manners, after the chapters which tell us how we ought to eat and drink in company, a good circumstantial chapter were inserted, telling how to behave among works of art and in museums.”

  “Undoubtedly,” said the Architect; “and then curiosity-collectors and amateurs would be better contented to show their valuable treasures to the world.”

  Ottilie had long, long forgiven him; but as he seemed to have taken her reproof sorely to heart, and assured her again and again that he would gladly produce everything — that he was delighted to do anything for his friends — she felt that she had wounded his feelings, and that she owed him some compensation. It was not easy for her, therefore, to give an absolute refusal to a request which he made her in the conclusion of this conversation, although when she called her heart into counsel about it, she did not see how she could allow herself to do what he wished.

  The circumstances of the matter were these: Ottilie’s exclusion from the picture-exhibition by Luciana’s jealousy had irritated him in the highest degree; and at the same time he had observed with regret, that at this, the most brilliant part of all the amusements at the castle, ill health had prevented Charlotte from being more than rarely present; and now he did not wish to go away without some additional proof of his gratitude, which, for the honor of one and the entertainment of the other, should take the thoughtful and attractive form of preparing a far more beautiful exhibition than any of those which had preceded it. Perhaps, too, unknown to himself, another secret motive was working on him. It was so hard for him to leave the house, and to leave the family. It seemed impossible to him to go away from Ottilie’s eyes, under the calm, sweet, gentle glance of which the latter part of the time he had been living almost entirely alone.

  The Christmas holidays were approaching; and it became at once clear to him that the very thing which he wanted was a representation with real figures of one of those pictures of the scene in the stable — a sacred exhibition such as at this holy season good Christians delight to offer to the divine Mother and her Child, of the manner in which she, in her seeming lowliness, was honored first by the shepherds and afterward by kings.

  He had thoroughly brought before himself how such a picture should be contrived. A fair, lovely child was found, and there would be no lack of shepherds and shepherdesses. But without Ottilie the thing could not be done. The young man had exalted her in his design to be the mother of God, and if she refused, there was no question but the undertaking must fall to the ground. Ottilie, half embarrassed at the proposal, referred him and his request to Charlotte. The latter gladly gave her permission, and lent her assistance in overcoming and overpersuading Ottilie’s hesitation in assuming so sacred a personality. The Architect worked day and night, that by Christmas-eve everything might be ready.

  Day and night, indeed, in the literal sense. At all times he was a man who had but few necessities; and Ottilie’s presence seemed to be to him in the place of all delicacies. When he was working for her, it was as if he required no sleep; when he was busy about her, as if he could do without food. Accordingly, by the hour of the evening solemnity, all was completed. He had found the means of collecting some well-toned wind instruments to form an introduction, and produce the desired temper of thought and feeling. But when the curtain rose, Charlotte was taken completely by surprise. The picture which presented itself to her had been repeated so often in the world, that one could scarcely have expected any new impression to be produced. But here, the reality as representing the picture had its especial advantages. The whole space was the color rather of night than of twilight, and there was nothing even of the details of the scene which was obscure. The inimitable idea that all the light should proceed from the child, the artist had contrived to carry out by an ingenious method of illumination which was concealed by the figures in the foreground, who were all in shadow. Bright looking boys and girls were standing around, their fresh faces sharply lighted from below; and there were angels too, whose own brilliancy grew pale before the divine, whose ethereal bodies showed dim and dense, and needing other light in the presence of the body of the divine humanity. By good fortune the infant had fallen asleep in the loveliest attitude, so that nothing disturbed the contemplation when the eye rested on the seeming mother, who with infinite grace had lifted off a veil to reveal her hidde
n treasure. At this moment the picture seemed to have been caught, and there to have remained fixed. Physically dazzled, mentally surprised, the people round appeared to have just moved to turn away their half-blinded eyes, to be glancing again toward the child with curious delight, and to be showing more wonder and pleasure than awe and reverence — although these emotions were not forgotten, and were to be traced upon the features of some of the older spectators.

  But Ottilie’s figure, expression, attitude, glance, excelled all which any painter has ever represented. A man who had true knowledge of art, and had seen this spectacle, would have been in fear lest any portion of it should move; he would have doubted whether anything could ever so much please him again. Unluckily, there was no one present who could comprehend the whole of this effect. The Architect alone, who, as a tall, slender shepherd, was looking in from the side over those who were kneeling, enjoyed, although he was not in the best position for seeing, the fullest pleasure. And who can describe the mien of the new-made queen of heaven? The purest humility, the most exquisite feeling of modesty, at the great honor which had undeservedly been bestowed upon her, with indescribable and immeasurable happiness, was displayed upon her features, expressing as much her own personal emotion as that of the character which she was endeavoring to represent.