The Autobiography of Goethe

The haste I was in at once compelled me to have recourse to a singular expedient: scarcely had I noticed an interesting object, and with light and very sketchy strokes drawn the outlines on the paper, than I noted down, in words, the particular objects which I had no time to catch and fill up with the pencil, and, by this means, made the scenes so thoroughly present to my mind, that every locality, whenever I afterwards wanted it for a poem or a story, floated at once before me and was entirely at my command.

On returning to Zurich, I found the Stolbergs were gone; their stay in this city had been cut short in a singular manner.

It must be confessed that travellers upon removing to a distance from the restraints of home, are only too apt to think they are stepping not only into an unknown, but into a perfectly free world; a delusion which it was the more easy to indulge in at this time, as there was not as yet any passports to be examined by the police, or any tolls and suchlike checks and hindrances on the liberty of travellers, to remind men that abroad they are subject to still worse and more painful restraints than at home.

If the reader will only bear in mind this decided tendency to realize the freedom of nature, he will be able to pardon the young spirits who regarded Switzerland as the very place in which to "Idyllize" the fresh independence of youth. The tender poems of Gessner, as well as his charming sketches, seemed decidedly to justify this expectation.

In fact, bathing in wide waters, seems to be one of the best qualifications for expressing such poetic talents. Upon our journey thus far, such natural exercises had not seemed exactly suitable to modern customs, and we had, in some degree, abstained from them. But, in Switzerland, the sight of the cool stream, – flowing, running, rushing, then gathering on the plain, and gradually spreading out to a lake, – presented a temptation that was not to be resisted. I can not deny that I joined my companions in bathing in the clear lake, but we chose a spot far enough, as we supposed, from all human eyes. But naked bodies shine a good way, and whoever chanced to see us doubtless took offence.

Anecdote of the Stolbergs.

The good innocent youths who thought it nowise shocking to see themselves half naked, like poetic shepherds, or entirely naked, like heathen deities, were admonished by their friends to leave off all such practices. They were given to understand that they were living not in primeval nature, but in a land where it was esteemed good and salutary to adhere to the old institutions and customs which had been handed down from the middle ages. They were not disinclined to acknowledge the propriety of all this, especially as the appeal was made to the middle ages, which, to them, seemed venerable as a second nature. Accordingly, they left the more public lake shores, but when in their walks through the mountains, they fell in with the clear, rustling, refreshing streams, it seemed to them impossible, in the middle of July, to abstain from the refreshing exercise. Thus, on their wide sweeping walks, they came also to the shady vale, where the Sihl, streaming behind the Albis, shoots down to empty itself into the Limmat below Zurich. Far from every habitation, and even from all trodden foot-paths, they thought there could be no objection here to their throwing off their clothes and boldly meeting the foaming waves. This was not indeed done without a shriek, without a wild shout of joy, excited partly by the chill and partly by the satisfaction, by which they thought to consecrate these gloomy, wooded rocks into an Idyllic scene.

But, whether persons previously ill-disposed had crept after them, or whether this poetic tumult called forth adversaries even in the solitude, cannot be determined. Suffice it to say, stone after stone was thrown at them from the motionless bushes above, whether by one or more, whether accidentally or purposely, they could not tell; however, they thought it wisest to renounce the quickening element and look after their clothes.

No one got hit; they sustained no injury but the moral one of surprise and chagrin, and full of young life as they were, they easily shook off the recollection of this awkward affair.

But the most disagreeable consequences fell upon Lavater, who was blamed for having given so friendly a welcome to such saucy youths, as even to have arranged walks with them, and otherwise to shew attention to persons whose wild, unbridled, unchristian, and even heathenish habits, had caused so much scandal to a moral and well-regulated neighbourhood.

Our clever friend, however, who well knew how to smooth over such unpleasant occurrences, contrived to hush up this one also, and after the departure of these meteoric travellers, we found, on our return, peace and quiet restored.

In the fragment of Werther's travels, which has lately been reprinted in the sixteenth volume of my works, I have attempted to describe this contrast of the commendable order and legal restraint of Switzerland, with that life of nature which youth in its delusions so loudly demands. But, as people generally are apt to take all that the poet advances without reserve for his decided opinions, or even didactic censure, so the Swiss were very much offended at the comparison, and I, therefore, dropped the intended continuation, which was to have represented, more or less in detail, Werther's progress up to the epoch of his sorrows, and which, therefore, would certainly have been interesting to those who wish to study mankind.

Arrived at Zurich, I devoted my time almost exclusively to Lavater, whose hospitality I again made use of. The Physiognomy, with all its portraits and monstrous caricatures, weighed heavily and with an ever-increasing load on the shoulders of the worthy man. We arranged all as well as we could under the circumstances, and I promised him, on my return home, to continue my assistance.

I was led to give this promise by a certain youthful unlimited confidence in my own quickness of comprehension, and still more by a feeling of my readiness of adaptation to any subject; for, in truth, the way in which Lavater dissected physiognomies was not at all in my vein. The impression which at our first meeting, he had made upon me, determined, in some degree, my relation to him; although a general wish to oblige which was always strong, joined to the light-heartedness of youth, had a great share in all my actions by causing me to see things in a certain twilight atmosphere.

Lavater's mind was altogether an imposing one; in his society it was impossible to resist his decided influence, and I had no choice but to submit to it at once and set to work observing foreheads and noses, eyes and mouths, in detail, and weighing their relations and proportions. My fellow observer did this from necessity, as he had to give a perfect account of what he himself had discerned so clearly; but to me it always seemed like a trick, a piece of espionage, to attempt to analyse a man into his elements before his face, and so to get upon the track of his hidden moral peculiarities. I had more pleasure in listening to his conversation, in which he unveiled himself at will. And yet, I must confess, I always felt a degree of constraint in Lavater's presence; for, while by his art of physiognomy, he possessed himself of our peculiarities, he also made himself, by conversation, master of our thoughts, which, with a little sagacity, he would easily guess from our variety of phrases.

He who feels a pregnant synthesis in himself, has peculiarly a right to analyse, since by the outward particulars he tests and legitimizes his inward whole. How Lavater managed in such cases, a single example will suffice to show.

Lavater – His Character and Works.

On Sundays, after the sermon, it was his duty, as an ecclesiastic, to hold the short-handled, velvet, alms-bag before each one who went out, and to bless as he received the pious gift. Now, on a certain Sunday he proposed to himself, without looking at the several persons as they dropped in their offerings, to observe only their hands, and by them, silently, to judge of the forms of their owner. Not only the shape of the finger, but its peculiar action in dropping the gift, was attentively noted by him, and he had much to communicate to me on the conclusions he had formed. How instructive and exciting must such conversations have been to one, who also was seeking to qualify himself for a painter of men!

Often in my after life had I occasion to think of Lavater, who was one of the best and worthiest men that I ever formed so intimate a relation with. These notices of him that I have introduced in this work were accordingly written at various times. Following our divergent tendencies, we gradually became strangers to each other, and yet I never could bring myself to part with the favorable idea which his worth had left upon my mind. In thought I often brought him before me, and thus arose these leaves, which, as they were written without reference to and independently of each other, may contain some repetitions, but, it is hoped, no contradictions.

By his cast of mind, Lavater was a decided realist, and knew of nothing ideal except in a moral form; by keeping this remark steadily in mind, you will most readily understand this rare and singular man.

His Prospects of Eternity look merely for a continuance of the present state of existence, under easier conditions than those which we have now to endure. His Physiognomy rests on the conviction that the sensible corresponds throughout with the spiritual, and is not only an evidence of it, but indeed its representative.

The ideals of art found little favor with him, because with his sharp look he saw too clearly the impossibility of such conceptions ever being embodied in a living organization, and he therefore banished them into the realm of fable, and even of monstrosity.

His incessant demand for a realization of the ideal gained him the reputation of a visionary, although he maintained and felt convinced that no man insisted more strongly on the actual than he did; accordingly, he never could detect the error in his mode of thinking and acting.

Seldom has there been a man who strove more passionately than he did for public recognition, and thus he was particularly fitted for a teacher; but if all his labors tended to the intellectual and moral improvement of others, this was by no means their ultimate aim.

To realize the character of Christ was what he had most at heart; hence that almost insane zeal of his to have pictures of Christ drawn, copied, moulded, one after another; none of which, however, as to be expected, ever satisfied him.

His writings are hard to understand, even now, for it is far from easy to penetrate into his precise meaning. No one ever wrote so much of the times, and for the times, as Lavater; his writings are veritable journals, which in an especial manner require to be explained by the history of the day; they, moreover, are written in the language of a coterie, which one must first acquaint oneself with, before we can hold communion with them, otherwise many things will appear stupid and absurd even to the most intelligent reader. Indeed, objections enough of the kind have been made against this author, both in his lifetime and since.

Thus, for example, with our rage for dramatizing and representing under this form all that struck us, and caring for no other, we once so warmed his brain with a dramatic ardour, that, in his Pontius Pilate, he labored very hard to show that there is no more dramatic work than the Bible; and, especially, that the history of Christ's Passion must be regarded as the drama of all dramas.

In this chapter, and indeed throughout the work, Lavater appears greatly to resemble Father Abraham of Santa Clara; for into this manner every richly gifted mind necessarily falls who wishes to work upon his contemporaries. He must acquaint himself with existing tendencies and passions, with the speech and terminology of the day, and adapt them to his ends, in order to approach the mass whom he seeks to influence.

Lavater – His Character and Works.

Since Lavater took Christ literally, – as described by the Scriptures, and by most commentators, – he let this representation serve so far for the supplement of his own being, that he ideally incorporated the God-man into his own individual humanity, until he finally was able to imagine himself melted into one and united with him, and, indeed, to have become the same person.

This decidedly literal faith had also worked in him a perfect conviction that miracles can be wrought to-day as well as heretofore. Accordingly, since in some important and trying emergencies of his earlier days, he had by means of earnest and indeed violent prayer, succeeded in procuring an instantaneous and favorable turn of the impending calamity, no mere cold objections of the reasoning intellect would make him for a moment waver in this faith. Penetrated, moreover, by the idea of the greatness and excellence of Humanity as restored by Christ, and through Him destined to a blissful immortality, but, at the same time, fully sensible of the manifold requisitions of man's heart and mind, and of his insatiable yearnings after knowledge, and, moreover, feeling in himself that desire of expanding himself into the infinite to which the starry heavens seem so sensibly to invite us, he wrote under these feelings Iris "Prospects of Eternity," which must have appeared a very strange book indeed to the greater part of his contemporaries.

All this striving, however, all wishes, all undertakings, were overborne by the genius for physiognomy, which nature had bestowed upon him. For, as the touchstone, by its blackness and peculiar roughness of surface, is eminently fitted to distinguish between the metals which are applied to it; so that pure idea of humanity, which Lavater carried within himself, and that sharp yet delicate gift of observation, which at first he exercised from natural impulse occasionally only and accidentally, but afterwards with deliberate reflection and regularly, qualified him in the highest degree to note the peculiarities of individual men, and to understand, distinguish, and express them.

Every talent which rests on a decided natural gift, seems from our inability to subordinate either it or its operations to any idea to have something of magic about it. And, in truth, Lavater's insight into the characters of individuals surpassed all conception; one was utterly amazed at his remarks, when in confidence we were talking of this or that person; nay, it was frightful to live near a man who clearly discerned the nicest limits by which nature had been pleased to modify and distinguish our various personalities.

Every one is apt to believe that what he possesses himself may be communicated to others; and so Lavater was not content to make use of this great gift for himself alone, but insisted that it might be found and called forth in others, nay that it might even be imparted to the great mass. The many dull and malicious misinterpretations, the stupid jests in abundance, and detracting railleries, this striking doctrine gave rise to, may still be remembered by some men; however, it must be owned that the worthy man himself was not altogether without blame in the matter. For though a high moral sense preserved the unity of his inner being, yet, with his manifold labors, he was unable to attain to outward unity, since he did not possess the slightest capacity for philosophical method, nor for artistic talent.

He was neither Thinker nor Poet; indeed, not even an orator, in the proper sense of the term. Utterly unable to take a comprehensive and methodical view, he nevertheless formed an unerring judgment of individual cases and these he noted down boldly side by side. His great work on Physiognomy is a striking proof and illustration of this. In himself, the idea of the moral or of the sensual man might form a whole; but out of himself he could not represent this idea, except practically by individual cases, in the same way as he himself had apprehended them in life.

That very work sadly shows us how in the commonest matter of experience so sharp-sighted a man, may go groping about him. For after spending an immense sum and employing every artist and botcher living, he procured at last drawings and engravings, which were so far without character, that he is obliged in his work to say after each one that it is more or less a failure, unmeaning and worthless. True, by this means, he sharpened his own judgment, and the judgment of others; but it also proves that his mental bias led him rather to heap up cases of experience, than to draw from them any clear and sober principle. For this reason he never could come to results, though I often pressed him for them. What in later life he confided as such to his friends, were none to me; for they consisted of nothing more than a collection of certain lines and features, nay, warts and freckles, with which he had seen certain moral, and frequently immoral, peculiarities associated. There were certainly some remarks among them that surprised and riveted your attention; but they formed no series, one thing followed another accidentally, there was no gradual advance towards any general deductions and no reference to any principles previously established. And indeed there was just as little of literary method or artistic feeling to be found in his other writings, which invariably contained passionate and earnest expositions of his thoughts and objects, and supplied by the most affecting and appropriate instances, what they could not accomplish by the general conception.

Abuse of the Term – Genius.

The following reflections, as they refer to those circumstances, may be aptly introduced here.

No one willingly concedes superiority to another, so long as he can in any way deny it. Natural gifts of every kind can the least be denied, and yet by the common mode of speaking in those times, genius was ascribed to the poet alone. But another world seemed all at once to rise up; genius was looked for in the physician, in the general, in the statesman, and before long, in all men, who thought to make themselves eminent either in theory or practice. Zimmerman, especially, had advanced these claims. Lavater, by his views of Physiognomy, was compelled to assume a more general distribution of mental gifts by nature; the word genius became a universal symbol, and because men heard it uttered so often, they thought that what was meant by it, was habitually at hand. But then, since every one felt himself justified in demanding genius of others, he finally believed that he also must possess it himself. The time was yet far distant when it could be affirmed, that genius is that power of man which by its deeds and actions gives laws and rules. At this time it was thought to manifest itself only, by overstepping existing laws, breaking established rules, and declaring itself above all restraint. It was, therefore, an easy thing to be a genius, and nothing was more natural than that extravagance both of word and deed should provoke all orderly men to oppose themselves to such a monster.

When anybody rushed into the world on foot, without exactly knowing why or whither, it was called a pass of genius; and when any one undertook an aimless and useless absurdity, it was a stroke of genius. Young men, of vivacious and true talents, too often lost themselves in the limitless; and then older men of understanding, wanting perhaps in talent and in soul, found a most malicious gratification in exposing to the public gaze, their manifold and ludicrous miscarriages.

For my part, in the development and the expression of my own ideas, I perhaps experienced far more hindrance and checks from the false co-operation and interference of the like-minded, than by the opposition of those whose turn of mind was directly contrary to my own.

With a strange rapidity, words, epithets, and phrases, which have once been cleverly employed to disparage the highest intellectual gifts, spread by a sort of mechanical repetition among the multitude, and in a short time they are to be heard everywhere, even in common life, and in the mouths of the most uneducated; indeed before long they even creep into dictionaries. In this way the word genius had suffered so much from misrepresentation, that it was almost desired to banish it entirely from the German language.

And so the Germans, with whom the common voice is more apt to prevail than with other nations, would perhaps have sacrificed the fairest flower of speech, the word which, though apparently foreign, really belongs to every people, had not the sense for what is highest and best in man, been happily restored and solidly established by a profounder philosophy.

In the preceding pages mention has been frequently made of the youthful times of two men, whose memory will never hide from the history of German literature and morals. At this period, however, we came to know them as it were only by the errors into which they were misled by a false maxim which prevailed among their youthful contemporaries. Nothing, therefore, can be more proper than with due appreciation and respect to paint their natural form, their peculiar individuality, just as it appeared at that time, and as their immediate presence exhibited itself to the penetrating eye of Lavater. Consequently, since the heavy and expensive volumes of the great work on Physiognomy are probably accessible to a few only of our readers, I have no scruple in inserting here the remarkable passages of that work, which refer to both the Stolbergs, in the second part and its thirtieth fragment, page 224:

Lavater's Sketch of the Stolbergs.

"The young men, whose portraits and profiles we have here before us, are the first men who ever sat and stood to me for physiognomical description, as another would sit to a painter for his portrait.

"I knew them before, the noble ones – and I made the first attempt, in accordance with nature and with all my previous knowledge, to observe and to describe their character.

"Here is the description of the whole man. —

FIRST, OF THE YOUNGER

"See the blooming youth of 25! the lightly-floating, buoyant, elastic creature! it does not lie; it does not stand; it does not lean; it does not fly; it floats or swims. Too full of life, to rest; too supple to stand firm; too heavy and too weak, to fly.

"A floating thing, then, which does not touch the earth! In its whole contour not a single slack line; but on the other hand no straight one, no tense one, none firmly arched or stiffly curved; no sharp entering angles, no rock-like projection of the brow; no hardness; no stiffness; no defiant roughness; no threatening insolence; no iron will – all is elastic, winning, but nothing iron; no stedfast and searching profundity; no slow reflection, or prudent thoughtfulness; nowhere the reasoner with the scales held firmly in the one hand, and the sword in the other; and yet not the least formality in look or judgment! but still the most perfect straight-forwardness of intellect, or rather the most immaculate sentiment of truth! Always the inward feeler, never the deep thinker; never the discoverer, the testing unfolder of truth so quickly seen, so quickly known, so quickly loved, and quickly grasped… Perpetual soarer, a seer; idealizer; beautifier; – that gives a shape and form, to all his ideas! Ever the half-intoxicated poet, seeing only what he will see; – not the sorrowfully languishing; not the sternly crushing; but the lofty, noble, powerful! who with 'thirst for the sun' (Sonnendurst), hovers to and fro in the regions of air, strives aloft, and again —sinks not to earth! but throws himself headlong to earth, bather in the floods of the 'Rock-stream' (Felsenstrom), and cradles himself 'in the thunder of the echoing rocks around' (Im Donner der hallenden Felsen umher). His glance – not the fire-glance of the eagle! His brow and nose – not the courage of the lion! his breast – not the stedfastness of the steed that neighs for battle! In the whole, however, there is much of the tearing activity of the elephant…

"The projecting upper lip slightly drawn up towards the over-hanging nose, which is neither sharply cut, nor angular, evinces, with such a closing of the mouth, much taste and sensibility; while the lower part of the face bespeaks much sensuality, indolence, and thoughtlessness. The whole outline of the profile shows openness, honesty, humanity, but at the same tune a liability to be led astray, and a high degree of that good-hearted indiscretion, which injures no one but himself. The middle line of the mouth bespeaks in its repose, a downright, planless, weak, good-natured disposition; when in motion, a tender, finely-feeling, exceedingly susceptible, benevolent, noble man. In the arch of the eyelids, and in the glance of the eyes, there sits not Homer, but the deepest, most thorough, and most quick feeling, and comprehension of Homer; not the epic, but the lyric poet; genius, which fuses, moulds, creates, glorifies, hovers, transforms all into a heroic form – which deifies all. The half-closed eyelids, from such an arch, indicate the keenly sensitive poet, rather than the slowly laboring artist, who creates after a plan; the whimsical rather than the severe. The full face of the youth is much more taking and attractive, than the somewhat too loose, too protracted half-face; the fore-part of the face in its slightest motion, tells of a highly sensitive, thoughtful, inventive, untaught, inward goodness, of a softly tremulous, wrong-abhorring love of liberty – an eager vivacity. It cannot conceal from the commonest observer the slightest impression which it receives for the moment, or adopts for ever. Every object, which nearly concerns or interests him, drives the blood into the cheeks and nose; where honor is concerned, the most maidenly blush of shame spreads like lightning over the delicately sensitive skin.