Among My Books Volume I Part 18

Vischer's _Aesthetik_, the best treatise on the subject, ancient or modern, is such a book as none but a German could write, and it is written as none but a German could have written it. The abstracts of its sections are sometimes nearly as long as the sections themselves, and it is as hard to make out which head belongs to which tail, as in a knot of snakes thawing themselves into sluggish individuality under a spring sun.

The average German professor spends his life in making lanterns fit to guide us through the obscurest pa.s.sages of all the _ologies_ and _ysics_, and there are none in the world of such honest workmanship. They are durable, they have intensifying gla.s.ses, reflectors of the most scientific make, capital sockets in which to set a light, and a handsome lump of potentially illuminating tallow is thrown in. But, in order to _see_ by them, the explorer must make his own candle, supply his own cohesive wick of common-sense, and light it himself. And yet the admirable thoroughness of the German intellect! We should be ungrateful indeed if we did not acknowledge that it has supplied the raw material in almost every branch of science for the defter wits of other nations to work on; yet we have a suspicion that there are certain lighter departments of literature in which it may be misapplied, and turn into something very like clumsiness. Delightful as Jean Paul's humor is, how much more so would it be if he only knew when to stop! Ethereally deep as is his sentiment, should we not feel it more if he sometimes gave us a little less of it,--if he would only not always deal out his wine by beer-measure? So thorough is the German mind, that might it not seem now and then to work quite through its subject, and expatiate in cheerful unconsciousness on the other side thereof?

With all its merits of a higher and deeper kind, it yet seems to us that German literature has not quite satisfactorily answered that so long-standing question of the French Abbe about _esprit_. Hard as it is for a German to be clear, still harder to be light, he is more than ever awkward in his attempts to produce that quality of style, so peculiarly French, which is neither wit nor liveliness taken singly, but a mixture of the two that must be drunk while the effervescence lasts, and will not bear exportation into any other language. German criticism, excellent in other respects, and immeasurably superior to that of any other nation in its constructive faculty, in its instinct for getting at whatever principle of life lies at the heart of a work of genius, is seldom lucid, almost never entertaining. It may turn its light, if we have patience, into every obscurest cranny of its subject, one after another, but it never flashes light _out_ of the subject itself, as Sainte-Beuve, for example, so often does, and with such unexpected charm. We should be inclined to put Julian Schmidt at the head of living critics in all the more essential elements of his outfit; but with him is not one conscious at too frequent intervals of the professorial grind,--of that German tendency to bear on too heavily, where a French critic would touch and go with such exquisite measure? The Great Nation, as it cheerfully calls itself, is in nothing greater than its talent for saying little things agreeably, which is perhaps the very top of mere culture, and in literature is the next best thing to the power of saying great things as easily as if they were little German learning, like the elephants of Pyrrhus, is always in danger of turning upon what it was intended to adorn and reinforce, and trampling it ponderously to death. And yet what do we not owe it? Mastering all languages, all records of intellectual man, it has been able, or has enabled others, to strip away the husks of nationality and conventionalism from the literatures of many races, and to disengage that kernel of human truth which is the germinating principle of them all. Nay, it has taught us to recognize also a certain value in those very husks, whether as shelter for the unripe or food for the fallen seed.

That the general want of style in German authors is not wholly the fault of the language is shown by Heine (a man of mixed blood), who can be daintily light in German; that it is not altogether a matter of race, is clear from the graceful airiness of Erasmus and Reuchlin in Latin, and of Grimm in French. The sense of heaviness which creeps over the reader from so many German books is mainly due, we suspect to the language, which seems wellnigh incapable of that aerial perspective so delightful in first-rate French, and even English, writing. But there must also be in the national character an insensibility to proportion, a want of that instinctive discretion which we call tact. Nothing short of this will account for the perpetual groping of German imaginative literature after some foreign mould in which to cast its thought or feeling, now trying a Louis Quatorze pattern, then something supposed to be Shakespearian, and at last going back to ancient Greece, or even Persia. Goethe himself, limpidly perfect as are many of his shorter poems, often fails in giving artistic coherence to his longer works. Leaving deeper qualities wholly out of the question, Wilhelm Meister seems a mere aggregation of episodes if compared with such a masterpiece as Paul and Virginia, or even with a happy improvisation like the Vicar of Wakefield. The second part of Faust, too, is rather a reflection of Goethe's own changed view of life and man's relation to it, than an harmonious completion of the original conception. Full of placid wisdom and exquisite poetry it certainly is; but if we look at it as a poem, it seems more as if the author had striven to get in all he could, than to leave out all he might. We cannot help asking what business have paper money and political economy and geognosy here? We confess that Thales and the Homunculus weary us not a little, unless, indeed, a poem be nothing, after all, but a prolonged conundrum. Many of Schiller's lyrical poems--though the best of them find no match in modern verse for rapid energy, the very axles of language kindling with swiftness--seem disproportionately long in parts, and the thought too often has the life wellnigh squeezed out of it in the sevenfold coils of diction, dappled though it be with splendid imagery.

In German sentiment, which runs over so easily into sentimentalism, a foreigner cannot help being struck with a certain incongruousness. What can be odder, for example, than the mixture of sensibility and sausages in some of Goethe's earlier notes to Frau von Stein, unless, to be sure, the publishing them? It would appear that Germans were less sensible to the ludicrous--and we are far from saying that this may not have its compensatory advantages--than either the English or the French. And what is the source of this sensibility, if it be not an instinctive perception of the incongruous and disproportionate? Among all races, the English has ever shown itself most keenly alive to the fear of making itself ridiculous; and among all, none has produced so many humorists, only one of them, indeed, so profound as Cervantes, yet all masters in their several ways. What English-speaking man, except Boswell, could have arrived at Weimar, as Goethe did, in that absurd _Werthermontirung_? And where, out of Germany, could he have found a reigning Grand Duke to put his whole court into the same sentimental livery of blue and yellow, leather breeches, boots, and all, excepting only Herder, and that not on account of his clerical profession, but of his age? To be sure, it might be asked also where else in Europe was a prince to be met with capable of manly friendship with a man whose only decoration was his genius? But the comicality of the other fact no less remains. Certainly the German character is in no way so little remarkable as for its humor. If we were to trust the evidence of Herr Hub's dreary _Deutsche komische und humoristische Dichtung_, we should believe that no German had even so much as a suspicion of what humor meant, unless the book itself, as we are half inclined to suspect, be a joke in three volumes, the _want_ of fun being the real point thereof. If German patriotism can be induced to find a grave delight in it, we congratulate Herr Hub's publishers, and for ourselves advise any sober-minded man who may hereafter "be merry,"

not to "sing psalms," but to read Hub as the more serious amus.e.m.e.nt of the two. There are epigrams there that make life more solemn, and, if taken in sufficient doses, would make it more precarious. Even Jean Paul, the greatest of German humorous authors, and never surpa.s.sed in comic conception or in the pathetic quality of humor, is not to be named with his master, Sterne, as a creative humorist. What are Siebenkas, Fixlein, Schmelzle, and Fibel, (a single lay-figure to be draped at will with whimsical sentiment and reflection, and put in various att.i.tudes,) compared with the living reality of Walter Shandy and his brother Toby, characters which we do not see merely as puppets in the author's mind, but poetically projected from it in an independent being of their own?

Heine himself, the most graceful, sometimes the most touching, of modern poets, and clearly the most easy of German humorists, seems to me wanting in a refined perception of that inward propriety which is only another name for poetic proportion, and shocks us sometimes with an _Unflathigkeit_, as at the end of his _Deutschland_, which, if it make Germans laugh, as we should be sorry to believe, makes other people hold their noses. Such things have not been possible in English since Swift, and the _persifleur_ Heine cannot offer the same excuse of savage cynicism that might be pleaded for the Irishman.

I have hinted that Herr Stahr's Life of Lessing is not precisely the kind of biography that would have been most pleasing to the man who could not conceive that an author should be satisfied with anything more than truth in praise, or anything less in criticism. My respect for what Lessing was, and for what he did, is profound. In the history of literature it would be hard to find a man so stalwart, so kindly, so sincere,[148] so capable of great ideas, whether in their influence on the intellect or the life, so unswervingly true to the truth, so free from the common weaknesses of his cla.s.s. Since Luther, Germany has given birth to no such intellectual athlete,--to no son so German to the core. Greater poets she has had, but no greater writer; no nature more finely tempered. Nay, may we not say that great character is as rare a thing as great genius, if it be not even a n.o.bler form of it? For surely it is easier to embody fine thinking, or delicate sentiment, or lofty aspiration, in a book than in a life. The written leaf, if it be, as some few are, a safe-keeper and conductor of celestial fire, is secure. Poverty cannot pinch, pa.s.sion swerve, or trial shake it. But the man Lessing, hara.s.sed and striving life-long, always poor and always hopeful, with no patron but his own right-hand, the very shuttlec.o.c.k of fortune, who saw ruin's ploughshare drive through the hearth on which his first home-fire was hardly kindled, and who, through all, was faithful to himself, to his friend, to his duty, and to his ideal, is something more inspiring for us than the most glorious utterance of merely intellectual power. The figure of Goethe is grand, it is rightfully pre-eminent, it has something of the calm, and something of the coldness, of the immortals; but the Valhalla of German letters can show one form, in its simple manhood, statelier even than his.

Manliness and simplicity, if they are not necessary coefficients in producing character of the purest tone, were certainly leading elements in the Lessing who is still so noteworthy and lovable to us when eighty-six years have pa.s.sed since his bodily presence vanished from among men. He loved clearness, he hated exaggeration in all its forms. He was the first German who had any conception of style, and who could be full without spilling over on all sides. Herr Stahr, we think, is not just the biographer he would have chosen for himself. His book is rather a panegyric than a biography. There is sometimes an almost comic disproportion between the matter and the manner, especially in the epic details of Lessing's onslaughts on the nameless herd of German authors.

It is as if Sophocles should have given a strophe to every bullock slain by Ajax in his mad foray upon the Grecian commissary stores. He is too fond of striking an att.i.tude, and his tone rises unpleasantly near a scream, as he calls the personal attention of heaven and earth to something which Lessing himself would have thought a very matter-of-course affair. He who lays it down as an axiom, that "genius loves simplicity," would hardly have been pleased to hear the "Letters on Literature" called the "burning thunderbolts of his annihilating criticism," or the Anti-Gotze pamphlets, "the hurtling arrows that sped from the bow of the immortal hero." Nor would he with whom accuracy was a matter of conscience have heard patiently that the Letters "appeared in a period distinguished for its lofty tone of mind, and in their own towering boldness they are a true picture of the intrepid character of the age."[149] If the age was what Herr Stahr represents it to have been, where is the great merit of Lessing? He would have smiled, we suspect, a little contemptuously, at Herr Stahr's repeatedly quoting a certificate from the "historian of the proud Britons," that he was "the first critic in Europe." Whether we admit or not Lord Macaulay's competence in the matter, we are sure that Lessing would not have thanked his biographer for this soup-ticket to a ladleful of fame. If ever a man stood firmly on his own feet, and asked help of none, that man was Gotthold Ephraim Lessing.

Herr Stahr's desire to _make_ a hero of his subject, and his love for sonorous sentences like those we have quoted above, are apt to stand somewhat in the way of our chance at taking a fair measure of the man, and seeing in what his heroism really lay. He furnishes little material for a comparative estimate of Lessing, or for judging of the foreign influences which helped from time to time in making him what he was.

Nothing is harder than to worry out a date from Herr Stahr's haystacks of praise and quotation. Yet dates are of special value in tracing the progress of an intellect like Lessing's, which, little actuated by an inward creative energy, was commonly stirred to motion by the impulse of other minds, and struck out its brightest flashes by collision with them.

He himself tells us that a critic should "first seek out some one with whom he can contend," and quotes in justification from one of Aristotle's commentators, _Solet Aristoteles quaerere pugnam in suis libris_. This Lessing was always wont to do. He could only feel his own strength, and make others feel it,--could only call it into full play in an intellectual wrestling-bout. He was always anointed and ready for the ring, but with this distinction, that he was no mere prize-fighter, or bully for the side that would pay him best, nor even a contender for mere sentiment, but a self-forgetful champion for the truth as he saw it. Nor is this true of him only as a critic. His more purely imaginative works--his Minna, his Emilia, his Nathan--were all written, not to satisfy the craving of a poetic instinct, nor to rid head and heart of troublous guests by building them a lodging outside himself, as Goethe used to do, but to prove some thesis of criticism or morals by which Truth could be served. His zeal for her was perfectly unselfish. "Does one write, then, for the sake of being always in the right? I think I have been as serviceable to Truth," he says, "when I miss her, and my failure is the occasion of another's discovering her, as if I had discovered her myself."[150] One would almost be inclined to think, from Herr Stahr's account of the matter, that Lessing had been an autochthonous birth of the German soil, without intellectual ancestry or helpful kindred. That this is the sufficient natural history of no original mind we need hardly say, since originality consists quite as much in the power of using to purpose what it finds ready to its hand, as in that of producing what is absolutely new. Perhaps we might say that it was nothing more than the faculty of combining the separate, and therefore ineffectual, conceptions of others, and making them into living thought by the breath of its own organizing spirit. A great man without a past, if he be not an impossibility, will certainly have no future. He would be like those conjectural Miltons and Cromwells of Gray's imaginary Hamlet. The only privilege of the original man is, that, like other sovereign princes, he has the right to call in the current coin and reissue it stamped with his own image, as was the practice of Lessing.

Herr Stahr's over-intensity of phrase is less offensive than amusing when applied to Lessing's early efforts in criticism. Speaking of poor old Gottsched, he says: "Lessing a.s.sailed him sometimes with cutting criticism, and again with exquisite humor. In the notice of Gottsched's poems, he says, among other things, 'The exterior of the volume is so handsome that it will do great credit to the bookstores, and it is to be hoped that it will continue to do so for a long time. But to give a satisfactory idea of the interior surpa.s.ses our powers.' And in conclusion he adds, 'These poems cost two thalers and four groschen. The two thalers pay for the ridiculous, and the four groschen pretty much for the useful.'" Again, he tells us that Lessing concludes his notice of Klopstock's Ode to G.o.d "with these inimitably roguish words: 'What presumption to beg thus earnestly for a woman!' Does not a whole book of criticism lie in these nine words?" For a young man of twenty-two, Lessing's criticisms show a great deal of independence and maturity of thought; but humor he never had, and his wit was always of the bluntest,--crushing rather than cutting. The mace, and not the scymitar, was his weapon. Let Herr Stahr put all Lessing's "inimitably roguish words" together, and compare them with these few intranslatable lines from Voltaire's letter to Rousseau, thanking him for his _Discours sur l'Inegalite_: "On n'a jamais employe tant d'esprit a vouloir nous rendre betes; il prend enviede marcher a quatre pattes quand on lit votre ouvrage." Lessing from the first was something far better than a wit.

Force was always much more characteristic of him than cleverness.

Sometimes Herr Stahr's hero-worship leads him into positive misstatement.

For example, speaking of Lessing's Preface to the "Contributions to the History and Reform of the Theatre," he tells us that "his eye was directed chiefly to the English theatre and Shakespeare." Lessing at that time (1749) was only twenty, and knew little more than the names of any foreign dramatists except the French. In this very Preface his English list skips from Shakespeare to Dryden, and in the Spanish he omits Calderon, Tirso de Molina, and Alarcon. Accordingly, we suspect that the date is wrongly a.s.signed to Lessing's translation of _Toda la Vida es Sueno_. His mind was hardly yet ready to feel the strange charm of this most imaginative of Calderon's dramas.

Even where Herr Stahr undertakes to give us light on the _sources_ of Lessing, it is something of the dimmest. He attributes "Miss Sara Sampson" to the influence of the "Merchant of London," as Mr. Evans translates it literally from the German, meaning our old friend, "George Barnwell." But we are strongly inclined to suspect from internal evidence that Moore's more recent "Gamester" gave the prevailing impulse. And if Herr Stahr must needs tell us anything of the Tragedy of Middle-Cla.s.s Life, he ought to have known that on the English stage it preceded Lillo by more than a century,--witness the "Yorkshire Tragedy,"--and that something very like it was even much older in France. We are inclined to complain, also, that he does not bring out more clearly how much Lessing owed to Diderot both as dramatist and critic, nor give us so much as a hint of what already existing English criticism did for him in the way of suggestion and guidance. But though we feel it to be our duty to say so much of Herr Stahr's positive faults and negative short-comings, yet we leave him in very good humor. While he is altogether too full upon certain points of merely transitory importance,--such as the quarrel with Klotz,--yet we are bound to thank him both for the abundance of his extracts from Lessing, and for the judgment he has shown in the choice of them. Any one not familiar with his writings will be able to get a very good notion of the quality of his mind, and the amount of his literary performance, from these volumes; and that, after all, is the chief matter. As to the absolute merit of his works other than critical, Herr Stahr's judgment is too much at the mercy of his partiality to be of great value.

Of Mr. Evans's translation we can speak for the most part with high commendation. There are great difficulties in translating German prose; and whatever other good things Herr Stahr may have learned from Lessing, terseness and clearness are not among them. We have seldom seen a translation which read more easily, or was generally more faithful. That Mr. Evans should nod now and then we do not wonder, nor that he should sometimes choose the wrong word. We have only compared him with the original where we saw reason for suspecting a slip; but, though we have not found much to complain of, we have found enough to satisfy us that his book will gain by a careful revision. We select a few oversights, mainly from the first volume, as examples. On page 34, comparing Lessing with Goethe on arriving at the University, Mr. Evans, we think, obscures, if he does not wholly lose the meaning, when he translates _Leben_ by "social relations," and is altogether wrong in rendering _Patrizier_ by "aristocrat." At the top of the next page, too, "suspicious" is not the word for _bedenklich_. Had he been writing English, he would surely have said "questionable." On page 47, "overtrodden shoes" is hardly so good as the idiomatic "down at the heel." On page 104, "A very humorous representation" is oddly made to "confirm the doc.u.mentary evidence." The reverse is meant. On page 115, the sentence beginning "the tendency in both" needs revising. On page 138, Mr. Evans speaks of the "Poetical Village-younker of Destouches." This, we think, is hardly the English of _Le Poete Campagnard_, and almost recalls Lieberkuhn's theory of translation, toward which Lessing was so unrelenting,--"When I do not understand a pa.s.sage, why, I translate it word for word." On page 149, "Miss Sara Sampson" is called "the first social tragedy of the German Drama." All tragedies surely are _social_, except the "Prometheus."

_Burgerliche TraG.o.die_ means a tragedy in which the protagonist is taken from common life, and perhaps cannot be translated clearly into English except by "tragedy of middle-cla.s.s life." So on page 170 we find Emilia Galotti called a "Virginia _bourgeoise_," and on page 172 a hospital becomes a _lazaretto_. On page 190 we have a sentence ending in this strange fashion: "in an episode of the English original, which Wieland omitted entirely, one of its characters nevertheless appeared in the German tragedy." On page 205 we have the Seven Years' War called "a b.l.o.o.d.y _process_." This is mere carelessness, for Mr. Evans, in the second volume, translates it rightly "_lawsuit_." What English reader would know what "You are intriguing me" means, on page 228? On page 264, Vol. II., we find a pa.s.sage inaccurately rendered, which we consider of more consequence, because it is a quotation from Lessing. "O, out upon the man who claims, Almighty G.o.d, to be a preacher of Thy word, and yet so impudently a.s.serts that, in order to attain Thy purposes, there was only one way in which it pleased _Thee_ to make _Thyself_ known to him!"

This is very far from _nur den einzigen Weg gehabt den Du Dir gefallen la.s.sen ihm kund zu machen!_ The _ihm_ is scornfully emphatic. We hope Professor Evans will go over his version for a second edition much more carefully than we have had any occasion to do. He has done an excellent service to our literature, for which we heartily thank him, in choosing a book of this kind to translate, and translating it so well. We would not look such a gift horse too narrowly in the mouth.

Let us now endeavor to sum up the result of Lessing's life and labor with what success we may.

Gotthold Ephraim Lessing was born (January 22, 1729) at Camenz, in Upper Lusatia, the second child and eldest son of John Gottfried Lessing, a Lutheran clergyman. Those who believe in the persistent qualities of race, or the c.u.mulative property of culture, will find something to their purpose in his Saxon blood and his clerical and juristic ancestry. It is worth mentioning, that his grandfather, in the thesis for his doctor's degree, defended the right to entire freedom of religious belief. The name first comes to the surface in Parson Clement Lessigk, nearly three centuries ago, and survives to the present day in a painter of some distinction. It has almost pa.s.sed into a proverb, that the mothers of remarkable children have been something beyond the common. If there be any truth in the theory, the case of Lessing was an exception, as might have been inferred, perhaps, from the peculiarly masculine type of his character and intellect. His mother was in no wise superior, but his father seems to have been a man somewhat above the pedantic average of the provincial clergymen of his day, and to have been a scholar in the ampler meaning of the word. Besides the cla.s.sics, he had possessed himself of French and English, and was somewhat versed in the Oriental languages. The temper of his theology may be guessed from his having been, as his son tells us with some pride, one of "the earliest translators of Tillotson." We can only conjecture him from the letters which Lessing wrote to him, from which we should fancy him as on the whole a decided and even choleric old gentleman, in whom the wig, though not a predominant, was yet a notable feature, and who was, like many other fathers, permanently astonished at the fruit of his loins. He would have preferred one of the so-called learned professions for his son,--theology above all,--and would seem to have never quite reconciled himself to his son's distinction, as being in none of the three careers which alone were legitimate. Lessing's bearing towards him, always independent, is really beautiful in its union of respectful tenderness with unswerving self-a.s.sertion. When he wished to evade the maternal eye, Gotthold used in his letters to set up a screen of Latin between himself and her; and we conjecture the worthy Pastor Primarius playing over again in his study at Camenz, with some scruples of conscience, the old trick of Chaucer's fox:--

"Mulier est hominis confusio; Madam, the sentence of this Latin is.

Woman is mannes joy and mannes bliss."

He appears to have s.n.a.t.c.hed a fearful and but ill-concealed joy from the sight of the first collected edition of his son's works, unlike Tillotson as they certainly were. Ah, had they only been _Opera_! Yet were they not volumes, after all, and able to stand on their own edges beside the immortals, if nothing more?

After grinding with private-tutor Mylius the requisite time, Lessing entered the school of Camenz, and in his thirteenth year was sent to the higher inst.i.tution at Meissen. We learn little of his career there, except that Theophrastus, Plautus, and Terence were already his favorite authors, that he once characteristically distinguished himself by a courageous truthfulness, and that he wrote a Latin poem on the valor of the Saxon soldiers, which his father very sensibly advised him to shorten. In 1750, four years after leaving the school, he writes to his father: "I believed even when I was at Meissen that one must learn much there which he cannot make the least use of in real life (_der Welt_), and I now [after trying Leipzig and Wittenberg] see it all the more clearly,"--a melancholy observation which many other young men have made under similar circ.u.mstances. Sent to Leipzig in his seventeenth year, he finds himself an awkward, ungainly lad, and sets diligently to perfecting himself in the somewhat unscholastic accomplishments of riding, dancing, and fencing. He also sedulously frequents the theatre, and wrote a play, "The Young Scholar," which attained the honor of representation.

Meanwhile his most intimate companion was a younger brother of his old tutor Mylius, a young man of more than questionable morals, and who had even written a satire on the elders of Camenz, for which--over-confidently trusting himself in the outraged city--he had been fined and imprisoned; so little could the German Muse, celebrated by Klopstock for her swiftness of foot, protect her son. With this scandalous person and with play-actors, more than probably of both s.e.xes, did the young Lessing share a Christmas cake sent him by his mother. Such news was not long in reaching Camenz, and we can easily fancy how tragic it seemed in the little parsonage there, to what cabinet councils it gave rise in the paternal study, to what ominous shaking of the clerical wig in that domestic Olympus. A pious fraud is practised on the boy, who hurries home thinly clad through the winter weather, his ill-eaten Christmas cake wringing him with remorseful indigestion, to receive the last blessing, if such a prodigal might hope for it, of a broken-hearted mother. He finds the good dame in excellent health, and softened toward him by a cold he has taken on his pious journey. He remains at home several months, now writing Anacreontics of such warmth that his sister (as volunteer representative of the common hangman) burns them in the family stove; now composing sermons to convince his mother that "he could be a preacher any day,"--a theory of that sacred office unhappily not yet extinct. At Easter, 1747, he gets back to Leipzig again, with some scant supply of money in his pocket, but is obliged to make his escape thence between two days somewhere toward the middle of the next year, leaving behind him some histrionic debts (chiefly, we fear, of a certain Mademoiselle Lorenz) for which he had confidingly made himself security.

Stranded, by want of floating or other capital, at Wittenberg, he enters himself, with help from home, as a student there, but soon migrates again to Berlin, which had been his goal when making his hegira from Leipzig.

In Berlin he remained three years, applying himself to his chosen calling of author at all work, by doing whatever honest job offered itself,--verse, criticism, or translation,--and profitably studious in a very wide range of languages and their literature. Above all, he learned the great secret, which his stalwart English contemporary, Johnson, also acquired, of being able to "dine heartily" for threepence.

Meanwhile he continues in a kind of colonial dependence on the parsonage at Camenz, the bonds gradually slackening, sometimes shaken a little rudely, and always giving alarming hints of approaching and inevitable autonomy. From the few home letters of Lessing which remain, (covering the period before 1753, there are only eight in all,) we are able to surmise that a pretty constant maternal cluck and shrill paternal warning were kept up from the home coop. We find Lessing defending the morality of the stage and his own private morals against charges and suspicions of his parents, and even making the awful confession that he does not consider the Christian religion itself as a thing "to be taken on trust,"

nor a Christian by mere tradition so valuable a member of society as "one who has _prudently_ doubted, and by the way of examination has arrived at conviction, or at least striven to arrive." Boyish scepticism of the superficial sort is a common phenomenon enough, but the Lessing variety of it seems to us sufficiently rare in a youth of twenty. What strikes us mainly in the letters of these years is not merely the maturity they show, though that is remarkable, but the tone. We see already in them the cheerful and never overweening self-confidence which always so pleasantly distinguished Lessing, and that strength of tackle, so seldom found in literary men, which brings the mind well home to its anchor, enabling it to find holding ground and secure riding in any sea. "What care I to live in plenty," he asks gayly, "if I only live?" Indeed, Lessing learned early, and never forgot, that whoever would be life's master, and not its drudge, must make it a means, and never allow it to become an end. He could say more truly than Goethe, _Mein Acker ist die Zeit_, since he not only sowed in it the seed of thought for other men and other times, but cropped it for his daily bread. Above all, we find Lessing even thus early endowed with the power of keeping his eyes wide open to what he was after, to what would help or hinder him,--a much more singular gift than is commonly supposed. Among other jobs of this first Berlin period, he had undertaken to arrange the library of a certain Herr Rudiger, getting therefor his meals and "other receipts," whatever they may have been. His father seems to have heard with anxiety that this arrangement had ceased, and Lessing writes to him: "I never wished to have anything to do with this old man longer than _until I had made myself thoroughly acquainted with his great library_. This is now accomplished, and we have accordingly parted." This was in his twenty-first year, and we have no doubt, from the _range_ of scholarship which Lessing had at command so young, that it was perfectly true. All through his life he was thoroughly German in this respect also, that he never _quite_ smelted his knowledge clear from some slag of learning.

In the early part of the first Berlin residence, Pastor Primarius Lessing, hearing that his son meditated a movement on Vienna, was much exercised with fears of the temptation to Popery he would be exposed to in that capital. We suspect that the attraction thitherward had its source in a perhaps equally catholic, but less theological magnet,--the Mademoiselle Lorenz above mentioned. Let us remember the perfectly innocent pa.s.sion of Mozart for an actress, and be comforted. There is not the slightest evidence that Lessing's life at this time, or any other, though careless, was in any way debauched. No scandal was ever coupled with his name, nor is any biographic chemistry needed to bleach spots out of his reputation. What cannot be said of Wieland, of Goethe, of Schiller, of Jean Paul, may be safely affirmed of this busy and single-minded man. The parental fear of Popery brought him a seasonable supply of money from home, which enabled him to clothe himself decently enough to push his literary fortunes, and put on a bold front with publishers. Poor enough he often was, but never in so shabby a pa.s.s that he was forced to write behind a screen, like Johnson.

It was during this first stay in Berlin that Lessing was brought into personal relations with Voltaire. Through an acquaintance with the great man's secretary, Richier, he was employed as translator in the scandalous Hirschel lawsuit, so dramatically set forth by Carlyle in his Life of Frederick, though Lessing's share in it seems to have been unknown to him. The service could hardly have been other than distasteful to him; but it must have been with some thrill of the _anche io!_ kind that the poor youth, just fleshing his maiden pen in criticism, stood face to face with the famous author, with whose name all Europe rang from side to side. This was in February, 1751. Young as he was, we fancy those cool eyes of his making some strange discoveries as to the real nature of that lean nightmare of Jesuits and dunces. Afterwards the same secretary lent him the ma.n.u.script of the _Siecle de Louis XIV._, and Lessing thoughtlessly taking it into the country with him, it was not forthcoming when called for by the author. Voltaire naturally enough danced with rage, screamed all manner of unpleasant things about robbery and the like, cashiered the secretary, and was, we see no reason to doubt, really afraid of a pirated edition. _This_ time his cry of wolf must have had a quaver of sincerity in it. Herr Stahr, who can never keep separate the Lessing as he then was and the Lessing as he afterwards became, takes fire at what he chooses to consider an unworthy suspicion of the Frenchman, and treats himself to some rather cheap indignation on the subject. For ourselves, we think Voltaire altogether in the right, and we respect Lessing's honesty too much to suppose, with his biographer, that it was this which led him, years afterwards, to do such severe justice to _Merope_, and other tragedies of the same author. The affair happened in December, 1751, and a year later Lessing calls Voltaire a "great man,"

and says of his _Amalie_, that "it has not only beautiful pa.s.sages, it is beautiful throughout, and the tears of a reader of feeling will justify our judgment." Surely there is no resentment here. Our only wonder would be at its being written after the Hirschel business. At any rate, we cannot allow Herr Stahr to shake our faith in the sincerity of Lessing's motives in criticism,--he could not in the soundness of the criticism itself,--by tracing it up to a spring at once so petty and so personal.

During a part of 1752,[151] Lessing was at Wittenberg again as student of medicine, the parental notion of a strictly professional career of some kind not having yet been abandoned. We must give his father the credit of having done his best, in a well-meaning paternal fashion, to make his son over again in his own image, and to thwart the design of nature by coaxing or driving him into the pinfold of a prosperous obscurity. But Gotthold, with all his gifts, had no talent whatever for contented routine. His was a mind always in solution, which the divine order of things, as it is called, could not precipitate into any of the traditional forms of crystallization, and in which the time to come was already fermenting. The principle of growth was in the young literary hack, and he must obey it or die. His was to the last a _natura naturans_, never a _naturata_. Lessing seems to have done what he could to be a dutiful failure. But there was something in him stronger and more sacred than even filial piety; and the good old pastor is remembered now only as the father of a son who would have shared the benign oblivion of his own theological works, if he could only have had his wise way with him. Even after never so many biographies and review articles, genius continues to be a marvellous and inspiring thing. At the same time, considering the then condition of what was pleasantly called literature in Germany, there was not a little to be said on the paternal side of the question, though it may not seem now a very heavy mulct to give up one son out of ten to immortality,--at least the Fates seldom decimate in _this_ way. Lessing had now, if we accept the common standard in such matters, "completed his education," and the result may be summed up in his own words to Michaelis, 16th October, 1754: "I have studied at the Furstenschule at Meissen, and after that at Leipzig and Wittenberg. But I should be greatly embarra.s.sed if I were asked to tell _what_." As early as his twentieth year he had arrived at some singular notions as to the uses of learning. On the 20th of January, 1749, he writes to his mother: "I found out that books, indeed, would make me learned, _but never make me a man_." Like most men of great knowledge, as distinguished from mere scholars, he seems to have been always a rather indiscriminate reader, and to have been fond, as Johnson was, of "browsing" in libraries.

Johnson neither in amplitude of literature nor exactness of scholarship could be deemed a match for Lessing; but they were alike in the power of readily applying whatever they had learned, whether for purposes of ill.u.s.tration or argument. They resemble each other, also, in a kind of absolute common-sense, and in the force with which they could plant a direct blow with the whole weight both of their training and their temperament behind it. As a critic, Johnson ends where Lessing begins.

The one is happy in the lower region of the understanding: the other can breathe freely in the ampler air of reason alone. Johnson acquired learning, and stopped short from indolence at a certain point. Lessing a.s.similated it, and accordingly his education ceased only with his life.

Both had something of the intellectual sluggishness that is apt to go with great strength; and both had to be baited by the antagonism of circ.u.mstances or opinions, not only into the exhibition, but into the possession of their entire force. Both may be more properly called original men than, in the highest sense, original writers.

From 1752 to 1760, with an interval of something over two years spent in Leipzig to be near a good theatre, Lessing was settled in Berlin, and gave himself wholly and earnestly to the life of a man of letters. A thoroughly healthy, cheerful nature he most surely had, with something at first of the careless light-heartedness of youth. Healthy he was not always to be, not always cheerful, often very far from light-hearted, but manly from first to last he eminently was. Downcast he could never be, for his strongest instinct, invaluable to him also as a critic, was to see things as they really are. And this not in the sense of a cynic, but of one who measures himself as well as his circ.u.mstances,--who loves truth as the most beautiful of all things and the only permanent possession, as being of one substance with the soul. In a man like Lessing, whose character is even more interesting than his works, the tone and turn of thought are what we like to get glimpses of. And for this his letters are more helpful than those of most authors, as might be expected of one who said of himself, that, in his more serious work, "he must profit by his first heat to accomplish anything." He began, we say, light-heartedly. He did not believe that "one should thank G.o.d only for good things." "He who is only in good health, and is willing to work, has nothing to fear in the world." "What another man would call want, I call comfort." "Must not one often act thoughtlessly, if one would provoke Fortune to do something for him?" In his first inexperience, the life of "the sparrow on the house-top" (which we find oddly translated "roof") was the one he would choose for himself. Later in life, when he wished to marry, he was of another mind, and perhaps discovered that there was something in the old father's notion of a fixed position. "The life of the sparrow on the house-top is only right good if one need not expect any end to it. If it cannot always last, every day it lasts too long,"--he writes to Ebert in 1770. Yet even then he takes the manly view. "Everything in the world has its time, everything may be overlived and overlooked, if one only have health." Nor let any one suppose that Lessing, full of courage as he was, found professional authorship a garden of Alcinous. From creative literature he continually sought refuge, and even repose, in the driest drudgery of mere scholarship. On the 26th of April, 1768, he writes to his brother with something of his old gayety: "Thank G.o.d, the time will soon come when I cannot call a penny in the world my own but I must first earn it. I am unhappy if it must be by writing." And again in May, 1771: "Among all the wretched, I think him the most wretched who must work with his head, even if he is not conscious of having one. But what is the good of complaining?"

Lessing's life, if it is a n.o.ble example, so far as it concerned himself alone, is also a warning when another is to be asked to share it. He too would have profited had he earlier learned and more constantly borne in mind the profound wisdom of that old saying, _Si sit prudentia_. Let the young poet, however he may believe of his art that "all other pleasures are not worth its pains," consider well what it is to call down fire from heaven to keep the pot boiling, before he commit himself to a life of authorship as something fine and easy. That fire will not condescend to such office, though it come without asking on ceremonial days to the free service of the altar.

Lessing, however, never would, even if he could, have so desecrated his better powers. For a bare livelihood, he always went st.u.r.dily to the market of hack-work, where his learning would fetch him a price. But it was only in extremest need that he would claim that benefit of clergy. "I am worried," he writes to his brother Karl, 8th April, 1773, "and work because working is the only means to cease being so. But you and Vess are very much mistaken if you think that it could ever be indifferent to me, under such circ.u.mstances, on what I work. Nothing less true, whether as respects the work itself or the princ.i.p.al object wherefor I work. I have been in my life before now in very wretched circ.u.mstances, yet never in such that I would have written for bread in the true meaning of the word.

I have begun my 'Contributions' because this work helps me ... to live from one day to another." It is plain that he does not call this kind of thing in any high sense writing. Of that he had far other notions; for though he honestly disclaimed the t.i.tle, yet his dream was always to be a poet. But he _was_ willing to work, as he claimed to be, because he had one ideal higher than that of being a poet, namely, to be thoroughly a man. To Nicolai he writes in 1758: "All ways of earning his bread are alike becoming to an honest man, whether to split wood or to sit at the helm of state. It does not concern his conscience how useful he is, but how useful he would be." Goethe's poetic sense was the Minotaur to which he sacrificed everything. To make a study, he would soil the maiden petals of a woman's soul; to get the delicious sensation of a reflex sorrow, he would wring a heart. All that saves his egoism from being hateful is, that, with its immense reaches, it cheats the sense into a feeling of something like sublimity. A patch of sand is unpleasing; a desert has all the awe of ocean. Lessing also felt the duty of self-culture; but it was not so much for the sake of feeding fat this or that faculty as of strengthening character,--the only soil in which real mental power can root itself and find sustenance. His advice to his brother Karl, who was beginning to write for the stage, is two parts moral to one literary. "Study ethics diligently, learn to express yourself well and correctly, and cultivate your own character. Without that I cannot conceive a good dramatic author." Marvellous counsel this will seem to those who think that wisdom is only to be found in the fool's paradise of Bohemia!

We said that Lessing's dream was to be a poet. In comparison with success as a dramatist, he looked on all other achievement as inferior in kind.

In. 1767 he writes to Gleim (speaking of his call to Hamburg): "Such circ.u.mstances were needed to rekindle in me an almost extinguished love for the theatre. I was just beginning to lose myself in other studies which would have made me unfit for any work of genius. My _Laoc.o.o.n_ is now a secondary labor." And yet he never fell into the mistake of overvaluing what he valued so highly. His unflinching common-sense would have saved him from that, as it afterwards enabled him to see that something was wanting in him which must enter into the making of true poetry, whose distinction from prose is an inward one of nature, and not an outward one of form. While yet under thirty, he a.s.sures Mendelssohn that he was quite right in neglecting poetry for philosophy, because "only a part of our youth should be given up to the arts of the beautiful. We must practise ourselves in weightier things before we die.

An old man, who lifelong has done nothing but rhyme, and an old man who lifelong has done nothing but pa.s.s his breath through a stick with holes in it,--I doubt much whether such an old man has arrived at what he was meant for."

This period of Lessing's life was a productive one, though none of its printed results can be counted of permanent value, except his share in the "Letters on German Literature." And even these must be reckoned as belonging to the years of his apprenticeship and training for the master-workman he afterwards became. The small fry of authors and translators were hardly fitted to call out his full strength, but his vivisection of them taught him the value of certain structural principles. "To one dissection of the fore quarter of an a.s.s," says Haydon in his diary, "I owe my information." Yet even in his earliest criticisms we are struck with the same penetration and steadiness of judgment, the same firm grasp of the essential and permanent, that were afterwards to make his opinions law in the courts of taste. For example, he says of Thomson, that, "as a dramatic poet, he had the fault of never knowing when to leave off; he lets every character talk so long as anything can be said; accordingly, during these prolonged conversations, the action stands still, and the story becomes tedious." Of "Roderick Random," he says that "its author is neither a Richardson nor a Fielding; he is one of those writers of whom there are plenty among the Germans and French." We cite these merely because their firmness of tone seems to us uncommon in a youth of twenty-four. In the "Letters," the range is much wider, and the application of principles more consequent. He had already secured for himself a position among the literary men of that day, and was beginning to be feared for the inexorable justice of his criticisms.

His "Fables" and his "Miss Sara Sampson" had been translated into French, and had attracted the attention of Grimm, who says of them (December, 1754): "These Fables commonly contain in a few lines a new and profound moral meaning. M. Lessing has much wit, genius, and invention; the dissertations which follow the Fables prove moreover that he is an excellent critic." In Berlin, Lessing made friendships, especially with Mendelssohn, Von Kleist, Nicolai, Gleim, and Ramler. For Mendelssohn and Von Kleist he seems to have felt a real love; for the others at most a liking, as the best material that could be had. It certainly was not of the juiciest. He seems to have worked hard and played hard, equally at home in his study and Baumann's wine-cellar. He was busy, poor, and happy.

But he was restless. We suspect that the necessity of forever picking up crumbs, and their occasional scarcity, made the life of the sparrow on the house-top less agreeable than he had expected. The imagined freedom was not quite so free after all, for necessity is as short a tether as dependence, or official duty, or what not, and the regular occupation of grub-hunting is as tame and wearisome as another. Moreover, Lessing had probably by this time sucked his friends dry of any intellectual stimulus they could yield him; and when friendship reaches that pa.s.s, it is apt to be anything but inspiring. Except Mendelssohn and Von Kleist, they were not men capable of rating him at his true value; and Lessing was one of those who always burn up the fuel of life at a fearful rate. Admirably dry as the supplies of Ramler and the rest no doubt were, they had not substance enough to keep his mind at the high temperature it needed, and he would soon be driven to the cutting of green stuff from his own wood-lot, more rich in smoke than fire. Besides this, he could hardly have been at ease among intimates most of whom could not even conceive of that intellectual honesty, that total disregard of all personal interests where truth was concerned, which was an innate quality of Lessing's mind.

Their theory of criticism was, Truth, or even worse if possible, for all who do not belong to our set; for us, that delicious falsehood which is no doubt a slow poison, but then so _very_ slow. Their nerves were unbraced by that fierce democracy of thought, trampling on all prescription, all tradition, in which Lessing loved to shoulder his way and advance his insupportable foot. "What is called a heretic," he says in his Preface to _Berengarius_, "has a very good side. It is a man who at least _wishes_ to see with his own eyes." And again, "I know not if it be a duty to offer up fortune and life to the truth; ... but I know it _is_ a duty, if one undertake to teach the truth, to teach the whole of it, or none at all." Such men as Gleim and Ramler were mere _dilettanti_, and could have no notion how sacred his convictions are to a militant thinker like Lessing. His creed as to the rights of friendship in criticism might be put in the words of Selden, the firm tread of whose mind was like his own: "Opinion and affection extremely differ. Opinion is something wherein I go about to give reason why all the world should think as I think. Affection is a thing wherein I look after the pleasing of myself." How little his friends were capable of appreciating this view of the matter is plain from a letter of Ramler to Gleim, cited by Herr Stahr. Lessing had shown up the weaknesses of a certain work by the Abbe Batteux (long ago gathered to his literary fathers as conclusively as poor old Ramler himself), without regard to the important fact that the Abbe's book had been translated by a friend. Horrible to think of at best, thrice horrible when the friend's name was Ramler! The impression thereby made on the friendly heart may be conceived. A ray of light penetrated the rather opaque substance of Herr Ramler's mind, and revealed to him the dangerous character of Lessing. "I know well," he says, "that Herr Lessing means to speak his own opinion, and"--what is the dreadful inference?--"and, by suppressing others, to gain air, and make room for himself. This disposition is not to be overcome."[152]

Fortunately not, for Lessing's opinion always meant something, and was worth having. Gleim no doubt sympathized deeply with the sufferer by this treason, for he too had been shocked at some disrespect for La Fontaine, as a disciple of whom he had announced himself.

Berlin was hardly the place for Lessing, if he could not take a step in any direction without risk of treading on somebody's gouty foot. This was not the last time that he was to have experience of the fact that the critic's pen, the more it has of truth's celestial temper, the more it is apt to reverse the miracle of the archangel's spear, and to bring out whatever is toadlike in the nature of him it touches. We can well understand the sadness with which he said,

"Der Blick des Forscher's fand Nicht selten mehr als er zu finden wunschte."

Here, better than anywhere, we may cite something which he wrote of himself to a friend of Klotz. Lessing, it will be remembered, had literally "suppressed" Klotz. "What do you apprehend, then, from me? The more faults and errors you point out to me, so much the more I shall learn of you; the more I learn of you, the more thankful shall I be....I wish you knew me more thoroughly. If the opinion you have of my learning and genius (_Geist_) should perhaps suffer thereby, yet I am sure the idea I would like you to form of my character would gain. I am not the insufferable, unmannerly, proud, slanderous man Herr Klotz proclaims me.

It cost me a great deal of trouble and compulsion to be a little bitter against him."[153] Ramler and the rest had contrived a nice little society for mutual admiration, much like that described by Goldsmith, if, indeed, he did not convey it from the French, as was not uncommon with him. "'What, have you never heard of the admirable Brandellius or the ingenious Mogusius, one the eye and the other the heart of our University, known all over the world?' 'Never,' cried the traveller; 'but pray inform me what Brandellius is particularly remarkable for.' 'You must be little acquainted with the republic of letters,' said the other, 'to ask such a question. Brandellius has written a most sublime panegyric on Mogusius.' 'And, prithee, what has Mogusius done to deserve so great a favor?' 'He has written an excellent poem in praise of Brandellius.'"

Lessing was not the man who could narrow himself to the proportions of a clique; lifelong he was the terror of the Brandellii and Mogusii, and, at the signal given by him,

"They, but now who seemed In bigness to surpa.s.s Earth's giant sons, Now less than smallest dwarfs in narrow room Throng numberless."

Besides whatever other reasons Leasing may have had for leaving Berlin, we fancy that his having exhausted whatever means it had of helping his spiritual growth was the chief. Nine years later, he gave as a reason for not wishing to stay long in Brunswick, "Not that I do not like Brunswick, but because nothing comes of being long in a place which one likes."[154]

Whatever the reason, Leasing, in 1760, left Berlin for Breslau, where the post of secretary had been offered him under Frederick's tough old General Tauentzien. "I will spin myself in for a while like an ugly worm, that I may be able to come to light again as a brilliant winged creature," says his diary. Shortly after his leaving Berlin, he was chosen a member of the Academy of Sciences there. Herr Stahr, who has no little fondness for the foot-light style of phrase, says, "It may easily be imagined that he himself regarded his appointment as an insult rather than as an honor." Lessing himself merely says that it was a matter of indifference to him, which is much more in keeping with his character and with the value of the intended honor.

The Seven Years' War began four years before Lessing took up his abode in Breslau, and it may be asked how he, as a Saxon, was affected by it. We might answer, hardly at all. His position was that of armed neutrality.

Long ago at Leipzig he had been accused of Prussian leanings; now in Berlin he was thought too Saxon. Though he disclaimed any such sentiment as patriotism, and called himself a cosmopolite, it is plain enough that his position was simply that of a German. Love of country, except in a very narrow parochial way, was as impossible in Germany then as in America during the Colonial period. Lessing himself, in the latter years of his life, was librarian of one of those petty princelets who sold their subjects to be shot at in America,--creatures strong enough to oppress, too weak to protect their people. Whoever would have found a Germany to love must have pieced it together as painfully as Isis did the scattered bits of Osiris. Yet he says that "the true patriot is by no means extinguished" in him. It was the noisy ones that he could not abide; and, writing to Gleim about his "Grenadier" verses, he advises him to soften the tone of them a little, he himself being a "declared enemy of imprecations," which he would leave altogether to the clergy. We think Herr Stahr makes too much of these anti-patriot flings of Lessing, which, with a single exception, occur in his letters to Gleim, and with reference to a kind of verse that could not but be distasteful to him, as needing no more brains than a drum, nor other inspiration than serves a trumpet. Lessing undoubtedly had better uses for his breath than to spend it in shouting for either side in this "b.l.o.o.d.y lawsuit," as he called it, in which he was not concerned. He showed himself German enough, and in the right way, in his persistent warfare against the tyranny of French taste.

He remained in Breslau the better part of five years, studying life in new phases, gathering a library, which, as commonly happens, he afterwards sold at great loss, and writing his _Minna_ and his _Laoc.o.o.n_.

He accompanied Tauentzien to the siege of Schweidnitz, where Frederick was present in person. He seems to have lived a rather free-and-easy life during his term of office, kept shockingly late hours, and learned, among other things, to gamble,--a fact for which Herr Stahr thinks it needful to account in a high philosophical fashion. We prefer to think that there are _some_ motives to which remarkable men are liable in common with the rest of mankind, and that they may occasionally do a thing merely because it is pleasant, without forethought of medicinal benefit to the mind.

Lessing's friends (whose names were _not_, as the reader might be tempted to suppose, Eliphaz, Bildad, and Zophar) expected him to make something handsome out of his office; but the pitiful result of those five years of opportunity was nothing more than an immortal book. Unthrifty Lessing, to have been so nice about your fingers, (and so near the mint, too,) when your general was wise enough to make his fortune! As if ink-stains were the only ones that would wash out, and no others had ever been covered with white kid from the sight of all reasonable men! In July, 1764, he had a violent fever, which he turned to account in his usual cheerful way: "The serious epoch of my life is drawing nigh. I am beginning to become a man, and flatter myself that in this burning fever I have raved away the last remains of my youthful follies. Fortunate illness!" He had never intended to bind himself to an official career. To his father he writes: "I have more than once declared that my present engagement could not continue long, that I have not given up my old plan of living, and that I am more than ever resolved to withdraw from any service that is not wholly to my mind. I have pa.s.sed the middle of my life, and can think of nothing that could compel me to make myself a slave for the poor remainder of it. I write you this, dearest father, and must write you this, in order that you may not be astonished if, before long, you should see me once more very far removed from all hopes of, or claims to, a settled prosperity, as it is called." Before the middle of the next year he was back in Berlin again.

There he remained for nearly two years, trying the house-top way of life again, but with indifferent success, as we have reason to think. Indeed, when the metaphor resolves itself into the plain fact of living just on the other side of the roof,--in the garret, namely,--and that from hand to mouth, as was Lessing's case, we need not be surprised to find him gradually beginning to see something more agreeable in a _fixirtes Gluck_ than he had once been willing to allow. At any rate, he was willing, and even heartily desirous, that his friends should succeed in getting for him the place of royal librarian. But Frederick, for some unexplained reason, would not appoint him. Herr Stahr thinks it had something to do with the old _Siecle_ ma.n.u.script business. But this seems improbable, for Voltaire's wrath was not directed against Lessing; and even if it had been, the great king could hardly have carried the name of an obscure German author in his memory through all those anxious and war-like years.

Whatever the cause, Lessing early in 1767 accepts the position of Theatrical Manager at Hamburg, as usual not too much vexed with disappointment, but quoting gayly

"Quod non dant proceres, dabit histrio."