The Essays of Arthur Schopenhauer; The Art of Literature Part 5

And even in a sphere accessible to all, we have seen unworthy imitators quickly diverting public attention from the incomparable Walter Scott. For, say what you will, the public has no sense for excellence, and therefore no notion how very rare it is to find men really capable of doing anything great in poetry, philosophy, or art, or that their works are alone worthy of exclusive attention. The dabblers, whether in verse or in any other high sphere, should be every day unsparingly reminded that neither G.o.ds, nor men, nor booksellers have pardoned their mediocrity:

_mediocribus esse poetis Non homines, non Di, non concessere columnae_.[1]

[Footnote 1: Horace, _Ars Poetica_, 372.]

Are they not the weeds that prevent the corn coming up, so that they may cover all the ground themselves? And then there happens that which has been well and freshly described by the lamented Feuchtersleben,[1]

who died so young: how people cry out in their haste that nothing is being done, while all the while great work is quietly growing to maturity; and then, when it appears, it is not seen or heard in the clamor, but goes its way silently, in modest grief:

"_Ist doch"--rufen sie vermessen-- Nichts im Werke, nichts gethan!"

Und das Grosse, reift indessen Still heran_.

_Es ersheint nun: niemand sieht es, Niemand hort es im Geschrei Mit bescheid'ner Trauer zieht es Still vorbei_.

[Footnote 1: _Translator's Note_.--Ernst Freiherr von Feuchtersleben (1806-49), an Austrian physician, philosopher, and poet, and a specialist in medical psychology. The best known of his songs is that beginning "_Es ist bestimmt in Gottes Rath_" to which Mendelssohn composed one of his finest melodies.]

This lamentable death of the critical faculty is not less obvious in the case of science, as is shown by the tenacious life of false and disproved theories. If they are once accepted, they may go on bidding defiance to truth for fifty or even a hundred years and more, as stable as an iron pier in the midst of the waves. The Ptolemaic system was still held a century after Copernicus had promulgated his theory.

Bacon, Descartes and Locke made their way extremely slowly and only after a long time; as the reader may see by d'Alembert's celebrated Preface to the _Encyclopedia_. Newton was not more successful; and this is sufficiently proved by the bitterness and contempt with which Leibnitz attacked his theory of gravitation in the controversy with Clarke.[1] Although Newton lived for almost forty years after the appearance of the _Principia_, his teaching was, when he died, only to some extent accepted in his own country, whilst outside England he counted scarcely twenty adherents; if we may believe the introductory note to Voltaire's exposition of his theory. It was, indeed, chiefly owing to this treatise of Voltaire's that the system became known in France nearly twenty years after Newton's death. Until then a firm, resolute, and patriotic stand was made by the Cartesian _Vortices_; whilst only forty years previously, this same Cartesian philosophy had been forbidden in the French schools; and now in turn d'Agnesseau, the Chancellor, refused Voltaire the _Imprimatur_ for his treatise on the Newtonian doctrine. On the other hand, in our day Newton's absurd theory of color still completely holds the field, forty years after the publication of Goethe's. Hume, too, was disregarded up to his fiftieth year, though he began very early and wrote in a thoroughly popular style. And Kant, in spite of having written and talked all his life long, did not become a famous man until he was sixty.

[Footnote 1: See especially ---- 35, 113, 118, 120, 122, 128.]

Artists and poets have, to be sure, more chance than thinkers, because their public is at least a hundred times as large. Still, what was thought of Beethoven and Mozart during their lives? what of Dante?

what even of Shakespeare? If the latter's contemporaries had in any way recognized his worth, at least one good and accredited portrait of him would have come down to us from an age when the art of painting flourished; whereas we possess only some very doubtful pictures, a bad copperplate, and a still worse bust on his tomb.[1] And in like manner, if he had been duly honored, specimens of his handwriting would have been preserved to us by the hundred, instead of being confined, as is the case, to the signatures to a few legal doc.u.ments.

The Portuguese are still proud of their only poet Camoens. He lived, however, on alms collected every evening in the street by a black slave whom he had brought with him from the Indies. In time, no doubt, justice will be done everyone; _tempo e galant uomo_; but it is as late and slow in arriving as in a court of law, and the secret condition of it is that the recipient shall be no longer alive. The precept of Jesus the son of Sirach is faithfully followed: _Judge none blessed before his death._[2] He, then, who has produced immortal works, must find comfort by applying to them the words of the Indian myth, that the minutes of life amongst the immortals seem like years of earthly existence; and so, too, that years upon earth are only as the minutes of the immortals.

[Footnote 1: A. Wivell: _An Inquiry into the History, Authenticity, and Characteristics of Shakespeare's Portraits_; with 21 engravings.

London, 1836.]

[Footnote 2: _Ecclesiasticus_, xi. 28.]

This lack of critical insight is also shown by the fact that, while in every century the excellent work of earlier time is held in honor, that of its own is misunderstood, and the attention which is its due is given to bad work, such as every decade carries with it only to be the sport of the next. That men are slow to recognize genuine merit when it appears in their own age, also proves that they do not understand or enjoy or really value the long-acknowledged works of genius, which they honor only on the score of authority. The crucial test is the fact that bad work--Fichte's philosophy, for example--if it wins any reputation, also maintains it for one or two generations; and only when its public is very large does its fall follow sooner.

Now, just as the sun cannot shed its light but to the eye that sees it, nor music sound but to the hearing ear, so the value of all masterly work in art and science is conditioned by the kins.h.i.+p and capacity of the mind to which it speaks. It is only such a mind as this that possesses the magic word to stir and call forth the spirits that lie hidden in great work. To the ordinary mind a masterpiece is a sealed cabinet of mystery,--an unfamiliar musical instrument from which the player, however much he may flatter himself, can draw none but confused tones. How different a painting looks when seen in a good light, as compared with some dark corner! Just in the same way, the impression made by a masterpiece varies with the capacity of the mind to understand it.

A fine work, then, requires a mind sensitive to its beauty; a thoughtful work, a mind that can really think, if it is to exist and live at all. But alas! it may happen only too often that he who gives a fine work to the world afterwards feels like a maker of fireworks, who displays with enthusiasm the wonders that have taken him so much time and trouble to prepare, and then learns that he has come to the wrong place, and that the fancied spectators were one and all inmates of an asylum for the blind. Still even that is better than if his public had consisted entirely of men who made fireworks themselves; as in this case, if his display had been extraordinarily good, it might possibly have cost him his head.

The source of all pleasure and delight is the feeling of kins.h.i.+p. Even with the sense of beauty it is unquestionably our own species in the animal world, and then again our own race, that appears to us the fairest. So, too, in intercourse with others, every man shows a decided preference for those who resemble him; and a blockhead will find the society of another blockhead incomparably more pleasant than that of any number of great minds put together. Every man must necessarily take his chief pleasure in his own work, because it is the mirror of his own mind, the echo of his own thought; and next in order will come the work of people like him; that is to say, a dull, shallow and perverse man, a dealer in mere words, will give his sincere and hearty applause only to that which is dull, shallow, perverse or merely verbose. On the other hand, he will allow merit to the work of great minds only on the score of authority, in other words, because he is ashamed to speak his opinion; for in reality they give him no pleasure at all. They do not appeal to him; nay, they repel him; and he will not confess this even to himself. The works of genius cannot be fully enjoyed except by those who are themselves of the privileged order. The first recognition of them, however, when they exist without authority to support them, demands considerable superiority of mind.

When the reader takes all this into consideration, he should be surprised, not that great work is so late in winning reputation, but that it wins it at all. And as a matter of fact, fame comes only by a slow and complex process. The stupid person is by degrees forced, and as it were, tamed, into recognizing the superiority of one who stands immediately above him; this one in his turn bows before some one else; and so it goes on until the weight of the votes gradually prevail over their number; and this is just the condition of all genuine, in other words, deserved fame. But until then, the greatest genius, even after he has pa.s.sed his time of trial, stands like a king amidst a crowd of his own subjects, who do not know him by sight and therefore will not do his behests; unless, indeed, his chief ministers of state are in his train. For no subordinate official can be the direct recipient of the royal commands, as he knows only the signature of his immediate superior; and this is repeated all the way up into the highest ranks, where the under-secretary attests the minister's signature, and the minister that of the king. There are a.n.a.logous stages to be pa.s.sed before a genius can attain widespread fame. This is why his reputation most easily comes to a standstill at the very outset; because the highest authorities, of whom there can be but few, are most frequently not to be found; but the further down he goes in the scale the more numerous are those who take the word from above, so that his fame is no more arrested.

We must console ourselves for this state of things by reflecting that it is really fortunate that the greater number of men do not form a judgment on their own responsibility, but merely take it on authority.

For what sort of criticism should we have on Plato and Kant, Homer, Shakespeare and Goethe, if every man were to form his opinion by what he really has and enjoys of these writers, instead of being forced by authority to speak of them in a fit and proper way, however little he may really feel what he says. Unless something of this kind took place, it would be impossible for true merit, in any high sphere, to attain fame at all. At the same time it is also fortunate that every man has just so much critical power of his own as is necessary for recognizing the superiority of those who are placed immediately over him, and for following their lead. This means that the many come in the end to submit to the authority of the few; and there results that hierarchy of critical judgments on which is based the possibility of a steady, and eventually wide-reaching, fame.

The lowest cla.s.s in the community is quite impervious to the merits of a great genius; and for these people there is nothing left but the monument raised to him, which, by the impression it produces on their senses, awakes in them a dim idea of the man's greatness.

Literary journals should be a dam against the unconscionable scribbling of the age, and the ever-increasing deluge of bad and useless books. Their judgments should be uncorrupted, just and rigorous; and every piece of bad work done by an incapable person; every device by which the empty head tries to come to the a.s.sistance of the empty purse, that is to say, about nine-tenths of all existing books, should be mercilessly scourged. Literary journals would then perform their duty, which is to keep down the craving for writing and put a check upon the deception of the public, instead of furthering these evils by a miserable toleration, which plays into the hands of author and publisher, and robs the reader of his time and his money.

If there were such a paper as I mean, every bad writer, every brainless compiler, every plagiarist from other's books, every hollow and incapable place-hunter, every sham-philosopher, every vain and languis.h.i.+ng poetaster, would shudder at the prospect of the pillory in which his bad work would inevitably have to stand soon after publication. This would paralyze his twitching fingers, to the true welfare of literature, in which what is bad is not only useless but positively pernicious. Now, most books are bad and ought to have remained unwritten. Consequently praise should be as rare as is now the case with blame, which is withheld under the influence of personal considerations, coupled with the maxim _accedas socius, laudes lauderis ut absens_.

It is quite wrong to try to introduce into literature the same toleration as must necessarily prevail in society towards those stupid, brainless people who everywhere swarm in it. In literature such people are impudent intruders; and to disparage the bad is here duty towards the good; for he who thinks nothing bad will think nothing good either. Politeness, which has its source in social relations, is in literature an alien, and often injurious, element; because it exacts that bad work shall be called good. In this way the very aim of science and art is directly frustrated.

The ideal journal could, to be sure, be written only by people who joined incorruptible honesty with rare knowledge and still rarer power of judgment; so that perhaps there could, at the very most, be one, and even hardly one, in the whole country; but there it would stand, like a just Aeropagus, every member of which would have to be elected by all the others. Under the system that prevails at present, literary journals are carried on by a clique, and secretly perhaps also by booksellers for the good of the trade; and they are often nothing but coalitions of bad heads to prevent the good ones succeeding. As Goethe once remarked to me, nowhere is there so much dishonesty as in literature.

But, above all, anonymity, that s.h.i.+eld of all literary rascality, would have to disappear. It was introduced under the pretext of protecting the honest critic, who warned the public, against the resentment of the author and his friends. But where there is one case of this sort, there will be a hundred where it merely serves to take all responsibility from the man who cannot stand by what he has said, or possibly to conceal the shame of one who has been cowardly and base enough to recommend a book to the public for the purpose of putting money into his own pocket. Often enough it is only a cloak for covering the obscurity, incompetence and insignificance of the critic.

It is incredible what impudence these fellows will show, and what literary trickery they will venture to commit, as soon as they know they are safe under the shadow of anonymity. Let me recommend a general _Anti-criticism_, a universal medicine or panacea, to put a stop to all anonymous reviewing, whether it praises the bad or blames the good: _Rascal! your name_! For a man to wrap himself up and draw his hat over his face, and then fall upon people who are walking about without any disguise--this is not the part of a gentleman, it is the part of a scoundrel and a knave.

An anonymous review has no more authority than an anonymous letter; and one should be received with the same mistrust as the other. Or shall we take the name of the man who consents to preside over what is, in the strict sense of the word, _une societe anonyme_ as a guarantee for the veracity of his colleagues?

Even Rousseau, in the preface to the _Nouvelle Helose_, declares _tout honnete homme doit avouer les livres qu'il public_; which in plain language means that every honorable man ought to sign his articles, and that no one is honorable who does not do so. How much truer this is of polemical writing, which is the general character of reviews! Riemer was quite right in the opinion he gives in his _Reminiscences of Goethe:[1] An overt enemy_, he says, _an enemy who meets you face to face, is an honorable man, who will treat you fairly, and with whom you can come to terms and be reconciled: but an enemy who conceals himself_ is a base, cowardly scoundrel, _who has not courage enough to avow his own judgment; it is not his opinion that he cares about, but only the secret pleasures of wreaking his anger without being found out or punished._ This will also have been Goethe's opinion, as he was generally the source from which Riemer drew his observations. And, indeed, Rousseau's maxim applies to every line that is printed. Would a man in a mask ever be allowed to harangue a mob, or speak in any a.s.sembly; and that, too, when he was going to attack others and overwhelm them with abuse?

[Footnote 1: Preface, p. xxix.]

Anonymity is the refuge for all literary and journalistic rascality.

It is a practice which must be completely stopped. Every article, even in a newspaper, should be accompanied by the name of its author; and the editor should be made strictly responsible for the accuracy of the signature. The freedom of the press should be thus far restricted; so that when a man publicly proclaims through the far-sounding trumpet of the newspaper, he should be answerable for it, at any rate with his honor, if he has any; and if he has none, let his name neutralize the effect of his words. And since even the most insignificant person is known in his own circle, the result of such a measure would be to put an end to two-thirds of the newspaper lies, and to restrain the audacity of many a poisonous tongue.

ON REPUTATION.

Writers may be cla.s.sified as meteors, planets and fixed stars. A meteor makes a striking effect for a moment. You look up and cry _There!_ and it is gone for ever. Planets and wandering stars last a much longer time. They often outs.h.i.+ne the fixed stars and are confounded with them by the inexperienced; but this only because they are near. It is not long before they must yield their place; nay, the light they give is reflected only, and the sphere of their influence is confined to their own orbit--their contemporaries. Their path is one of change and movement, and with the circuit of a few years their tale is told. Fixed stars are the only ones that are constant; their position in the firmament is secure; they s.h.i.+ne with a light of their own; their effect to-day is the same as it was yesterday, because, having no parallax, their appearance does not alter with a difference in our standpoint. They belong not to _one_ system, _one_ nation only, but to the universe. And just because they are so very far away, it is usually many years before their light is visible to the inhabitants of this earth.

We have seen in the previous chapter that where a man's merits are of a high order, it is difficult for him to win reputation, because the public is uncritical and lacks discernment. But another and no less serious hindrance to fame comes from the envy it has to encounter. For even in the lowest kinds of work, envy balks even the beginnings of a reputation, and never ceases to cleave to it up to the last. How great a part is played by envy in the wicked ways of the world! Ariosto is right in saying that the dark side of our mortal life predominates, so full it is of this evil:

_questa a.s.sai piu oscura che serena Vita mortal, tutta d'invidia piena_.

For envy is the moving spirit of that secret and informal, though flouris.h.i.+ng, alliance everywhere made by mediocrity against individual eminence, no matter of what kind. In his own sphere of work no one will allow another to be distinguished: he is an intruder who cannot be tolerated. _Si quelq'un excelle parmi nous, qu'il aille exceller ailleurs_! this is the universal pa.s.sword of the second-rate. In addition, then, to the rarity of true merit and the difficulty it has in being understood and recognized, there is the envy of thousands to be reckoned with, all of them bent on suppressing, nay, on smothering it altogether. No one is taken for what he is, but for what others make of him; and this is the handle used by mediocrity to keep down distinction, by not letting it come up as long as that can possibly be prevented.

There are two ways of behaving in regard to merit: either to have some of one's own, or to refuse any to others. The latter method is more convenient, and so it is generally adopted. As envy is a mere sign of deficiency, so to envy merit argues the lack of it. My excellent Balthazar Gracian has given a very fine account of this relation between envy and merit in a lengthy fable, which may be found in his _Discreto_ under the heading _Hombre de ostentacion_. He describes all the birds as meeting together and conspiring against the peac.o.c.k, because of his magnificent feathers. _If_, said the magpie, _we could only manage to put a stop to the cursed parading of his tail, there would soon be an end of his beauty; for what is not seen is as good as what does not exist_.

This explains how modesty came to be a virtue. It was invented only as a protection against envy. That there have always been rascals to urge this virtue, and to rejoice heartily over the bashfulness of a man of merit, has been shown at length in my chief work.[1] In Lichtenberg's _Miscellaneous Writings_ I find this sentence quoted: _Modesty should be the virtue of those who possess no other_. Goethe has a well-known saying, which offends many people: _It is only knaves who are modest_!--_Nur die Lumpen sind bescheiden_! but it has its prototype in Cervantes, who includes in his _Journey up Parna.s.sus_ certain rules of conduct for poets, and amongst them the following: _Everyone whose verse shows him to be a poet should have a high opinion of himself, relying on the proverb that he is a knave who thinks himself one_.

And Shakespeare, in many of his Sonnets, which gave him the only opportunity he had of speaking of himself, declares, with a confidence equal to his ingenuousness, that what he writes is immortal.[2]

[Footnote 1: _Welt als Wille_, Vol. II. c. 37.]

[Footnote 2: Collier, one of his critical editors, in his Introduction to the Sonettes, remarks upon this point: "In many of them are to be found most remarkable indications of self-confidence and of a.s.surance in the immortality of his verses, and in this respect the author's opinion was constant and uniform. He never scruples to express it,...

and perhaps there is no writer of ancient or modern times who, for the quant.i.ty of such writings left behind him, has so frequently or so strongly declared that what he had produced in this department of poetry 'the world would not willingly let die.'"]

A method of underrating good work often used by envy--in reality, however, only the obverse side of it--consists in the dishonorable and unscrupulous laudation of the bad; for no sooner does bad work gain currency than it draws attention from the good. But however effective this method may be for a while, especially if it is applied on a large scale, the day of reckoning comes at last, and the fleeting credit given to bad work is paid off by the lasting discredit which overtakes those who abjectly praised it. Hence these critics prefer to remain anonymous.

A like fate threatens, though more remotely, those who depreciate and censure good work; and consequently many are too prudent to attempt it. But there is another way; and when a man of eminent merit appears, the first effect he produces is often only to pique all his rivals, just as the peac.o.c.k's tail offended the birds. This reduces them to a deep silence; and their silence is so unanimous that it savors of preconcertion. Their tongues are all paralyzed. It is the _silentium livoris_ described by Seneca. This malicious silence, which is technically known as _ignoring_, may for a long time interfere with the growth of reputation; if, as happens in the higher walks of learning, where a man's immediate audience is wholly composed of rival workers and professed students, who then form the channel of his fame, the greater public is obliged to use its suffrage without being able to examine the matter for itself. And if, in the end, that malicious silence is broken in upon by the voice of praise, it will be but seldom that this happens entirely apart from some ulterior aim, pursued by those who thus manipulate justice. For, as Goethe says in the _West-ostlicher Divan_, a man can get no recognition, either from many persons or from only one, unless it is to publish abroad the critic's own discernment:

_Denn es ist kein Anerkenen, Weder Vieler, noch des Einen, Wenn es nicht am Tage fordert, Wo man selbst was mochte scheinen_.

The credit you allow to another man engaged in work similar to your own or akin to it, must at bottom be withdrawn from yourself; and you can praise him only at the expense of your own claims.

Accordingly, mankind is in itself not at all inclined to award praise and reputation; it is more disposed to blame and find fault, whereby it indirectly praises itself. If, notwithstanding this, praise is won from mankind, some extraneous motive must prevail. I am not here referring to the disgraceful way in which mutual friends will puff one another into a reputation; outside of that, an effectual motive is supplied by the feeling that next to the merit of doing something oneself, comes that of correctly appreciating and recognizing what others have done. This accords with the threefold division of heads drawn up by Hesiod[1] and afterwards by Machiavelli[2] _There are_, says the latter, _in the capacities of mankind, three varieties: one man will understand a thing by himself; another so far as it is explained to him; a third, neither of himself nor when it is put clearly before him_. He, then, who abandons hope of making good his claims to the first cla.s.s, will be glad to seize the opportunity of taking a place in the second. It is almost wholly owing to this state of things that merit may always rest a.s.sured of ultimately meeting with recognition.

[Footnote 1: _Works and Days_, 293.]