The age of the world is great enough for our imaginations, even according to the Mosaic account, without borrowing any years from the geologist. From Adam and Eve at one leap sheer down to the deluge, and then through the ancient monarchies, through Babylon and Thebes, Brahma and Abraham, to Greece and the Argonauts; whence we might start again with Orpheus and the Trojan war, the Pyramids and the Olympic games, and Homer and Athens, for our stages; and after a breathing space at the building of Rome, continue our journey down through Odin and Christ to—America. It is a wearisome while. And yet the lives of but sixty old women, such as live under the hill, say of a century each, strung together, are sufficient to reach over the whole ground. Taking hold of hands they would span the interval from Eve to my own mother. A respectable tea-party merely—whose gossip would be Universal History. The fourth old woman from myself suckled Columbus—the ninth was nurse to the Norman Conqueror—the nineteenth was the Virgin Mary—the twenty-fourth the Cumaean Sibyl—the thirtieth was at the Trojan war and Helen her name—the thirty-eighth was Queen Semiramis—the sixtieth was Eve the mother of mankind. So much for the
Old woman that lives under the hill,
And if she’s not gone she lives there still.
It will not take a very great-granddaughter of hers to be in at the death of Time.
We can never safely exceed the actual facts in our narratives. Of pure invention, such as some suppose, there is no instance. To write a true work of fiction even, is only to take leisure and liberty to describe some things more exactly as they are. A true account of the actual is the rarest poetry, for common sense always takes a hasty and superficial view. Though I am not much acquainted with the works of Goethe, I should say that it was one of his chief excellences as a writer that he was satisfied with giving an exact description of things as they appeared to him, and their effect upon him. Most travellers have not self-respect enough to do this simply, and make objects and events stand around them as the center, but still imagine more favorable positions and relations than the actual ones, and so we get no valuable report from them at all. In his Italian Travels Goethe jogs along at a snail’s pace, but always mindful that the earth is beneath and the heavens are above him. His Italy is not merely the fatherland of lazzaroni and virtuosi, and scene of splendid ruins, but a solid turf-clad soil, daily shined on by the sun, and nightly by the moon. Even the few showers are faithfully recorded. He speaks as an unconcerned spectator, whose object is faithfully to describe what he sees, and that, for the most part, in the order in which he sees it. Even his reflections do not interfere with his descriptions. In one place he speaks of himself as giving so glowing and truthful a description of an old tower to the peasants who had gathered around him, that they who had been born and brought up in the neighborhood must needs look over their shoulders, “that,” to use his own words, “they might behold with their eyes, what I had praised to their ears,”—“and I added nothing, not even the ivy which for centuries had decorated the walls.” It would thus be possible for inferior minds to produce invaluable books, if this very moderation were not the evidence of superiority; for the wise are not so much wiser than others as respecters of their own wisdom. Some, poor in spirit, record plaintively only what has happened to them; but others how they have happened to the universe, and the judgment which they have awarded to circumstances. Above all, he possessed a hearty goodwill to all men, and never wrote a cross or even careless word. On one occasion the post-boy snivelling, “Signor perdonate, quésta è la mia patria,” he confesses that “to me poor northerner came something tear-like into the eyes.”
Goethe’s whole education and life were those of the artist. He lacks the unconsciousness of the poet. In his autobiography he describes accurately the life of the author of Wilhelm Meister. For as there is in that book, mingled with a rare and serene wisdom, a certain pettiness or exaggeration of trifles, wisdom applied to produce a constrained and partial and merely well-bred man—a magnifying of the theatre till life itself is turned into a stage, for which it is our duty to study our parts well, and conduct with propriety and precision—so in the autobiography, the fault of his education is, so to speak, its merely artistic completeness. Nature is hindered, though she prevails at last in making an unusually catholic impression on the boy. It is the life of a city boy, whose toys are pictures and works of art, whose wonders are the theatre and kingly processions and crownings. As the youth studied minutely the order and the degrees in the imperial procession, and suffered none of its effect to be lost on him, so the man aimed to secure a rank in society which would satisfy his notion of fitness and respectability. He was defrauded of much which the savage boy enjoys. Indeed, he himself has occasion to say in this very autobiography, when at last he escapes into the woods without the gates: “Thus much is certain, that only the undefinable, wide-expanding feelings of youth and of uncultivated nations are adapted to the sublime, which, whenever it may be excited in us through external objects, since it is either formless, or else moulded into forms which are incomprehensible, must surround us with a grandeur which we find above our reach.” He further says of himself: “I had lived among painters from my childhood, and had accustomed myself to look
