Concerning Culture-Philistinism, David Strauss makes a double confession, by word and by deed; that is to say, by the word of the confessor, and the act of the writer. His book entitled _The Old Faith and the New _is, first in regard to its contents, and secondly in regard to its being a book and a literary production, an uninterrupted confession; while, in the very fact that he allows himself to write confessions at all about his faith, there already lies a confession. Presumably, every one seems to have the right to compile an autobiography after his fortieth year; for the humblest amongst us may have experienced things, and may have seen them at such close quarters, that the recording of them may prove of use and value to the thinker. But to write a confession of one's faith cannot but be regarded as a thousand times more pretentious, since it takes for granted that the writer attaches worth, not only to the experiences and investigations of his life, but also to his beliefs. Now, what the nice thinker will require to know, above all else, is the kind of faith which happens to be compatible with natures of the Straussian order, and what it is they have "half dreamily conjured up" (p. 10) concerning matters of which those alone have the right to speak who are acquainted with them at first hand. Whoever would have desired to possess the confessions, say, of a Ranke or a Mommsen? And these men were scholars and historians of a very different stamp from David Strauss. If, however, they had ever ventured to interest us in their faith instead of in their scientific investigations, we should have felt that they were overstepping their limits in a most irritating fashion. Yet Strauss does this when he discusses his faith. Nobody wants to know anything about it, save, perhaps, a few bigoted opponents of the Straussian doctrines, who, suspecting, as they do, a substratum of satanic principles beneath these doctrines, hope that he may compromise his learned utterances by revealing the nature of those principles. These clumsy creatures may, perhaps, have found what they sought in the last book; but we, who had no occasion to suspect a satanic substratum, discovered nothing of the sort, and would have felt rather pleased than not had we been able to discern even a dash of the diabolical in any part of the volume. But surely no evil spirit could speak as Strauss speaks of his new faith. In fact, spirit in general seems to be altogether foreign to the book--more particularly the spirit of genius. Only those whom Strauss designates as his "We," speak as he does, and then, when they expatiate upon their faith to us, they bore us even more than when they relate their dreams; be they "scholars, artists, military men, civil employés, merchants, or landed proprietors; come they in their thousands, and not the worst people in the land either!" If they do not wish to remain the peaceful ones in town or county, but threaten to wax noisy, then let not the din of their _unisono_ deceive us concerning the poverty and vulgarity of the melody they sing. How can it dispose us more favourably towards a profession of faith to hear that it is approved by a crowd, when it is of such an order that if any individual of that crowd attempted to make it known to us, we should not only fail to hear him out, but should interrupt him with a yawn? If thou sharest such a belief, we should say unto him, in Heaven's name, keep it to thyself! Maybe, in the past, some few harmless types looked for the thinker in David Strauss; now they have discovered the "believer" in him, and are disappointed. Had he kept silent, he would have remained, for these, at least, the philosopher; whereas, now, no one regards him as such. He no longer craved the honours of the thinker, however; all he wanted to be was a new believer, and he is proud of his new belief. In making a written declaration of it, he fancied he was writing the catechism of "modern thought," and building the "broad highway of the world's future." Indeed, our Philistines have ceased to be faint-hearted and bashful, and have acquired almost cynical assurance. There was a time, long, long ago, when the Philistine was only tolerated as something that did not speak, and about which no one spoke; then a period ensued during which his roughness was smoothed, during which he was found amusing, and people talked about him. Under this treatment he gradually became a prig, rejoiced with all his heart over his rough places and his wrongheaded and candid singularities, and began to talk, on his own account, after the style of Riehl's music for the home.
"But what do I see? Is it a shadow? Is it reality? How long and broad my poodle grows!"
For now he is already rolling like a hippopotamus along "the broad highway of the world's future," and his growling and barking have become transformed into the proud incantations of a religious founder. And is it your own sweet wish, Great Master, to found the religion of the future? "The times seem to us not yet ripe (p. 7). It does not occur to us to wish to destroy a church." But why not, Great Master? One but needs the ability. Besides, to speak quite openly in the latter, you yourself are convinced that you Possess this ability. Look at the last page of your book. There you actually state, forsooth, that your new way "alone is the future highway of the world, which now only requires partial completion, and especially general use, in order also to become easy and pleasant."
Make no further denials, then. The religious founder is unmasked, the convenient and agreeable highway leading to the Straussian Paradise is built. It is only the coach in which you wish to convey us that does not altogether satisfy you, unpretentious man that you are! You tell us in your concluding remarks: "Nor will I pretend that the coach to which my esteemed readers have been obliged to trust themselves with me fulfils every requirement,...all through one is much jolted" (p. 438). Ah! you are casting about for a compliment, you gallant old religious founder! But let us be straightforward with you. If your reader so regulates the perusal of the 368 pages of your religious catechism as to read only one page a day--that is to say, if he take it in the smallest possible doses-then, perhaps, we should be able to believe that he might suffer some evil effect from the book--if only as the outcome of his vexation when the results he expected fail to make themselves felt. Gulped down more heartily, however, and as much as possible being taken at each draught, according to the prescription to be recommended in the case of all modern books, the drink can work no mischief; and, after taking it, the reader will not necessarily be either out of sorts or out of temper, but rather merry and well-disposed, as though nothing had happened; as though no religion had been assailed, no world's highway been built, and no profession of faith been made. And I do indeed call this a result! The doctor, the drug, and the disease--everything forgotten! And the joyous laughter! The continual provocation to hilarity! You are to be envied, Sir; for you have founded the most attractive of all religions--one whose followers do honour to its founder by laughing at him.
IV.
The Philistine as founder of the religion of the future--that is the new belief in its most emphatic form of expression. The Philistine becomes a dreamer--that is the unheard-of occurrence which distinguishes the German nation of to-day. But for the present, in any case, let us maintain an attitude of caution towards this fantastic exaltation. For does not David Strauss himself advise us to exercise such caution, in the following profound passage, the general tone of which leads us to think of the Founder of Christianity rather than of our particular author? (p. 92): "We know there have been noble enthusiasts--enthusiasts of genius; the influence of an enthusiast can rouse, exalt, and produce prolonged historic effects; but we do not wish to choose him as the guide of our life. He will be sure to mislead us, if we do not subject his influence to the control of reason." But we know something more: we know that there are enthusiasts who are not intellectual, who do not rouse or exalt, and who, nevertheless, not only expect to be the guides of our lives, but, as such, to exercise a very lasting historical influence into the bargain, and to rule the future;--all the more reason why we should place their influence under the control of reason. Lichtenberg even said: "There are enthusiasts quite devoid of ability, and these are really dangerous people." In the first place, as regards the above-mentioned control of reason, we should like to have candid answers to the three following questions: First, how does the new believer picture his heaven? Secondly, how far does the courage lent him by the new faith extend? And, thirdly, how does he write his books? Strauss the Confessor must answer the first and second questions; Strauss the Writer must answer the third.
The heaven of the new believer must, perforce, be a heaven upon earth; for the Christian "prospect of an immortal life in heaven," together with the other consolations, "must irretrievably vanish" for him who has but "one foot" on the Straussian platform. The way in which a religion represents its heaven is significant, and if it be true that Christianity knows no other heavenly occupations than singing and making music, the prospect of the Philistine, _à la_ Strauss, is truly not a very comforting one. In the book of confessions, however, there is a page which treats of Paradise (p. 342). Happiest of Philistines, unroll this parchment scroll before anything else, and the whole of heaven will seem to clamber down to thee! "We would but indicate how we act, how we have acted these many years. Besides our profession--for we are members of the most various professions, and by no means exclusively consist of scholars or artists, but of military men and civil employés, of merchants and landed proprietors;...and again, as I have said already, there are not a few of us, but many thousands, and not the worst people in the country;--besides our profession, then, I say, we are eagerly accessible to all the higher interests of humanity; we have taken a vivid interest, during late years, and each after his manner has participated in the great national war, and the reconstruction of the German State; and we have been profoundly exalted by the turn events have taken, as unexpected as glorious, for our much tried nation. To the end of forming just conclusions in these things, we study history, which has now been made easy, even to the unlearned, by a series of attractively and popularly written works; at the same time, we endeavour to enlarge our knowledge of the natural sciences, where also there is no lack of sources of information; and lastly, in the writings of our great poets, in the performances of our great musicians, we find a stimulus for the intellect and heart, for wit and imagination, which leaves nothing to be desired. Thus we live, and hold on our way in joy."
"Here is our man!" cries the Philistine exultingly, who reads this: "for this is exactly how we live; it is indeed our daily life."[3] And how perfectly he understands the euphemism! When, for example, he refers to the historical studies by means of which we help ourselves in forming just conclusions regarding the political situation, what can he be thinking of, if it be not our newspaper-reading? When he speaks of the active part we take in the reconstruction of the German State, he surely has only our daily visits to the beer-garden in his mind; and is not a walk in the Zoological Gardens implied by 'the sources of information through which we endeavour to enlarge our knowledge of the natural sciences'? Finally, the theatres and concert-halls are referred to as places from which we take home 'a stimulus for wit and imagination which leaves nothing to be desired.'--With what dignity and wit he describes even the most suspicious of our doings! Here indeed is our man; for his heaven is our heaven!"
[3] This alludes to a German student-song.
Thus cries the Philistine; and if we are not quite so satisfied as he, it is merely owing to the fact that we wanted to know more. Scaliger used to say: "What does it matter to us whether Montaigne drank red or white wine?" But, in this more important case, how greatly ought we to value definite particulars of this sort! If we could but learn how many pipes the Philistine smokes daily, according to the prescriptions of the new faith, and whether it is the _Spener_ or the _National Gazette_ that appeals to him over his coffee! But our curiosity is not satisfied. With regard to one point only do we receive more exhaustive information, and fortunately this point relates to the heaven in heaven--the private little art-rooms which will be consecrated to the use of great poets and musicians, and to which the Philistine will go to edify himself; in which, moreover, according to his own showing, he will even get "all his stains removed and wiped away" (p. 433); so that we are led to regard these private little art-rooms as a kind of bath-rooms. "But this is only effected for some fleeting moments; it happens and counts only in the realms of phantasy; as soon as we return to rude reality, and the cramping confines of actual life, we are again on all sides assailed by the old cares,"--thus our Master sighs. Let us, however, avail ourselves of the fleeting moments during which we remain in those little rooms; there is just sufficient time to get a glimpse of the apotheosis of the Philistine--that is to say, the Philistine whose stains have been removed and wiped away, and who is now an absolutely pure sample of his type. In truth, the opportunity we have here may prove instructive: let no one who happens to have fallen a victim to the confession-book lay it aside before having read the two appendices, "Of our Great Poets" and "Of our Great Musicians." Here the rainbow of the new brotherhood is set, and he who can find no pleasure in it "for such an one there is no help," as Strauss says on another occasion; and, as he might well say here, "he is not yet ripe for our point of view." For are we not in the heaven of heavens? The enthusiastic explorer undertakes to lead us about, and begs us to excuse him if, in the excess of his joy at all the beauties to be seen, he should by any chance be tempted to talk too much. "If I should, perhaps, become more garrulous than may seem warranted in this place, let the reader be indulgent to me; for out of the abundance of the heart the mouth speaketh. Let him only be assured that what he is now about to read does not consist of older materials, which I take the opportunity of inserting here, but that these remarks have been written for their present place and purpose" (pp. 345-46). This confession surprises us somewhat for the moment. What can it matter to us whether or not the little chapters were freshly written? As if it were a matter of writing! Between ourselves, I should have been glad if they had been written a quarter of a century earlier; then, at least, I should have understood why the thoughts seem to be so bleached, and why they are so redolent of resuscitated antiquities. But that a thing should have been written in 1872 and already smell of decay in 1872 strikes me as suspicious. Let us imagine some one's falling asleep while reading these chapters--what would he most probably dream about? A friend answered this question for me, because he happened to have had the experience himself. He dreamt of a wax-work show. The classical writers stood there, elegantly represented in wax and beads. Their arms and eyes moved, and a screw inside them creaked an accompaniment to their movements. He saw something gruesome among them--a misshapen figure, decked with tapes and jaundiced paper, out of whose mouth a ticket hung, on which "Lessing" was written. My friend went close up to it and learned the worst: it was the Homeric Chimera; in front it was Strauss, behind it was Gervinus, and in the middle Chimera. The _tout-ensemble_ was Lessing. This discovery caused him to shriek with terror: he waked, and read no more. In sooth, Great Master, why have you written such fusty little chapters?
We do, indeed, learn something new from them; for instance, that Gervinus made it known to the world how and why Goethe was no dramatic genius; that, in the second part of Faust, he had only produced a world of phantoms and of symbols; that Wallenstein is a Macbeth as well as a Hamlet; that the Straussian reader extracts the short stories out of the _Wanderjahre_ "much as naughty children pick the raisins and almonds out of a tough plum-cake"; that no complete effect can be produced on the stage without the forcible element, and that Schiller emerged from Kant as from a cold-water cure. All this is certainly new and striking; but, even so, it does not strike us with wonder, and so sure as it is new, it will never grow old, for it never was young; it was senile at birth. What extraordinary ideas seem to occur to these Blessed Ones, after the New Style, in their æsthetic heaven! And why can they not manage to forget a few of them, more particularly when they are of that unæsthetic, earthly, and ephemeral order to which the scholarly thoughts of Gervinus belong, and when they so obviously bear the stamp of puerility? But it almost seems as though the modest greatness of a Strauss and the vain insignificance of a Gervinus were only too well able to harmonise: then long live all those Blessed Ones! may we, the rejected, also live long, if this unchallenged judge of art continues any longer to teach his borrowed enthusiasm, and the gallop of that hired steed of which the honest Grillparzer speaks with such delightful clearness, until the whole of heaven rings beneath the hoof of that galumphing enthusiasm. Then, at least, things will be livelier and noisier than they are at the present moment, in which the carpet-slippered rapture of our heavenly leader and the lukewarm eloquence of his lips only succeed in the end in making us sick and tired. I should like to know how a Hallelujah sung by Strauss would sound: I believe one would have to listen very carefully, lest it should seem no more than a courteous apology or a lisped compliment. Apropos of this, I might adduce an instructive and somewhat forbidding example. Strauss strongly resented the action of one of his opponents who happened to refer to his reverence for Lessing. The unfortunate man had misunderstood;--true, Strauss did declare that one must be of a very obtuse mind not to recognise that the simple words of paragraph 86 come from the writer's heart. Now, I do not question this warmth in the very least; on the contrary, the fact that Strauss fosters these feelings towards Lessing has always excited my suspicion; I find the same warmth for Lessing raised almost to heat in Gervinus--yea, on the whole, no great German writer is so popular among little German writers as Lessing is; but for all that, they deserve no thanks for their predilection; for what is it, in sooth, that they praise in Lessing? At one moment it is his catholicity--the fact that he was critic and poet, archæologist and philosopher, dramatist and theologian. Anon, "it is the unity in him of the writer and the man, of the head and the heart." The last quality, as a rule, is just as characteristic of the great writer as of the little one; as a rule, a narrow head agrees only too fatally with a narrow heart. And as to the catholicity; this is no distinction, more especially when, as in Lessing's case, it was a dire necessity. What astonishes one in regard to Lessing-enthusiasts is rather that they have no conception of the devouring necessity which drove him on through life and to this catholicity; no feeling for the fact that such a man is too prone to consume himself rapidly, like a flame; nor any indignation at the thought that the vulgar narrowness and pusillanimity of his whole environment, especially of his learned contemporaries, so saddened, tormented, and stifled the tender and ardent creature that he was, that the very universality for which he is praised should give rise to feelings of the deepest compassion. "Have pity on the exceptional man!" Goethe cries to us; "for it was his lot to live in such a wretched age that his life was one long polemical effort." How can ye, my worthy Philistines, think of Lessing without shame? He who was ruined precisely on account of your stupidity, while struggling with your ludicrous fetiches and idols, with the defects of your theatres, scholars, and theologists, without once daring to attempt that eternal flight for which he had been born. And what are your feelings when ye think of Winckelman, who, in order to turn his eyes from your grotesque puerilities, went begging to the Jesuits for help, and whose ignominious conversion dishonours not him, but you? Dare ye mention Schiller's name without blushing? Look at his portrait. See the flashing eyes that glance contemptuously over your heads, the deadly red cheek--do these things mean nothing to you? In him ye had such a magnificent and divine toy that ye shattered it. Suppose, for a moment, it had been possible to deprive this harassed and hunted life of Goethe's friendship, ye would then have been responsible for its still earlier end. Ye have had no finger in any one of the life-works of your great geniuses, and yet ye would make a dogma to the effect that no one is to be helped in the future. But for every one of them, ye were "the resistance of the obtuse world," which Goethe calls by its name in his epilogue to the Bell; for all of them ye were the grumbling imbeciles, or the envious bigots, or the malicious egoists: in spite of you each of them created his works, against you each directed his attacks, and thanks to you each prematurely sank, while his work was still unfinished, broken and bewildered by the stress of the battle. And now ye presume that ye are going to be permitted, tamquam re bene gesta, to praise such men! and with words which leave no one in any doubt as to whom ye have in your minds when ye utter your encomiums, which therefore "spring forth with such hearty warmth" that one must be blind not to see to whom ye are really bowing. Even Goethe in his day had to cry: "Upon my honour, we are in need of a Lessing, and woe unto all vain masters and to the whole æsthetic kingdom of heaven, when the young tiger, whose restless strength will be visible in his every distended muscle and his every glance, shall sally forth to seek his prey!"
V.
How clever it was of my friend to read no further, once he had been enlightened (thanks to that chimerical vision) concerning the Straussian Lessing and Strauss himself. We, however, read on further, and even craved admission of the Doorkeeper of the New Faith to the sanctum of music. The Master threw the door open for us, accompanied us, and began quoting certain names, until, at last, overcome with mistrust, we stood still and looked at him. Was it possible that we were the victims of the same hallucination as that to which our friend had been subjected in his dream? The musicians to whom Strauss referred seemed to us to be wrongly designated as long as he spoke about them, and we began to think that the talk must certainly be about somebody else, even admitting that it did not relate to incongruous phantoms. When, for instance, he mentioned Haydn with that same warmth which made us so suspicious when he praised Lessing, and when he posed as the epopt and priest of a mysterious Haydn cult; when, in a discussion upon quartette-music, if you please, he even likened Haydn to a "good unpretending soup" and Beethoven to "sweetmeats" (p. 432); then, to our minds, one thing, and one thing alone, became certain--namely, that his Sweetmeat-Beethoven is not our Beethoven, and his Soup-Haydn is not our Haydn. The Master was moreover of the opinion that our orchestra is too good to perform Haydn, and that only the most unpretentious amateurs can do justice to that music--a further proof that he was referring to some other artist and some other work, possibly to Riehl's music for the home.
But whoever can this Sweetmeat-Beethoven of Strauss's be? He is said to have composed nine symphonies, of which the Pastoral is "the least remarkable"; we are told that "each time in composing the third, he seemed impelled to exceed his bounds, and depart on an adventurous quest," from which we might infer that we are here concerned with a sort of double monster, half horse and half cavalier. With regard to a certain _Eroica_, this Centaur is very hard pressed, because he did not succeed in making it clear "whether it is a question of a conflict on the open field or in the deep heart of man." In the Pastoral there is said to be "a furiously raging storm," for which it is "almost too insignificant" to interrupt a dance of country-folk, and which, owing to "its arbitrary connection with a trivial motive," as Strauss so adroitly and correctly puts it, renders this symphony "the least remarkable." A more drastic expression appears to have occurred to the Master; but he prefers to speak here, as he says, "with becoming modesty." But no, for once our Master is wrong; in this case he is really a little too modest. Who, indeed, will enlighten us concerning this Sweetmeat-Beethoven, if not Strauss himself--the only person who seems to know anything about him? But, immediately below, a strong judgment is uttered with becoming non-modesty, and precisely in regard to the Ninth Symphony. It is said, for instance, that this symphony "is naturally the favourite of a prevalent taste, which in art, and music especially, mistakes the grotesque for the genial, and the formless for the sublime" (p. 428). It is true that a critic as severe as Gervinus was gave this work a hearty welcome, because it happened to confirm one of his doctrines; but Strauss is "far from going to these problematic productions" in search of the merits of his Beethoven. "It is a pity," cries our Master, with a convulsive sigh, "that one is compelled, by such reservations, to mar one's enjoyment of Beethoven, as well as the admiration gladly accorded to him." For our Master is a favourite of the Graces, and these have informed him that they only accompanied Beethoven part of the way, and that he then lost sight of them. "This is a defect," he cries, "but can you believe that it may also appear as an advantage?" "He who is painfully and breathlessly rolling the musical idea along will seem to be moving the weightier one, and thus appear to be the stronger" (pp. 423-24). This is a confession, and not necessarily one concerning Beethoven alone, but concerning "the classical prose-writer" himself. He, the celebrated author, is not abandoned by the Graces. From the play of airy jests--that is to say, Straussian jests--to the heights of solemn earnestness--that is to say, Straussian earnestness--they remain stolidly at his elbow. He, the classical prose-writer, slides his burden along playfully and with a light heart, whereas Beethoven rolls his painfully and breathlessly. He seems merely to dandle his load; this is indeed an advantage. But would anybody believe that it might equally be a sign of something wanting? In any case, only those could believe this who mistake the grotesque for the genial, and the formless for the sublime--is not that so, you dandling favourite of the Graces? We envy no one the edifying moments he may have, either in the stillness of his little private room or in a new heaven specially fitted out for him; but of all possible pleasures of this order, that of Strauss's is surely one of the most wonderful, for he is even edified by a little holocaust. He calmly throws the sublimest works of the German nation into the flames, in order to cense his idols with their smoke. Suppose, for a moment, that by some accident, the Eroica, the Pastoral, and the Ninth Symphony had fallen into the hands of our priest of the Graces, and that it had been in his power to suppress such problematic productions, in order to keep the image of the Master pure, who doubts but what he would have burned them? And it is precisely in this way that the Strausses of our time demean themselves: they only wish to know so much of an artist as is compatible with the service of their rooms; they know only the extremes--censing or burning. To all this they are heartily welcome; the one surprising feature of the whole case is that public opinion, in matters artistic, should be so feeble, vacillating, and corruptible as contentedly to allow these exhibitions of indigent Philistinism to go by without raising an objection; yea, that it does not even possess sufficient sense of humour to feel tickled at the sight of an unæsthetic little master's sitting in judgment upon Beethoven. As to Mozart, what Aristotle says of Plato ought really to be applied here: "Insignificant people ought not to be permitted even to praise him." In this respect, however, all shame has vanished--from the public as well as from the Master's mind: he is allowed, not merely to cross