March 15.
This last paragraph, which I wrote last evening, sent me to bed with my
head full of all manner of thoughts, and memories, and fancies.
Whence and what are we, "that things whose sense we see not, frey us
with things that be not?" If I had the heart of that wondrous bird in
the Persian tales, which being pressed upon a human heart, obliged that
heart to utter truth through the lips, sleeping or waking, then I think
I would inquire how far in each bosom exists the belief in the
supernatural? In many minds which I know, and otherwise strong minds, it
certainly exists a hidden source of torment; in others, not stronger, it
exists a source of absolute pleasure and excitement. I have known people
most wittily ridicule, or gravely discountenance, a belief in spectral
appearances, and all the time I could see in their faces that once in
their lives at least they had been frightened at their own shadow. The
conventional cowardice, the fear of ridicule, even the self-respect
which prevents intelligent persons from revealing the exact truth of
what passes through their own minds on this point, deprives us of a
means to trace to its sources and develop an interesting branch of
Psychology. Between vulgar credulity and exaggeration on the one hand,
and the absolute scepticism and materialism of some would-be
philosophers on the other, lies a vast space of debatable ground, a sort
of twilight region or _limbo_, through which I do not see my way
distinctly.
How far are our perceptions confined to our outward senses? Can any one
tell?--for that our perceptions are not wholly confined to impressions
taken in by the outward senses, seems the only one thing proved; and
are such sensible impressions the only real ones? When any one asks me
gaily the so common and common-place question--common even in these our
rational times--"Do you now really believe in ghosts?" I generally
answer as gaily--"I really don't know!" In the common, vulgar meaning of
the words, I certainly do _not_; but in the reality of many things
termed imaginary I certainly do.
* * * * *
The following beautiful and original interpretation of Goethe's ballad
of the "Erl-King" is not in Ekermann's book (the "Gespraeche mit Goethe,"
which I am now studying), but I give it to you in the words in which it
was given to me.
"Goethe's 'Erl-Koenig' is a moral allegory of deep meaning, though I am
not sure he meant it as such, or intended all that it signifies. There
are beings in the world who see, who feel, with a finer sense than that
granted to other mortals. They see the spiritual, the imaginative
sorrow, or danger, or terror which threatens them; and those who see not
with the same eyes, talk reason and philosophy to them. The poor
frightened child cries out for aid, for mercy; and Papa Wisdom--worldly
wisdom--answers,--
"'Mein Sohn, es ist ein Nebelstrief!'
"Or,--
"'Es scheinen die alten Weiden so grau!'
"It is only the vapour-wreath, or the grey willows waving, and tells him
to be quiet! At last the poor child of feeling is found dead in the arms
of Wisdom, from causes which no one else perceived--or believed! Is it
not often so?"
* * * * *
On the subject of religion I find this beautiful comparison, but am not
sure whether it be Ekermann's or Goethe's. "A connoisseur standing
before the picture of a great master will regard it as a whole. He knows
how to combine instantly the scattered parts into the general effect;
the universal, as well as the individual, is to him animated. He has no
preference for certain portions: he does not ask why this or that face
is beautiful or otherwise; why _this_ part is light, _that_ dark; only
he requires that all shall be in the right place, and according to the
just rules of art; but place an ignorant person before such a picture,
and you will see that the great design of the whole will either be
overlooked by him, or confuse him utterly. Some small portion will
attract him, another will offend him, and in the end he will dwell upon
some trifling object which is familiar to him, and praise this helmet,
or that feather, as being well executed.
"We men, before the great picture of the destinies of the universe, play
the part of such dunces, such novices in art. Here we are attracted by a
bright spot, a graceful configuration; _there_ we are repelled by a deep
shadow, a painful object; the immense WHOLE bewilders and perplexes us;
we seek in vain to penetrate the leading idea of that great Being, who
designed the whole upon a plan which our limited human intellect cannot
comprehend."
* * * * *