Fiction > Harvard Classics > J.W. von Goethe > Wilhelm Meister’s Apprenticeship > Criticisms and Interpretations > II
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J.W. von Goethe (1749–1832).  Wilhelm Meister’s Apprenticeship.
The Harvard Classics Shelf of Fiction.  1917.
  
Criticisms and Interpretations
II. By Thomas Carlyle
  
A WIDE, and every way most important, interval divides “Werther,” with its skeptical philosophy, and “hypochondriacal crotchets,” from Goethe’s next novel “Wilhelm Meister’s Apprenticeship”, published some twenty years afterwards. This work belongs, in all senses, to the second and sounder period of Goethe’s life, and may indeed serve as the fullest, if perhaps not the purest, impress of it; being written with due forethought, at various times, during a period of no less than ten years. Considered as a piece of Art, there were much to be said on “Meister”; all which, however, lies beyond our present purpose. We are here looking at the work chiefly as a document for the writer’s history; and in this point of view, it certainly seems, as contrasted with its more popular precursor, to deserve our best attention: for the problem which had been stated in “Werther,” with despair of its solution, is here solved. The lofty enthusiasm, which, wandering wildly over the universe, found no resting place, has here reached its appointed home; and lives in harmony with what long appeared to threaten it with annihilation. Anarchy has now become Peace; the once gloomy and perturbed spirit is now serene, cheerfully vigorous, and rich in good fruits. Neither, which is most important of all, has this Peace been attained by a surrender to Necessity, or any compact with Delusion; a seeming blessing, such as years and dispiritment will of themselves bring to most men, and which is indeed no blessing, since even continued battle is better than destruction or captivity; and peace of this sort is like that of Galgacus’s Romans, who “called it peace when they had made a desert.” Here the ardent, high-aspiring youth has grown into the calmest man, yet with increase and not loss of ardor, and with aspirations higher as well as clearer. For he has conquered his unbelief; the Ideal has been built on the actual; no longer floats vaguely in darkness and regions of dreams, but rests in light, on the firm ground of human interest and business, as in its true scene, on its true basis.   1
  It is wonderful to see with what softness the skepticism of Jarno, the commercial spirit of Werner, the reposing, polished manhood of Lothario and the Uncle, the unearthly enthusiasm of the Harper, the gay, animal vivacity of Philina, the mystic, ethereal, almost spiritual nature of Mignon, are blended together in this work; how justice is done to each, how each lives freely in his proper element, in his proper form; and how, as Wilhelm himself, the mild-hearted, all-hoping, all-believing Wilhelm, struggles forward towards his world of Art through these curiously complected influences, all this unites itself into a multifarious, yet so harmonious Whole, as into a clear poetic mirror, where man’s life and business in this age, his passions and purposes, the highest equally with the lowest, are imaged back to us in beautiful significance. Poetry and Prose are no longer at variance, for the poet’s eyes are opened: he sees the changes of many-colored existence, and sees the loveliness and deep purport which lies hidden under the very meanest of them; hidden to the vulgar sight, but clear to the poet’s; because the “open secret” is no longer a secret to him, and he knows that the Universe is full of goodness; that whatever has being has beauty.—From “Critical and Miscellaneous Essays” (1828).   2

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