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This method is set forth in my two books, “Goethe’s Conception of the World” and “The Philosophy of Spiritual Activity.” These writings set forth what human thought can achieve for itself, if the thinking is not under the influence of the physical sense impressions but relies merely upon itself. Then pure thinking works within man like a living being.
It is occult science which throws light on Goethe’s beautiful phrase: “Nature invented Death in order to have much Life.” Just as in the ordinary sense there could be no life without death, so can there be no real knowledge of the visible world without insight into the invisible. All discernment of the visible must plunge again and again into the invisible in order to develop.
Whether the repose and sanity of Goethe were unmixed virtues, or whether they were partly the result of indifference, of impassivity or selfishness, is another question. Certain it is that there is no other trait in Goethe’s personality which has done more to raise him in the esteem of posterity.
It is the all-living which, unwearied and inexhaustible, brings forth form after form and pours out its fulness. It is Giordano Bruno’s “Cause, Principle, and Unity,” in endless beauty and overpowering magnificence, and it is Goethe’s “Great Goddess,” herself the object of the utmost admiration, reverence, and devotion.
It is exactly the standpoint of the popular naturalism we have already described, which here mingles unsuspectingly and without scruple Lamarckian and other principles with the Darwinian, which is enthusiastic on the one hand over the “purely mechanical” interpretation of nature, and on the other drags in directly psychical motives, unconscious consciousness, impulses, spontaneous self-differentiation of organisms, which nevertheless adheres to “monism” and possibly even professes to share Goethe’s conception of nature!
Goethe’s expressions of admiration for Sterne and indebtedness to him are familiar. Near the end of his life (December 16, 1828), when the poet was interested in observing the history and sources of his own culture, and was intent upon recording his own experience for the edification and clarification of the people, he says in conversation with Eckermann: “I
In Daniel’s work the whole of Goethe’s prodigious sorrow and solemnity seemed to have been transformed automatically into music.
Goethe’s accounts of his own travels are quite free from the Sterne flavor; in fact he distinctly says that through the influence of the Sentimental Journey all records of journeys had been mostly given up to the feelings and opinions of the traveler, but that he, after his Italian journey, had endeavored to keep himself objective.
The skull, which, according to Goethe’s theory, has evolved from three modified vertebræ, is fundamentally different in man and monkeys, both in regard to its externals, crests, ridges and shape, and especially in regard to the nature of the cavity which it forms for the brain.
That same night he sat down in his wretched quarters, and began his composition of Goethe’s “Harzreise im Winter.” It was one of the profoundest and rarest of works ever created by a musician, but it was destined, like the most of Daniel’s compositions, not to be preserved to posterity. This was due to a tragic circumstance.
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