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Updated: May 24, 2025
To such a philosophy of the variations of the beautiful, Lessing's analysis of the spheres of sculpture and poetry, in the Laocoon, was a very important contribution. But a true appreciation of these things is possible only in the light of a whole system of such art-casuistries.
When taking up his pen to write, he seems to be continually posing for his portrait; and whereas at times his features are drawn to look like Lessing's, anon they are made to assume the Voltairean mould. While reading his praise of Voltaire's manner, we almost seem to see him abjuring the consciences of his contemporaries for not having learned long ago what the modern Voltaire had to offer them.
In the same way, Spingarn's Creative Criticism is a good preparation for Croce's monumental Aesthetics. The student should certainly make some acquaintance with Lessing's Laokoon, and he will find Babbitt's New Laokoon a brilliant and trenchant survey of the old questions.
I am afraid, however, there will be some readers who will be so far from asking any apology on those heads, that they will facetiously regard them as my only merits: and that would be as cruel as Lessing's suggestion to an author for his table of errata "Apropos, of errata, suppose you were to put your whole book into the list of errata."
Not so with the metaphysical conclusion which he reached by this path, and which is somewhat different from the pantheism of his youth, inasmuch as he combines with it somewhat of the fundamental ideas of Leibnitz, which were also Lessing's, and which, after all, form a sort of return to Christianity, as understood in its widest sense, in the sense in which it harmonizes with Plato's idealism.
Indeed, when the metaphor resolves itself into the plain fact of living just on the other side of the roof, in the garret, namely, and that from hand to mouth, as was Lessing's case, we need not be surprised to find him gradually beginning to see something more agreeable in a fixirtes Glueck than he had once been willing to allow.
By that time Lessing's rather plump, practical hand had crept out along the rim of the desk until it was covered by Peter's lean one, and still neither of them had said a word. The roses had come in from Lessing's country place that morning in Lessing's car, and Lessing's wife had gathered them.
On pages 7 and 8 we find an example of the other kind of style, that of the short sentences containing that affected liveliness which so excited certain readers that they cannot mention Strauss any more without coupling his name with Lessing's. "I am well aware that what I propose to delineate in the following pages is known to multitudes as well as to myself, to some even much better.
Let us remember the perfectly innocent passion of Mozart for an actress, and be comforted. There is not the slightest evidence that Lessing's life at this time, or any other, though careless, was in any way debauched. No scandal was ever coupled with his name, nor is any biographic chemistry needed to bleach spots out of his reputation.
He was forced, however, to come back to the substance of Mrs. Lessing's comment a few days later when he was being dined at the club by a twice-removed cousin of the Goodward's, the upright, elderly symbol of the male sanction which was the most that his fiancée's fatherless condition could furnish forth.
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