No More Learning

There are three Images of Man fashioned by our
modern time, which for a long while yet will urge
mortal men to transfigure their own lives; they
are the men of Rousseau, Goethe, and Schopen-
hauer. The first has the greatest fire, and is most
calculated to impress the people: the second is
only for the few, for those contemplative natures
"in the grand style" who are misunderstood by
the crowd. The third demands the highest activity
in those who will follow it: only such men will
look on that image without harm, for it breaks
the spirit of that merely contemplative man, and
the rabble shudder at it. From the first has come
forth a strength that led and still leads to fearful
revolution: for in all socialistic upheavals it is ever
Rousseau's man who is the Typhoeus under the
Etna. Oppressed and half crushed to death by
the pride of caste and the pitilessness of wealth,
spoilt by priests and bad education, a laughing-
stock even to himself, man cries in his need on
"holy mother Nature," and feels suddenly that she
is as far from him as any god of the Epicureans.
His prayers do not reach her; so deeply sunk is
he in the Chaos of the unnatural. He contemptu-
ously throws aside all the finery that seemed his


## p. 140 (#196) ############################################

140 THOUGHTS OUT OF SEASON.
truest humanity a little while ago—all his arts
and sciences, all the refinements of his life,—he
beats with his fists against the walls, in whose
shadow he has degenerated, and goes forth to seek
the light and the sun, the forest and the crag.
And crying out, "Nature alone is good, the natural
man alone is human," he despises himself and
aspires beyond himself: a state wherein the soul
is ready for a fearful resolve, but calls the noble
and the rare as well from their utter depths.
Goethe's man is no such threatening force; in
a certain sense he is a corrective and a sedative to
those dangerous agitations of which Rousseau's
man is a prey. Goethe himself in his youth
followed the "gospel of kindly Nature" with all
the ardour of his soul: his Faust was the highest
and boldest picture of Rousseau's man, so far at
any rate as his hunger for life, his discontent and
yearning, his intercourse with the demons of the
heart could be represented. But what comes from
these congregated storm-clouds? Not a single
lightning flash! And here begins the new Image
of man—the man according to Goethe. One
might have thought that Faust would have lived
a continual life of suffering, as a revolutionary and
a deliverer, as the negative force that proceeds
from goodness, as the genius of ruin, alike religious
and daemonic, in opposition to his utterly un-
daemonic companion; though of course he could
not be free of this companion, and had at once to
use and despise his evil and destructive scepticism
—which is the tragic destiny of all revolutionary
deliverers. One is wrong, however, to expect


## p. 141 (#197) ############################################

SCHOPENHAUER AS EDUCATOR. 141
anything of the sort: Goethe's man here parts
company with Rousseau's; for he hates all violence,
all sudden transition—that is, all action: and the
universal deliverer becomes merely the universal
traveller. All the riches of life and nature, all
antiquity—arts, mythologies and sciences—pass
before his eager eyes, his deepest desires are
aroused and satisfied, Helen herself can hold him
no more—and the moment must come for which
his mocking companion is waiting. At a fair spot
on the earth, his flight comes to an end: his pinions
drop, and Mephistopheles is at his side. When
the German ceases to be Faust, there is no danger
greater than of becoming a Philistine and falling
into the hands of the devil—heavenly powers alone
can save him. Goethe's man is, as I said, the con-
templative man in the grand style, who is only
kept from dying of ennui by feeding on all the
great and memorable things that have ever existed,
and by living from desire to desire. He is not the
active man; and when he does take a place among
active men, as things are, you may be sure that no
good will come of it (think, for example, of the zeal
with which Goethe wrote for the stage! ); and
further, you may be sure that "things as they are"
will suffer no change. Goethe's man is a con-
ciliatory and conservative spirit, though in danger
of degenerating into a Philistine, just as Rousseau's
man may easily become a Catiline. All his virtues
would be the better by the addition of a little brute
force and elemental passion. Goethe appears to
have seen where the weakness and danger of his
creation lay, as is clear from Jarno's word to


## p. 141 (#198) ############################################

140
THOUGHTS OUT OF SEASON.
truest humanity a little while ago—all his arts
and sciences, all the refinements of his life,-he
beats with his fists against the walls, in whose
shadow he has degenerated, and goes forth to seek
the light and the sun, the forest and the crag.
And crying out, “Nature alone is good, the natural
man alone is human,” he despises himself and
aspires beyond himself: a state wherein the soul
is ready for a fearful resolve, but calls the noble
and the rare as well from their utter depths.
Goethe's man is no such threatening force; in
a certain sense he is a corrective and a sedative to
those dangerous agitations of which Rousseau's
man is a prey. Goethe himself in his youth
followed the “gospel of kindly Nature” with all
the ardour of his soul: his Faust was the highest
and boldest picture of Rousseau's man, so far at
any rate as his hunger for life, his discontent and
yearning, his intercourse with the demons of the
heart could be represented. But what comes from
these congregated storm-clouds ? Not a single
lightning flash! And here begins the new Image
of man—the man according to Goethe. One
might have thought that Faust would have lived
a continual life of suffering, as a revolutionary and
a deliverer, as the negative force that proceeds
from goodness, as the genius of ruin, alike religious
and dæmonic, in opposition to his utterly un-
dæmonic companion; though of course he could
not be free of this companion, and had at once to
use and despise his evil and destructive scepticism
—which is the tragic destiny of all revolutionary
deliverers. One is wrong, however, to expect



## p. 141 (#199) ############################################

SCHOPENHAUER AS EDUCATOR.
141
anything of the sort: Goethe's man here parts
company with Rousseau's; for he hates all violence,
all sudden transition—that is, all action : and the
universal deliverer becomes merely the universal
traveller. All the riches of life and nature, all
antiquity—arts, mythologies and sciences—pass
before his eager eyes, his deepest desires are
aroused and satisfied, Helen herself can hold him
no more—and the moment must come for which
his mocking companion is waiting. At a fair spot
on the earth, his flight comes to an end: his pinions
drop, and Mephistopheles is at his side. When
the German ceases to be Faust, there is no danger
greater than of becoming a Philistine and falling
into the hands of the devil-heavenly powers alone
can save him. Goethe's man is, as I said, the con-
templative man in the grand style, who is only
kept from dying of ennui by feeding on all the
great and memorable things that have ever existed,
and by living from desire to desire. He is not the
active man; and when he does take a place among
active men, as things are, you may be sure that no
good will come of it (think, for example, of the zeal
with which Goethe wrote for the stage ! ); and
further, you may be sure that "things as they are”
will suffer no change. Goethe's man is a con-
ciliatory and conservative spirit, though in danger
of degenerating into a Philistine, just as Rousseau's
man may easily become a Catiline. All his virtues
would be the better by the addition of a little brute
force and elemental passion. Goethe appears to
have seen where the weakness and danger of his
creation lay, as is clear from Jarno's word to


## p. 141 (#200) ############################################

140
THOUGHTS OUT OF SEASON.
truest humanity a little while ago—all his arts
and sciences, all the refinements of his life,-he
beats with his fists against the walls, in whose
shadow he has degenerated, and goes forth to seek
the light and the sun, the forest and the crag.
And crying out, “Nature alone is good, the natural
man alone is human," he despises himself and
aspires beyond himself: a state wherein the soul
is ready for a fearful resolve, but calls the noble
and the rare as well from their utter depths.
Goethe's man is no such threatening force; in
a certain sense he is a corrective and a sedative to
those dangerous agitations of which Rousseau's
man is a prey. Goethe himself in his youth
followed the “gospel of kindly Nature” with all
the ardour of his soul: his Faust was the highest
and boldest picture of Rousseau's man, so far at
any rate as his hunger for life, his discontent and
yearning, his intercourse with the demons of the
heart could be represented. But what comes from
these congregated storm-clouds ? Not a single
lightning flash! And here begins the new Image
of man—the man according to Goethe. One
might have thought that Faust would have lived
a continual life of suffering, as a revolutionary and
a deliverer, as the negative force that proceeds
from goodness, as the genius of ruin, alike religious
and dæmonic, in opposition to his utterly un-
dæmonic companion ; though of course he could
not be free of this companion, and had at once to
use and despise his evil and destructive scepticism
- which is the tragic destiny of all revolutionary
deliverers. One is wrong, however, to expect



## p. 141 (#201) ############################################

SCHOPENHAUER AS EDUCATOR.
141
anything of the sort: Goethe's man here parts
company with Rousseau's; for he hates all violence,
all sudden transition—that is, all action : and the
universal deliverer becomes merely the universal
traveller. All the riches of life and nature, all
antiquity—arts, mythologies and sciences—pass
before his eager eyes, his deepest desires are
aroused and satisfied, Helen herself can hold him
no more—and the moment must come for which
his mocking companion is waiting. At a fair spot
on the earth, his flight comes to an end: his pinions
drop, and Mephistopheles is at his side. When
the German ceases to be Faust, there is no danger
greater than of becoming a Philistine and falling
into the hands of the devil-heavenly powers alone
can save him. Goethe's man is, as I said, the con-
templative man in the grand style, who is only
kept from dying of ennui by feeding on all the
great and memorable things that have ever existed,
and by living from desire to desire. He is not the
active man; and when he does take a place among
active men, as things are, you may be sure that no
good will come of it (think, for example, of the zeal
with which Goethe wrote for the stage ! ); and
further, you may be sure that “things as they are”
will suffer no change. Goethe's man is a con-
ciliatory and conservative spirit, though in danger
of degenerating into a Philistine, just as Rousseau's
man may easily become a Catiline. All his virtues
would be the better by the addition of a little brute
force and elemental passion. Goethe appears to
have seen where the weakness and danger of his
creation lay, as is clear from Jarno's word to


## p. 141 (#202) ############################################

140
THOUGHTS OUT OF SEASON.
truest humanity a little while ago—all his arts
and sciences, all the refinements of his life,—he
beats with his fists against the walls, in whose
shadow he has degenerated, and goes forth to seek
the light and the sun, the forest and the crag.
And crying out, “Nature alone is good, the natural
man alone is human,” he despises himself and
aspires beyond himself: a state wherein the soul
is ready for a fearful resolve, but calls the noble
and the rare as well from their utter depths.
Goethe's man is no such threatening force; in
a certain sense he is a corrective and a sedative to
those dangerous agitations of which Rousseau's
man is a prey. Goethe himself in his youth
followed the “gospel of kindly Nature” with all
the ardour of his soul: his Faust was the highest
and boldest picture of Rousseau's man, so far at
any rate as his hunger for life, his discontent and
yearning, his intercourse with the demons of the
heart could be represented. But what comes from
these congregated storm-clouds ? Not a single
lightning flash! And here begins the new Image
of man—the man according to Goethe. One
might have thought that Faust would have lived
a continual life of suffering, as a revolutionary and
a deliverer, as the negative force that proceeds
from goodness, as the genius of ruin, alike religious
and dæmonic, in opposition to his utterly un-
dæmonic companion; though of course he could
not be free of this companion, and had at once to
use and despise his evil and destructive scepticism
—which is the tragic destiny of all revolutionary
deliverers. One is wrong, however, to expect



## p. 141 (#203) ############################################

SCHOPENHAUER AS EDUCATOR.
141
anything of the sort: Goethe's man here parts
company with Rousseau's; for he hates all violence,
all sudden transition—that is, all action : and the
universal deliverer becomes merely the universal
traveller. All the riches of life and nature, all
antiquity—arts, mythologies and sciences—pass
before his eager eyes, his deepest desires are
aroused and satisfied, Helen herself can hold him
no more—and the moment must come for which
his mocking companion is waiting. At a fair spot
on the earth, his flight comes to an end: his pinions
drop, and Mephistopheles is at his side. When
the German ceases to be Faust, there is no danger
greater than of becoming a Philistine and falling
into the hands of the devil-heavenly powers alone
can save him. Goethe's man is, as I said, the con-
templative man in the grand style, who is only
kept from dying of ennui by feeding on all the
great and memorable things that have ever existed,
and by living from desire to desire. He is not the
active man; and when he does take a place among
active men, as things are, you may be sure that no
good will come of it (think, for example, of the zeal
with which Goethe wrote for the stage ! ); and
further, you may be sure that "things as they are”
will suffer no change. Goethe's man is a con-
ciliatory and conservative spirit, though in danger
of degenerating into a Philistine, just as Rousseau's
man may easily become a Catiline. All his virtues
would be the better by the addition of a little brute
force and elemental passion. Goethe appears to
have seen where the weakness and danger of his
creation lay, as is clear from Jarno's word to


## p. 141 (#204) ############################################

140
THOUGHTS OUT OF SEASON.
truest humanity a little while ago—all his arts
and sciences, all the refinements of his life,-he
beats with his fists against the walls, in whose
shadow he has degenerated, and goes forth to seek
the light and the sun, the forest and the crag.
And crying out, “Nature alone is good, the natural
man alone is human," he despises himself and
aspires beyond himself: a state wherein the soul
is ready for a fearful resolve, but calls the noble
and the rare as well from their utter depths.
Goethe's man is no such threatening force; in
a certain sense he is a corrective and a sedative to
those dangerous agitations of which Rousseau's
man is a prey. Goethe himself in his youth
followed the “gospel of kindly Nature" with all
the ardour of his soul : his Faust was the highest
and boldest picture of Rousseau's man, so far at
any rate as his hunger for life, his discontent and
yearning, his intercourse with the demons of the
heart could be represented. But what comes from
these congregated storm-clouds ? Not a single
lightning flash! And here begins the new Image
of man—the man according to Goethe. One
might have thought that Faust would have lived
a continual life of suffering, as a revolutionary and
a deliverer, as the negative force that proceeds
from goodness, as the genius of ruin, alike religious
and dæmonic, in opposition to his utterly un-
dæmonic companion; though of course he could
not be free of this companion, and had at once to
use and despise his evil and destructive scepticism
—which is the tragic destiny of all revolutionary
deliverers. One is wrong, however, to expect



## p. 141 (#205) ############################################

SCHOPENHAUER AS EDUCATOR.
141
anything of the sort: Goethe's man here parts
company with Rousseau's; for he hates all violence,
all sudden transition—that is, all action : and the
universal deliverer becomes merely the universal
traveller. All the riches of life and nature, all
antiquity—arts, mythologies and sciences—pass
before his eager eyes, his deepest desires are
aroused and satisfied, Helen herself can hold him
no more—and the moment must come for which
his mocking companion is waiting. At a fair spot
on the earth, his flight comes to an end: his pinions
drop, and Mephistopheles is at his side. When
the German ceases to be Faust, there is no danger
greater than of becoming a Philistine and falling
into the hands of the devil-heavenly powers alone
can save him. Goethe's man is, as I said, the con-
templative man in the grand style, who is only
kept from dying of ennui by feeding on all the
great and memorable things that have ever existed,
and by living from desire to desire. He is not the
active man; and when he does take a place among
active men, as things are, you may be sure that no
good will come of it (think, for example, of the zeal
with which Goethe wrote for the stage ! ); and
further, you may be sure that “things as they are”
will suffer no change. Goethe's man is a con-
ciliatory and conservative spirit, though in danger
of degenerating into a Philistine, just as Rousseau's
man may easily become a Catiline. All his virtues
would be the better by the addition of a little brute
force and elemental passion. Goethe appears to
have seen where the weakness and danger of his
creation lay, as is clear from Jarno's word to


## p. 141 (#206) ############################################

140
THOUGHTS OUT OF SEASON.
truest humanity a little while ago—all his arts
and sciences, all the refinements of his life,-he
beats with his fists against the walls, in whose
shadow he has degenerated, and goes forth to seek
the light and the sun, the forest and the crag.
And crying out, “Nature alone is good, the natural
man alone is human," he despises himself and
aspires beyond himself: a state wherein the soul
is ready for a fearful resolve, but calls the noble
and the rare as well from their utter depths.
Goethe's man is no such threatening force; in
a certain sense he is a corrective and a sedative to
those dangerous agitations of which Rousseau's
man is a prey. Goethe himself in his youth
followed the “gospel of kindly Nature" with all
the ardour of his soul : his Faust was the highest
and boldest picture of Rousseau's man, so far at
any rate as his hunger for life, his discontent and
yearning, his intercourse with the demons of the
heart could be represented. But what comes from
these congregated storm-clouds ? Not a single
lightning flash! And here begins the new Image
of man—the man according to Goethe. One
might have thought that Faust would have lived
a continual life of suffering, as a revolutionary and
a deliverer, as the negative force that proceeds
from goodness, as the genius of ruin, alike religious
and dæmonic, in opposition to his utterly un-
dæmonic companion; though of course he could
not be free of this companion, and had at once to
use and despise his evil and destructive scepticism
—which is the tragic destiny of all revolutionary
deliverers. One is wrong, however, to expect



## p. 141 (#207) ############################################

SCHOPENHAUER AS EDUCATOR.
141
anything of the sort: Goethe's man here parts
company with Rousseau's; for he hates all violence,
all sudden transition—that is, all action : and the
universal deliverer becomes merely the universal
traveller. All the riches of life and nature, all
antiquity—arts, mythologies and sciences—pass
before his eager eyes, his deepest desires are
aroused and satisfied, Helen herself can hold him
no more—and the moment must come for which
his mocking companion is waiting. At a fair spot
on the earth, his flight comes to an end: his pinions
drop, and Mephistopheles is at his side. When
the German ceases to be Faust, there is no danger
greater than of becoming a Philistine and falling
into the hands of the devil_heavenly powers alone
can save him. Goethe's man is, as I said, the con-
templative man in the grand style, who is only
kept from dying of ennui by feeding on all the
great and memorable things that have ever existed,
and by living from desire to desire. He is not the
active man; and when he does take a place among
active men, as things are, you may be sure that no
good will come of it (think, for example, of the zeal
with which Goethe wrote for the stage ! ); and
further, you may be sure that “things as they are”
will suffer no change. Goethe's man is a con-
ciliatory and conservative spirit, though in danger
of degenerating into a Philistine, just as Rousseau's
man may easily become a Catiline. All his virtues
would be the better by the addition of a little brute
force and elemental passion. Goethe appears to
have seen where the weakness and danger of his
creation lay, as is clear from Jarno's word to


## p. 141 (#208) ############################################

140
THOUGHTS OUT OF SEASON.
truest humanity a little while ago—all his arts
and sciences, all the refinements of his life,—he
beats with his fists against the walls, in whose
shadow he has degenerated, and goes forth to seek
the light and the sun, the forest and the crag.
And crying out, “Nature alone is good, the natural
man alone is human,” he despises himself and
aspires beyond himself: a state wherein the soul
is ready for a fearful resolve, but calls the noble
and the rare as well from their utter depths.
Goethe's man is no such threatening force; in
a certain sense he is a corrective and a sedative to
those dangerous agitations of which Rousseau's
man is a prey. Goethe himself in his youth
followed the “gospel of kindly Nature” with all
the ardour of his soul: his Faust was the highest
and boldest picture of Rousseau's man, so far at
any rate as his hunger for life, his discontent and
yearning, his intercourse with the demons of the
heart could be represented. But what comes from
these congregated storm-clouds ? Not a single
lightning flash! And here begins the new Image
of man—the man according to Goethe. One
might have thought that Faust would have lived
a continual life of suffering, as a revolutionary and
a deliverer, as the negative force that proceeds
from goodness, as the genius of ruin, alike religious
and dæmonic, in opposition to his utterly un-
dæmonic companion; though of course he could
not be free of this companion, and had at once to
use and despise his evil and destructive scepticism
—which is the tragic destiny of all revolutionary
deliverers. One is wrong, however, to expect



## p. 141 (#209) ############################################

SCHOPENHAUER AS EDUCATOR.
141
anything of the sort: Goethe's man here parts
company with Rousseau's; for he hates all violence,
all sudden transition—that is, all action : and the
universal deliverer becomes merely the universal
traveller. All the riches of life and nature, all
antiquity—arts, mythologies and sciences—pass
before his eager eyes, his deepest desires are
aroused and satisfied, Helen herself can hold him
no more—and the moment must come for which
his mocking companion is waiting. At a fair spot
on the earth, his flight comes to an end: his pinions
drop, and Mephistopheles is at his side. When
the German ceases to be Faust, there is no danger
greater than of becoming a Philistine and falling
into the hands of the devil-heavenly powers alone
can save him. Goethe's man is, as I said, the con-
templative man in the grand style, who is only
kept from dying of ennui by feeding on all the
great and memorable things that have ever existed,
and by living from desire to desire. He is not the
active man; and when he does take a place among
active men, as things are, you may be sure that no
good will come of it (think, for example, of the zeal
with which Goethe wrote for the stage ! ); and
further, you may be sure that “things as they are”
will suffer no change. Goethe's man is a con-
ciliatory and conservative spirit, though in danger
of degenerating into a Philistine, just as Rousseau's
man may easily become a Catiline. All his virtues
would be the better by the addition of a little brute
force and elemental passion. Goethe appears to
have seen where the weakness and danger of his
creation lay, as is clear from Jarno's word to


## p. 141 (#210) ############################################

140
THOUGHTS OUT OF SEASON.
truest humanity a little while ago—all his arts
and sciences, all the refinements of his life, he
beats with his fists against the walls, in whose
shadow he has degenerated, and goes forth to seek
the light and the sun, the forest and the crag.
And crying out, “Nature alone is good, the natural
man alone is human," he despises himself and
aspires beyond himself: a state wherein the soul
is ready for a fearful resolve, but calls the noble
and the rare as well from their utter depths.
Goethe's man is no such threatening force; in
a certain sense he is a corrective and a sedative to
those dangerous agitations of which Rousseau's
man is a prey. Goethe himself in his youth
followed the “gospel of kindly Nature” with all
the ardour of his soul: his Faust was the highest
and boldest picture of Rousseau's man, so far at
any rate as his hunger for life, his discontent and
yearning, his intercourse with the demons of the
heart could be represented. But what comes from
these congregated storm-clouds ? Not a single
lightning flash! And here begins the new Image
of man—the man according to Goethe. One
might have thought that Faust would have lived
a continual life of suffering, as a revolutionary and
a deliverer, as the negative force that proceeds
from goodness, as the genius of ruin, alike religious
and dæmonic, in opposition to his utterly un-
dæmonic companion; though of course he could
not be free of this companion, and had at once to
use and despise his evil and destructive scepticism
—which is the tragic destiny of all revolutionary
deliverers. One is wrong, however, to expect



## p. 141 (#211) ############################################

SCHOPENHAUER AS EDUCATOR.
141
anything of the sort: Goethe's man here parts
company with Rousseau's; for he hates all violence,
all sudden transition—that is, all action : and the
universal deliverer becomes merely the universal
traveller. All the riches of life and nature, all
antiquity—arts, mythologies and sciences—pass
before his eager eyes, his deepest desires are
aroused and satisfied, Helen herself can hold him
no more—and the moment must come for which
his mocking companion is waiting. At a fair spot
on the earth, his flight comes to an end: his pinions
drop, and Mephistopheles is at his side. When
the German ceases to be Faust, there is no danger
greater than of becoming a Philistine and falling
into the hands of the devil-heavenly powers alone
can save him. Goethe's man is, as I said, the con-
templative man in the grand style, who is only
kept from dying of ennui by feeding on all the
great and memorable things that have ever existed,
and by living from desire to desire. He is not the
active man; and when he does take a place among
active men, as things are, you may be sure that no
good will come of it (think, for example, of the zeal
with which Goethe wrote for the stage ! ); and
further, you may be sure that "things as they are”
will suffer no change. Goethe's man is a con-
ciliatory and conservative spirit, though in danger
of degenerating into a Philistine, just as Rousseau's
man may easily become a Catiline. All his virtues
would be the better by the addition of a little brute
force and elemental passion. Goethe appears to
have seen where the weakness and danger of his
creation lay, as is clear from Jarno's word to


## p. 141 (#212) ############################################

140
THOUGHTS OUT OF SEASON.
truest humanity a little while ago—all his arts
and sciences, all the refinements of his life, he
beats with his fists against the walls, in whose
shadow he has degenerated, and goes forth to seek
the light and the sun, the forest and the crag.
And crying out, “Nature alone is good, the natural
man alone is human," he despises himself and
aspires beyond himself: a state wherein the soul
is ready for a fearful resolve, but calls the noble
and the rare as well from their utter depths.
Goethe's man is no such threatening force; in
a certain sense he is a corrective and a sedative to
those dangerous agitations of which Rousseau's
man is a prey. Goethe himself in his youth
followed the “gospel of kindly Nature” with all
the ardour of his soul: his Faust was the highest
and boldest picture of Rousseau's man, so far at
any rate as his hunger for life, his discontent and
yearning, his intercourse with the demons of the
heart could be represented. But what comes from
these congregated storm-clouds ? Not a single
lightning flash! And here begins the new Image
of man—the man according to Goethe. One
might have thought that Faust would have lived
a continual life of suffering, as a revolutionary and
a deliverer, as the negative force that proceeds
from goodness, as the genius of ruin, alike religious
and dæmonic, in opposition to his utterly un-
dæmonic companion; though of course he could
not be free of this companion, and had at once to
use and despise his evil and destructive scepticism
—which is the tragic destiny of all revolutionary
deliverers. One is wrong, however, to expect



## p. 141 (#213) ############################################

SCHOPENHAUER AS EDUCATOR.
141
anything of the sort: Goethe's man here parts
company with Rousseau's; for he hates all violence,
all sudden transition—that is, all action : and the
universal deliverer becomes merely the universal
traveller. All the riches of life and nature, all
antiquity—arts, mythologies and sciences—pass
before his eager eyes, his deepest desires are
aroused and satisfied, Helen herself can hold him
no more—and the moment must come for which
his mocking companion is waiting. At a fair spot
on the earth, his flight comes to an end: his pinions
drop, and Mephistopheles is at his side. When
the German ceases to be Faust, there is no danger
greater than of becoming a Philistine and falling
into the hands of the devil-heavenly powers alone
can save him. Goethe's man is, as I said, the con-
templative man in the grand style, who is only
kept from dying of ennui by feeding on all the
great and memorable things that have ever existed,
and by living from desire to desire. He is not the
active man; and when he does take a place among
active men, as things are, you may be sure that no
good will come of it (think, for example, of the zeal
with which Goethe wrote for the stage ! ); and
further, you may be sure that “things as they are”
will suffer no change. Goethe's man is a con-
ciliatory and conservative spirit, though in danger
of degenerating into a Philistine, just as Rousseau's
man may easily become a Catiline. All his virtues
would be the better by the addition of a little brute
force and elemental passion. Goethe appears to
have seen where the weakness and danger of his
creation lay, as is clear from Jarno's word to


## p. 141 (#214) ############################################

140
THOUGHTS OUT OF SEASON.
truest humanity a little while ago—all his arts
and sciences, all the refinements of his life, he
beats with his fists against the walls, in whose
shadow he has degenerated, and goes forth to seek
the light and the sun, the forest and the crag.
And crying out, “Nature alone is good, the natural
man alone is human,” he despises himself and
aspires beyond himself: a state wherein the soul
is ready for a fearful resolve, but calls the noble
and the rare as well from their utter depths.
Goethe's man is no such threatening force; in
a certain sense he is a corrective and a sedative to
those dangerous agitations of which Rousseau's
man is a prey.
Goethe himself in his youth
followed the “gospel of kindly Nature” with all
the ardour of his soul: his Faust was the highest
and boldest picture of Rousseau's man, so far at
any rate as his hunger for life, his discontent and
yearning, his intercourse with the demons of the
heart could be represented. But what comes from
these congregated storm-clouds ? Not a single
lightning flash! And here begins the new Image
of man—the man according to Goethe. One
might have thought that Faust would have lived
a continual life of suffering, as a revolutionary and
a deliverer, as the negative force that proceeds
from goodness, as the genius of ruin, alike religious
and dæmonic, in opposition to his utterly un-
dæmonic companion; though of course he could
not be free of this companion, and had at once to
use and despise his evil and destructive scepticism
--which is the tragic destiny of all revolutionary
deliverers. One is wrong, however, to expect



## p. 141 (#215) ############################################

SCHOPENHAUER AS EDUCATOR.
141
anything of the sort: Goethe's man here parts
company with Rousseau's; for he hates all violence,
all sudden transition that is, all action : and the
universal deliverer becomes merely the universal
traveller. All the riches of life and nature, all
antiquity—arts, mythologies and sciences—pass
before his eager eyes, his deepest desires are
aroused and satisfied, Helen herself can hold him
no more—and the moment must come for which
his mocking companion is waiting. At a fair spot
on the earth, his flight comes to an end: his pinions
drop, and Mephistopheles is at his side. When
the German ceases to be Faust, there is no danger
greater than of becoming a Philistine and falling
into the hands of the devil-heavenly powers alone
can save him. Goethe's man is, as I said, the con-
templative man in the grand style, who is only
kept from dying of ennui by feeding on all the
great and memorable things that have ever existed,
and by living from desire to desire. He is not the
active man; and when he does take a place among
active men, as things are, you may be sure that no
good will come of it (think, for example, of the zeal
with which Goethe wrote for the stage ! ); and
further, you may be sure that “things as they are”
will suffer no change. Goethe's man is a con-
ciliatory and conservative spirit, though in danger
of degenerating into a Philistine, just as Rousseau's
man may easily become a Catiline. All his virtues
would be the better by the addition of a little brute
force and elemental passion. Goethe appears to
have seen where the weakness and danger of his
creation lay, as is clear from Jarno's word to


## p. 141 (#216) ############################################

140
THOUGHTS OUT OF SEASON.
truest humanity a little while ago—all his arts
and sciences, all the refinements of his life, he
beats with his fists against the walls, in whose
shadow he has degenerated, and goes forth to seek
the light and the sun, the forest and the crag.
And crying out, “Nature alone is good, the natural
man alone is human,” he despises himself and
aspires beyond himself: a state wherein the soul
is ready for a fearful resolve, but calls the noble
and the rare as well from their utter depths.
Goethe's man is no such threatening force; in
a certain sense he is a corrective and a sedative to
those dangerous agitations of which Rousseau's
man is a prey. Goethe himself in his youth
followed the "gospel of kindly Nature” with all
the ardour of his soul: his Faust was the highest
and boldest picture of Rousseau's man, so far at
any rate as his hunger for life, his discontent and
yearning, his intercourse with the demons of the
heart could be represented. But what comes from
these congregated storm-clouds ? Not a single
lightning flash! And here begins the new Image
of man—the man according to Goethe. One
might have thought that Faust would have lived
a continual life of suffering, as a revolutionary and
a deliverer, as the negative force that proceeds
from goodness, as the genius of ruin, alike religious
and dæmonic, in opposition to his utterly un-
dæmonic companion; though of course he could
not be free of this companion, and had at once to
use and despise his evil and destructive scepticism
—which is the tragic destiny of all revolutionary
deliverers. One is wrong, however, to expect



## p. 141 (#217) ############################################

SCHOPENHAUER AS EDUCATOR.
141
anything of the sort: Goethe's man here parts
company with Rousseau's; for he hates all violence,
all sudden transition—that is, all action : and the
universal deliverer becomes merely the universal
traveller. All the riches of life and nature, all
antiquity-arts, mythologies and sciences—pass
before his eager eyes, his deepest desires are
aroused and satisfied, Helen herself can hold him
no more—and the moment must come for which
his mocking companion is waiting. At a fair spot
on the earth, his flight comes to an end: his pinions
drop, and Mephistopheles is at his side. When
the German ceases to be Faust, there is no danger
greater than of becoming a Philistine and falling
into the hands of the devil-heavenly powers alone
can save him. Goethe's man is, as I said, the con-
templative man in the grand style, who is only
kept from dying of ennui by feeding on all the
great and memorable things that have ever existed,
and by living from desire to desire. He is not the
active man; and when he does take a place among
active men, as things are, you may be sure that no
good will come of it (think, for example, of the zeal
with which Goethe wrote for the stage ! ); and
further, you may be sure that “things as they are”
will suffer no change. Goethe's man is a con-
ciliatory and conservative spirit, though in danger
of degenerating into a Philistine, just as Rousseau's
man may easily become a Catiline. All his virtues
would be the better by the addition of a little brute
force and elemental passion. Goethe appears to
have seen where the weakness and danger of his
creation lay, as is clear from Jarno's word to


## p. 141 (#218) ############################################

140 THOUGHTS OUT OF SEASON.
truest humanity a little while ago—all his arts
and sciences, all the refinements of his life, he
beats with his fists against the walls, in whose
shadow he has degenerated, and goes forth to seek
the light and the sun, the forest and the crag.
And crying out, “Nature alone is good, the natural
man alone is human," he despises himself and
aspires beyond himself: a state wherein the soul
is ready for a fearful resolve, but calls the noble
and the rare as well from their utter depths.
Goethe's man is no such threatening force; in
a certain sense he is a corrective and a sedative to
those dangerous agitations of which Rousseau's
man is a prey. Goethe himself in his youth
followed the “gospel of kindly Nature” with all
the ardour of his soul : his Faust was the highest
and boldest picture of Rousseau's man, so far at
any rate as his hunger for life, his discontent and
yearning, his intercourse with the demons of the
heart could be represented. But what comes from
these congregated storm-clouds ? Not a single
lightning flash! And here begins the new Image
of man—the man according to Goethe. One
might have thought that Faust would have lived
a continual life of suffering, as a revolutionary and
a deliverer, as the negative force that proceeds
from goodness, as the genius of ruin, alike religious
and dæmonic, in opposition to his utterly un-
dæmonic companion; though of course he could
not be free of this companion, and had at once to
use and despise his evil and destructive scepticism
—which is the tragic destiny of all revolutionary
deliverers. One is wrong, however, to expect



## p. 141 (#219) ############################################

SCHOPENHAUER AS EDUCATOR.
141
anything of the sort: Goethe's man here parts
company with Rousseau's; for he hates all violence,
all sudden transition—that is, all action : and the
universal deliverer becomes merely the universal
traveller. All the riches of life and nature, all
antiquity-arts, mythologies and sciences—pass
before his eager eyes, his deepest desires are
aroused and satisfied, Helen herself can hold him
no more—and the moment must come for which
his mocking companion is waiting. At a fair spot
on the earth, his flight comes to an end: his pinions
drop, and Mephistopheles is at his side. When
the German ceases to be Faust, there is no danger
greater than of becoming a Philistine and falling
into the hands of the devil-heavenly powers alone
can save him. Goethe's man is, as I said, the con-
templative man in the grand style, who is only
kept from dying of ennui by feeding on all the
great and memorable things that have ever existed,
and by living from desire to desire. He is not the
active man; and when he does take a place among
active men, as things are, you may be sure that no
good will come of it (think, for example, of the zeal
with which Goethe wrote for the stage ! ); and
further, you may be sure that “things as they are”
will suffer no change. Goethe's man is a con-
ciliatory and conservative spirit, though in danger
of degenerating into a Philistine, just as Rousseau's
man may easily become a Catiline. All his virtues
would be the better by the addition of a little brute
force and elemental passion. Goethe appears to
have seen where the weakness and danger of his
creation lay, as is clear from Jarno's word to


## p. 141 (#220) ############################################

140 THOUGHTS OUT OF SEASON.
truest humanity a little while ago—all his arts
and sciences, all the refinements of his life, he
beats with his fists against the walls, in whose
shadow he has degenerated, and goes forth to seek
the light and the sun, the forest and the crag.
And crying out, “Nature alone is good, the natural
man alone is human," he despises himself and
aspires beyond himself: a state wherein the soul
is ready for a fearful resolve, but calls the noble
and the rare as well from their utter depths.
Goethe's man is no such threatening force; in
a certain sense he is a corrective and a sedative to
those dangerous agitations of which Rousseau's
man is a prey. Goethe himself in his youth
followed the “gospel of kindly Nature” with all
the ardour of his soul: his Faust was the highest
and boldest picture of Rousseau's man, so far at
any rate as his hunger for life, his discontent and
yearning, his intercourse with the demons of the
heart could be represented. But what comes from
these congregated storm-clouds ? Not a single
lightning flash! And here begins the new Image
of man—the man according to Goethe. One
might have thought that Faust would have lived
a continual life of suffering, as a revolutionary and
a deliverer, as the negative force that proceeds
from goodness, as the genius of ruin, alike religious
and dæmonic, in opposition to his utterly un-
dæmonic companion; though of course he could
not be free of this companion, and had at once to
use and despise his evil and destructive scepticism
-which is the tragic destiny of all revolutionary
deliverers. One is wrong, however, to expect



## p. 141 (#221) ############################################

SCHOPENHAUER AS EDUCATOR.
141
anything of the sort: Goethe's man here parts
company with Rousseau's; for he hates all violence,
all sudden transition—that is, all action : and the
universal deliverer becomes merely the universal
traveller. All the riches of life and nature, all
antiquity-arts, mythologies and sciences—pass
before his eager eyes, his deepest desires are
aroused and satisfied, Helen herself can hold him
no more—and the moment must come for which
his mocking companion is waiting. At a fair spot
on the earth, his flight comes to an end: his pinions
drop, and Mephistopheles is at his side. When
the German ceases to be Faust, there is no danger
greater than of becoming a Philistine and falling
into the hands of the devil-heavenly powers alone
can save him. Goethe's man is, as I said, the con-
templative man in the grand style, who is only
kept from dying of ennui by feeding on all the
great and memorable things that have ever existed,
and by living from desire to desire. He is not the
active man; and when he does take a place among
active men, as things are, you may be sure that no
good will come of it (think, for example, of the zeal
with which Goethe wrote for the stage ! ); and
further, you may be sure that “things as they are”
will suffer no change. Goethe's man is a con-
ciliatory and conservative spirit, though in danger
of degenerating into a Philistine, just as Rousseau's
man may easily become a Catiline. All his virtues
would be the better by the addition of a little brute
force and elemental passion. Goethe appears to
have seen where the weakness and danger of his
creation lay, as is clear from Jarno's word to


## p. 141 (#222) ############################################

140
THOUGHTS OUT OF SEASON.
truest humanity a little while ago—all his arts
and sciences, all the refinements of his life,-he
beats with his fists against the walls, in whose
shadow he has degenerated, and goes forth to seek
the light and the sun, the forest and the crag.
And crying out, “Nature alone is good, the natural
man alone is human,” he despises himself and
aspires beyond himself: a state wherein the soul
is ready for a fearful resolve, but calls the noble
and the rare as well from their utter depths.
Goethe's man is no such threatening force; in
a certain sense he is a corrective and a sedative to
those dangerous agitations of which Rousseau's
man is a prey. Goethe himself in his youth
followed the “gospel of kindly Nature” with all
the ardour of his soul: his Faust was the highest
and boldest picture of Rousseau's man, so far at
any rate as his hunger for life, his discontent and
yearning, his intercourse with the demons of the
heart could be represented. But what comes from
these congregated storm-clouds ? Not a single
lightning flash! And here begins the new Image
of man—the man according to Goethe. One
might have thought that Faust would have lived
a continual life of suffering, as a revolutionary and
a deliverer, as the negative force that proceeds
from goodness, as the genius of ruin, alike religious
and dæmonic, in opposition to his utterly un-
dæmonic companion; though of course he could
not be free of this companion, and had at once to
use and despise his evil and destructive scepticism
—which is the tragic destiny of all revolutionary
deliverers. One is wrong, however, to expect



## p. 141 (#223) ############################################

SCHOPENHAUER AS EDUCATOR.
141
anything of the sort: Goethe's man here parts
company with Rousseau's; for he hates all violence,
all sudden transition—that is, all action : and the
universal deliverer becomes merely the universal
traveller. All the riches of life and nature, all
antiquity-arts, mythologies and sciences—pass
before his eager eyes, his deepest desires are
aroused and satisfied, Helen herself can hold him
no more—and the moment must come for which
his mocking companion is waiting. At a fair spot
on the earth, his flight comes to an end: his pinions
drop, and Mephistopheles is at his side. When
the German ceases to be Faust, there is no danger
greater than of becoming a Philistine and falling
into the hands of the devil-heavenly powers alone
can save him. Goethe's man is, as I said, the con-
templative man in the grand style, who is only
kept from dying of ennui by feeding on all the
great and memorable things that have ever existed,
and by living from desire to desire. He is not the
active man; and when he does take a place among
active men, as things are, you may be sure that no
good will come of it (think, for example, of the zeal
with which Goethe wrote for the stage! ); and
further, you may be sure that "things as they are”
will suffer no change. Goethe's man is a con-
ciliatory and conservative spirit, though in danger
of degenerating into a Philistine, just as Rousseau's
man may easily become a Catiline. All his virtues
would be the better by the addition of a little brute
force and elemental passion. Goethe appears to
have seen where the weakness and danger of his
creation lay, as is clear from Jarno's word to


## p. 142 (#224) ############################################

142 THOUGHTS OUT OF SEASON.
Wilhelm Meister: "You are bitter and ill-tempered
—which is quite an excellent thing: if you could
once become really angry, it would be still better. "
To speak plainly, it is necessary to become really
angry in order that things may be better. The
picture of Schopenhauer's man can help us here.
Schopenhauer's man voluntarily takes upon himself
the pain of telling tlie truth: this pain serves to
quench his individual will and make him ready for
the complete transformation of his being, which it
is the inner meaning of life to realise. This open-
ness in him appears to other men to be an effect
of malice, for they think the preservation of their
shifts and pretences to be the first duty of humanity,
and any one who destroys their playthings to be
merely malicious. They are tempted to cry out to
such a man, in Faust's words to Mephistopheles:—
"So to the active and eternal
Creative force, in cold disdain
You now oppose the fist infernal"—
and he who would live according to Schopenhauer
would seem to be more like a Mephistopheles than
a Faust—that is, to our weak modern eyes, which
always discover signs of malice in any negation.
But there is a kind of denial and destruction that
is the effect of that strong aspiration after holiness
and deliverance, which Schopenhauer was the first
philosopher to teach our profane and worldly genera-
tion. Everything that can be denied, deserves to
be denied; and real sincerity means the belief in
a state of things which cannot be denied, or in
which there is no lie. The sincere man feels that


## p. 143 (#225) ############################################

SCHOPENHAUER AS EDUCATOR. 143
his activity has a metaphysical meaning. It can
only be explained by the laws of a different and
a higher life; it is in the deepest sense an affirma-
tion: even if everything that he does seem utterly
opposed to the laws of our present life. It must
lead therefore to constant suffering; but he knows,
as Meister Eckhard did, that "the quickest beast
that will carry you to perfection is suffering. "
Every one, I should think, who has such an ideal
before him, must feel a wider sympathy; and he
will have a burning desire to become a " Schopen-
hauer man " ;—pure and wonderfully patient, on
his intellectual side full of a devouring fire, and
far removed from the cold and contemptuous
"neutrality" of the so-called scientific man; so
high above any warped and morose outlook on
life as to offer himself as the first victim of the
truth he has won, with a deep consciousness of the
sufferings that must spring from his sincerity.
His courage will destroy his happiness on earth,
he must be an enemy to the men he loves and
the institutions in which he grew up, he must spare
neither person nor thing, however it may hurt him,
he will be misunderstood and thought an ally of
forces that he abhors, in his search for righteous-
ness he will seem unrighteous by human standards:
but he must comfort himself with the words that
his teacher Schopenhauer once used: "A, happy
life is impossible, the highest thing that man can
aspire to is a heroic life; such as a man lives, who
is always fighting against unequal odds for the
good of others; and wins in the end without any
thanks. After the battle is over, he stands like


## p. 144 (#226) ############################################

144 THOUGHTS OUT OF SEASON.
the Prince in the re corvo of Gozzi, with dignity
and nobility in his eyes, but turned to stone. His
memory remains, and will be reverenced as a
hero's; his will, that has been mortified all his life
by toiling and struggling, by evil payment and
ingratitude, is absorbed into Nirvana. " Such a
heroic life, with its full "mortification"—corre-
sponds very little to the paltry ideas of the people
who talk most about it, and make festivals in
memory of great men, in the belief that a great
man is great in the sense that they are small,
either through exercise of his gifts to please himself
or by a blind mechanical obedience to this inner
force; so that the man who does not possess the
gift or feel the compulsion has the same right to
be small as the other to be great But " gift" and
"compulsion " are contemptible words, mere means
of escape from an inner voice, a slander on him
who has listened to the voice—the great man; he
least of all will allow himself to be given or com-
pelled to anything: for he knows as well as any
smaller man how easily life can be taken and how
soft the bed whereon he might lie if he went the
pleasant and conventional way with himself and
his fellow-creatures: all the regulations of mankind
are turned to the end that the intense feeling of
life may be lost in continual distractions. Now
why will he so strongly choose the opposite, and
try to feel life, which is the same as to suffer from
life? Because he sees that men will tempt him to
betray himself, and that there is a kind of agree-
ment to draw him from his den. He will prick
up his ears and gather himself together, and say,


## p. 145 (#227) ############################################

SCHOPENHAUER AS EDUCATOR. 145
"I will remain mine own. " He gradually comes
to understand what a fearful decision it is. For
he must go down into the depths of being, with a
string of curious questions on his lips—" Why am
I alive? what lesson have I to learn from life?
how have I become what I am, and why do I
suffer in this existence? " He is troubled, and
sees that no one is troubled in the same way; but
rather that the hands of his fellow-men are passion-
ately stretched out towards the fantastic drama of
the political theatre, or they themselves are tread-
ing the boards under many disguises, youths, men
and graybeards, fathers, citizens, priests, merchants
and officials,—busy with the comedy they are all
playing, and never thinking of their own selves.
To the question "To what end dost thou live? "
they would all immediately answer, with pride,
"To become a good citizen or professor or states-
man,"—and yet they are something which can
never be changed: and why are they just—this?
Ah, and why nothing better? The man who only
regards his life as a moment in the evolution of a
race or a state or a science, and will belong merely
to a history of "becoming," has not understood
the lesson of existence, and must learn it over
again. This eternal "becoming something" is a
lying puppet-show, in which man has forgot him-
self; it is the force that scatters individuality to
the four winds, the eternal childish game that the
big baby time is playing in front of us—and with
us. The heroism of sincerity lies in ceasing to be
the plaything of time. Everything in the process
of " becoming" is a hollow sham, contemptible and
VOL. II. K


## p. 146 (#228) ############################################

146 THOUGHTS OUT OF SEASON.
shallow: man can only find the solution of his
riddle in " being" something definite and unchange-
able. He begins to test how deep both " becoming"
and "being" are rooted in him—and a fearful task
is before his soul; to destroy the first, and bring
all the falsity of things to the light. He wishes to
know everything, not to feed a delicate taste, like
Goethe's man, to take delight, from a safe place,
in the multiplicity of existence: but he himself is
the first sacrifice that he brings. The heroic man
does not think of his happiness or misery, his
virtues or his vices, Or of his being the measure of
things; he has no further hopes of himself and
will accept the utter consequences of his hopeless-
ness. His strength lies in his self-forgetfulness:
if he have a thought for himself, it is only to
measure the vast distance between himself and his
aim, and to view what he has left behind him as
so much dross. The old philosophers sought for
happiness and truth, with all their strength: and
there is an evil principle in nature that not one
shall find that which he cannot help seeking. But
the man who looks for a lie in everything, and
becomes a willing friend to unhappiness, shall have
a marvellous disillusioning: there hovers near him
something unutterable, of which truth and happiness
are but idolatrous images born of the night; the
earth loses her dragging weight, the events and
powers of earth become as a dream, and a gradual
clearness widens round him like a summer evening.
It is as though the beholder of these things began
to wake, and it had only been the clouds of a
passing dream that had been weaving about him.


## p. 147 (#229) ############################################

SCHOPENHAUER AS EDUCATOR. 147
They will at some time disappear: and then will
it be day.
V.
But I have promised to speak of Schopenhauer,
as far as my experience goes, as an educator, and
it is far from being sufficient to paint the ideal
humanity which is the " Platonic idea " in Schopen-
hauer; especially as my representation is an im-
perfect one. The most difficult task remains;—to
say how a new circle of duties may spring from
this ideal, and how one can reconcile such a tran-
scendent aim with ordinary action; to prove, in
short, that the ideal is educative. One might other-
wise think it to be merely the blissful or intoxicating
vision of a few rare moments, that leaves us after-
wards the prey of a deeper disappointment. It is
certain that the ideal begins to affect us in this
way when we come suddenly to distinguish light
and darkness, bliss and abhorrence; this is an
experience that is as old as ideals themselves. But
we ought not to stand in the doorway for long; we
should soon leave the first stages, and ask the
question, seriously and definitely, " Is it possible to
bring that incredibly high aim so near us, that it
should educate us, or ' lead us out,' as well as lead
us upward ? "—in order that the great words of
Goethe be not fulfilled in our case—" Man is born
to a state of limitation : he can understand ends
that are simple, present and definite, and is ac-
customed to make use of means that are near to
his hand; but as soon as he comes into the open,


## p. 147 (#230) ############################################

146
THOUGHTS OUT OF SEASON.
shallow: man can only find the solution of his
riddle in “ being” something definite and unchange-
able. He begins to test how deep both “becoming”
and “being " are rooted in him—and a fearful task
is before his soul; to destroy the first, and bring
all the falsity of things to the light. He wishes to
know everything, not to feed a delicate taste, like
Goethe's man, to take delight, from a safe place,
in the multiplicity of existence: but he himself is
the first sacrifice that he brings. The heroic man
does not think of his happiness or misery, his
virtues or his vices, or of his being the measure of
things; he has no further hopes of himself and
will accept the utter consequences of his hopeless-
ness. His strength lies in his self-forgetfulness :
if he have a thought for himself, it is only to
measure the vast distance between himself and his
aim, and to view what he has left behind him as
so much dross. The old philosophers sought for
happiness and truth, with all their strength: and
there is an evil principle in nature that not one
shall find that which he cannot help seeking. But
the man who looks for a lie in everything, and
becomes a willing friend to unhappiness, shall have
a marvellous disillusioning: there hovers near him
something unutterable, of which truth and happiness
are but idolatrous images born of the night; the
earth loses her dragging weight, the events and
powers of earth become as a dream, and a gradual
clearness widens round him like a summer evening.
It is as though the beholder of these things began
to wake, and it had only been the clouds of a
ast dishat he "hiloso
passing dream that had been weaving about him.


## p. 147 (#231) ############################################

SCHOPENHAUER AS EDUCATOR.
147
They will at some time disappear: and then will
it be day.
But I have promised to speak of Schopenhauer,
as far as my experience goes, as an educator, and
it is far from being sufficient to paint the ideal
humanity which is the “ Platonic idea "in Schopen-
hauer; especially as my representation is an im-
perfect one. The most difficult task remains ;-to
say how a new circle of duties may spring from
this ideal, and how one can reconcile such a tran-
scendent aim with ordinary action; to prove, in
short, that the ideal is educative. One might other-
wise think it to be merely the blissful or intoxicating
vision of a few rare moments, that leaves us after-
wards the prey of a deeper disappointment. It is
certain that the ideal begins to affect us in this
way when we come suddenly to distinguish light
and darkness, bliss and abhorrence; this is an
experience that is as old as ideals themselves. But
we ought not to stand in the doorway for long; we
should soon leave the first stages, and ask the
question, seriously and definitely, “Is it possible to
bring that incredibly high aim so near us, that it
should educate us, or 'lead us out,' as well as lead
us upward ? ”-in order that the great words of
Goethe be not fulfilled in our case—“Man is born
to a state of limitation : he can understand ends
that are simple, present and definite, and is ac-
customed to make use of means that are near to
his hand; but as soon as he comes into the open,


## p. 148 (#232) ############################################

148 THOUGHTS OUT OF SEASON.
he knows neither what he wishes nor what he ought
to do, and it is all one whether he be confused by
the multitude of objects or set beside himself by
their greatness and importance. It is always his
misfortune to be led to strive after something which
he cannot attain by any ordinary activity of his
own. " The objection can be made with apparent
reason against Schopenhauer's man, that his great-
ness and dignity can only turn our heads, and put
us beyond all community with the active men of
the world: the common round of duties, the noise-
less tenor of life has disappeared. One man may
possibly get accustomed to living in a reluctant
dualism, that is, in a contradiction with himself;—
becoming unstable, daily weaker and less pro-
ductive :—while another will renounce all action
on principle, and scarcely endure to see others
active. The danger is always great when a man
is too heavy-laden, and cannot really accomplish
any duties. Stronger natures may be broken by
it; the weaker, which are the majority, sink into
a speculative laziness, and at last, from their lazi-
ness, lose even the power of speculation.
With regard to such objections, I will admit that
our work has hardly begun, and so far as I know,
I only see one thing clearly and definitely—that it
is possible for that ideal picture to provide you and
me with a chain of duties that may be accom-
plished; and some of us already feel its pressure.
In order, however, to be able to speak in plain
language of the formula under which I may gather
the new circle of duties, I must begin with the
-
following considerations.


## p. 149 (#233) ############################################

SCHOPENHAUER AS EDUCATOR. 149
The deeper minds of all ages have had pity for
animals, because they suffer from life and have
not the power to turn the sting of the suffering
against themselves, and understand their being
metaphysically. The sight of blind suffering is
the spring of the deepest emotion. And in many
quarters of the earth men have supposed that the
souls of the guilty have entered into beasts, and
that the blind suffering which at first sight calls
for such pity has a clear meaning and purpose to
the divine justice,—of punishment and atonement:
and a heavy punishment it is, to be condemned to
live in hunger and need, in the shape of a beast,
and to reach no consciousness of one's self in this
life. I can think of no harder lot than the wild
beast's; he is driven to the forest by the fierce
pang of hunger, that seldom leaves him at peace;
and peace is itself a torment, the surfeit after horrid
food, won, maybe, by a deadly fight with other
animals. To cling to life, blindly and madly, with
no other aim, to be ignorant of the reason, or even
the fact, of one's punishment, nay, to thirst after
it as if it were a pleasure, with all the perverted
desire of a fool—this is what it means to be an
animal. If universal nature leads up to man, it is
to show us that he is necessary to redeem her from
the curse of the beast's life, and that in him exist-
ence can find a mirror of itself wherein life appears,
no longer blind, but in its real metaphysical signifi-
cance. But we should consider where the beast
ends and the man begins—the man, the one concern
of Nature. As long as any one desires life as a
pleasure in itself, he has not raised his eyes above


## p. 149 (#234) ############################################

148
THOUGHTS OUT OF SEASON.
he knows neither what he wishes nor what he ought
to do, and it is all one whether he be confused by
the multitude of objects or set beside himself by
their greatness and importance. It is always his
misfortune to be led to strive after something which
he cannot attain by any ordinary activity of his
own. " The objection can be made with apparent
reason against Schopenhauer's man, that his great-
ness and dignity can only turn our heads, and put
us beyond all community with the active men of
the world : the common round of duties, the noise-
less tenor of life has disappeared.