# Egotism in German Philosophy/Chapter XV

CHAPTER XV german genius
It is customary to judge religions and philosophies by their truth, which is seldom their strong point; yet the application of that unsympathetic criterion is not unjust, since they aspire to be true, maintain that they are so, and forbid any opposed view, no matter how obvious and inevitable, to be called true in their stead. But when religions and philosophies are dead, or when we are so removed from them by time or training that the question of their truth is not a living question for us, they do not on that account lose all their interest; then, in fact, for the first time they manifest their virtues to the unbeliever. He sees that they are expressions of human genius; that however false to their subject-matter they may be, like the conventions of art they are true to the eye and to the spirit that fashioned them. And as nothing in the world, not even the truth, is so interesting as human genius, these incredible or obsolete religions and philosophies become delightful to us. The sting is gone out of their errors, which no longer threaten to delude us, and they have acquired a beauty invisible to the eye of their authors, because ​of the very refraction which the truth suffered in that vital medium.
German philosophy is a work of genius. To be heathen is easy; to have an absolute will and a belief in chaos—or rather a blind battle with chance—is probably the lot of most animals; but to be condemned to be learned, industrious, moral, and Christian, and yet, through that veil of unavoidable phenomena and conventions, to pierce to absolute will and freedom, and to set them forth persuasively as the true reality, in spite of all the ordered appearances which do not cease to confront and to occupy us—that is a work of genius. It is a wonderful achievement, to have recovered atavistically the depths of the primitive soul, in the midst of its later sophistication. In this philosophy the ancestral ego, the soul perplexed and incredulous at being born into this world, returns to haunt us in broad daylight and to persuade us with its ghostly eloquence that not that ego but this world is the ghost.
The egotism which in German philosophy is justified by a theory in German genius is a form of experience. It turns everything it touches into a part of its own life, personal, spontaneous, sincere, original. It is young and self-sufficient; yet as a continual change of view is incompatible with art and learning, we see in Germany, even more than elsewhere, ​a division of labour between genius and tradition; nowhere are the types of the young rebel and the tireless pedant so common and so extreme.
The notion that something that moves and lives, as genius does, can at the same time be absolute has some interesting implications. Such a genius and all its works must be unstable. As it has no external sources and no external objects, as its own past can exercise no control over it (for that would be the most lifeless of tyrannies), it is a sort of shooting star, with no guarantees for the future. This, for the complete egotist, has no terrors. A tragic end and a multitude of enemies may seem good to the absolute hero and necessary to his perfect heroism. In the same way, to be without a subject-matter or an audience may seem good to the absolute poet, who sings to himself as he goes, exclusively for the benefit of that glorious and fleeting moment. Genius could not be purer than that: although perhaps it might be hard to prove that it was genius.
A kindred implication, which perhaps might be less welcome to the egotist himself, is that an absolute genius is formless, and that the absolute freedom with which it thinks it takes on now this form and now that, is not really freedom at all, but subjection to unknown and perhaps ironical forces. Absolute Will, of which a perfectly free genius is an expression, ​cannot say specifically what it craves, for essentially it should crave everything indiscriminately. In practice, however, it must seem to aim at this or that precise result. These specific aims are suggested to it by circumstances, foisted upon it in its replete innocence; for it is all expectation, all vague heartiness and zeal for it knows not what. The logic it proclaims at any time and calls eternal is but the fashionable rhetoric of that hour. Absolute Will is a great dupe on whom fortune forces card after card. Like Faust it is helpless before the most vulgar temptations. Why should it not fulfil itself now by the pursuit of magic, now by the seduction of a young girl, now by an archaeological pose, now by a piratical or an engineering enterprise? True, there are limits to its gullibility; there are suggestions from which it recoils. The German ego, after swallowing Christianity whole, will in Luther stick at Indulgences. Faust sometimes turns on Mephistopheles, as the worm will turn: he says that he covets all experience, but in that he does himself a great injustice; there are experiences he scorns. After all this ego is not really absolute; it is specifically and pathetically human and directed upon a few natural ends. That is what saves it; for a mind can have no distinction and a soul no honour if its only maxim is to live on. It may take up with enthusiasm ​whatever it takes up, but it will take up anything; and it may do mightily whatever it does, but it will not do it long.
Consider, in this respect, the pathetic history of the German people. It conquered the Roman empire and it became Roman, or wished to become so. It had had a mythology and a morality of its own (very like in principle to those it has since rediscovered), yet it accepted Christianity with the docility of a child. It began to feel, after some centuries, how alien to its genius this religion was, but it could find relief only in a fresh draught from the same foreign sources, or others more remote. To cease to be Roman it tried to become Hebraic and Greek. In studying these models, however, it came upon a new scent. What passed for revelation or for classical perfection was of human national growth, stratified like the rocks, and not divine or authoritative at all. If you only made hypotheses enough, you could prove how it all arose according to necessary laws, logical, psychological, historical, economical, and aesthetical. Above all, you could prove how nobody had understood anything properly before, and how the key to it all was in your single hand.
Yet the triumphs of theory alone soon seemed unsatisfying. Wine, science, and song once seemed to make Germany happy, but if a prince imposed ​military discipline, might not that be an even better thing? For a time wistfulness, longing, and the feeling of Titanic loneliness and of a world to be evoked and snuffed out like a dream, seemed to fill the cup of intense living, and the greatest and happiest of Germans could cry—
          Nur wer die Sehnsucht kennt weiss, was ich leide, allein und abgetrennt von aller Freude.
But presently true intensity of life appeared to lie rather in being a victorious general, or an ironmaster, or a commercial traveller, or a reveller in the Friedrichstrasse, or a spy and conspirator anywhere in the world.
All these turbid and nondescript ambitions are in a sense artificial; the Germans accept them now as a thousand years ago they accepted Christianity, because such things are suddenly thrust upon them. By nature they are simple, honest, kindly, easily pleased. There is no latent irony or disbelief in their souls. The pleasures of sense, plain and copious, they enjoy hugely, long labour does not exasperate them, science fills them with satisfaction, music entrances them. There ought to be no happier or more innocent nation in this world. Unfortunately their very goodness and simplicity render them helpless; they are what they are dragooned to be. There is no social or intellectual disease to which, in spots, ​they do not succumb, as to an epidemic: their philosophy itself is an example of this. They have the defects of the newly prosperous; they are far too proud of their possessions, esteeming them for being theirs, without knowing whether they are good of their kind. Culture is a thing seldom mentioned by those who have it. The real strength of the Germans lies not in those external achievements of which at this moment they make so much—for they may outgrow this new materialism of theirs—it lies rather in what they have always prized, their Gemüth and their music.
Perhaps these two things have a common root. Emotion is inarticulate, yet there is a mighty movement in it, and a great complexity of transitions and shades. This intrinsic movement of the feelings is ordinarily little noticed because people are too wide awake, or too imaginative. Everything is a fact or a picture to them, and their emotions seem to them little but obvious qualities of things. They roundly call things beautiful, painful, holy, or ridiculous; they do not speak of their Gemüth, although, of course, it is by virtue of their emotions that they pass such judgments. But when the occasions of our emotions, the objects that call them forth, are not so instantly focussed, when we know better what we feel than why we feel it, then we seem to have a richer and more massive sensibility. Our feelings ​absorb our attention because they remain a thing apart: they seem to us wonderfully deep because we do not ground them in things external.
Now music is a means of giving form to our inner feelings without attaching them to events or objects in the world. Music is articulate, but articulate in a language which avoids, or at least veils the articulation of the world we live in; it is, therefore, the chosen art of a mind to whom the world is still foreign. If this seems in one way an incapacity, it is also a privilege. Not to be at home in the world, to prize it chiefly for echoes which it may have in the soul, to have a soul that can give forth echoes, or that can generate internal dramas of sound out of its own resources—may this not be a more enviable endowment than that of a mind all surface, a sensitive plate only able to photograph this not too beautiful earth? In any case, for better or for worse, inward sensibility, unabsorbed in worldly affairs, exists in some people; a life, as it were, still in the womb and not yet in contact with the air. But let these inspired musicians, masters in their own infinite realms, beware of the touch of matter. Let them not compose a system of the universe out of their Gemüth, as they might a symphony. Let them not raise their bâton in the face of the stars or of the nations, and think to lead them like an orchestra.