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 your transcendental egotist can never stomach: each in its way would impugn his self-sufficiency.

Nevertheless the sympathies of Goethe were only romantic or aesthetic; they were based on finding in others an interesting variation from himself, an exotic possibility, rather than an identity with himself in thought or in fate. Christianity was an atmosphere necessary to certain figures, that of Gretchen, for instance, who would have been frankly vulgar without it; paganism was a learned masque, in which one could be at once distinguished and emancipated; and sensuality was a sentimental and scientific licence in which the free mind might indulge in due season. The sympathy Goethe felt with things was that of a lordly observer, a traveller, a connoisseur, a philanderer; it was egotistical sympathy.

Nothing, for instance, was more romantic in Goethe than his classicism. His Iphigenie and his Helena and his whole view of antiquity were full of the pathos of distance. That pompous sweetness, that intense moderation, that moral somnambulism were too intentional; and Goethe felt it himself. In Faust, after Helen has evaporated, he makes the hero revisit his native mountains and revert to the thought of Gretchen. It is a wise home-coming, because that craze for classicism which Helen symbolised alienated the mind from real life and led