Page:Littell's Living Age - Volume 129.djvu/129

Rh The first manifests itself in the practical understanding, and directly through action; the latter symbolically, chiefly in mathematics, by means of forms and numbers, through speech, and in an original, metaphorical manner in the poetry of genius and the proverbs of common sense.

Absent things act upon us by means of tradition. History may be called ordinary tradition; while that of a higher kind is mythical, and nearly related to imagination; but if we still seek a third kind of meaning in it, it is transformed to mysticism. It also easily assumes a subjective character, so that we only appropriate that which is sympathetic to ourselves.

The forces to be taken into account if we wish to be truly helped forward in our development, are:
 * Preparatory,
 * Concomitant,
 * Co-operative,
 * Auxiliary,
 * Furthering,
 * Strengthening,
 * Hindering, and
 * After-working influences.

In contemplation, as well as in action, we must distinguish between what is attainable and what is not: failing this, we can accomplish little either in life or knowledge.

Le sens commun est le génie de l'humanité.

The common sense which would pass for the genius of mankind must be judged by its utterances in the first place. If we enquire what are the uses to which it is put by mankind, we shall discover the following: Man is conditioned by wants. If these are not satisfied he grows impatient, and if they are, indifferent. Man, therefore, properly speaking, oscillates between these two states; he turns his understanding, or so-called common sense, to account, to satisfy his wants; but, having succeeded in this, it behoves him to fill up the vacuum produced by indifference. And if this is confined within the narrowest and most necessary limits, he may hope to succeed in his endeavours. But if his wants are of a higher nature, if they transcend the circle of ordinary life, common sense no longer suffices, ceases to be genius, and the realm of error opens out before mankind.

Nothing happens, however foolish, which common sense and fortune may not set right again; but nothing reasonable can take place that chance and folly may not again put out of joint.

A great idea is no sooner embodied externally than it acts in a certain sense despotically; whence its accompanying advantages soon turn to drawbacks. It is possible, therefore, to defend and praise every institution by recalling its beginnings, and by demonstrating that everything that was applicable to it at that time must still continue to be so.

Lessing, who had himself to submit reluctantly to various restraints, makes one of his characters say that "no man can be forced against his will." A clever man, of a cheerful disposition, said: "He who wills, must;" while a third person of culture added, "He who comprehends, wills also." They fancied that they had thus embraced the entire circle or apprehension, volition, and necessity. But, on the whole, man's apprehension of things, whatever its nature, determines his conduct; hence nothing is more frightful than active ignorance.

There are two peaceful powers: Justice and fitness.

Justice claims what is due, polity what is seemly. Justice weighs and decides; polity surveys and orders. Justice refers to the individual. Polity to the community.

The history of the sciences is a mighty fugue, in which the voice of nation after nation becomes successively audible.

If a man will perform all that people require of him, he must overrate himself.

And we willingly tolerate his self-esteem if it does not grow absurd.

Work makes the workman.

It is much easier to put oneself in the place of a mind involved in positive error than in that of one which dallies with half-truths.

The pleasure which Germans take in a certain license in art is due to their bungling propensities; for the bungler shrinks from acknowledging a right method, lest he annihilate himself.

It is painful to see how a man of remarkable genius often wars with himself, his circumstances and his times, and consequently never succeeds in his objects. The poet Bürger is a sad case in point.

The highest respect which an author can show the public is not by gratifying its expectations, but by offering what he himself at various times may consider 