Inanimate Nature itself is no longer an insensible assemblage of colors and perfumes, but a mysterious Presence, with which he communes in unutterable sympathies. We might call him, as he once called Herder, "a Priest of Nature, a mild Bramin," wandering amid spicy groves, and under benignant skies. The infinite Night with her solemn aspects; Day, and the sweet approach of Even and Morn, are full of meaning for him. He loves the green Earth with her streams and forests, her flowery leas and eternal skies; loves her with a sort of passion, in all her vicissitudes of light and shade; his spirit revels in her grandeur and charms; expands like the breeze over wood and lawn, over glade and dingle, stealing and giving odors.

It has sometimes been made a wonder that things so discordant should go together; that men of humor are often likewise men of sensibility. But the wonder should rather be to see them divided; to find true genial humor dwelling in a mind that was coarse or callous. The essence of humor is sensibility; warm, tender fellow-feeling with all forms of existence. Nay, we may say that unless seasoned and purified by humor, sensibility is apt to run wild; will readily corrupt into disease, falsehood, or, in one word, sentimentality. Witness Rousseau, Zimmermann, in some points also St. Pierre : to say nothing of living instances; or of the Kotzebues, and other pale hosts of woe-begone mourners, whose wailings, like the howl of an Irish wake, have from time to time cleft the general ear. "The last perfection of our faculties," says Schiller with a truth far deeper than it seems, "is that their activity, without ceasing to be sure and earnest, become sport." True humor is sensibility, in the most catholic and deepest sense; but it is this sport of sensibility; wholesome and perfect therefore; as it were, the playful teasing fondness of a mother to her child.

That faculty of irony, of caricature, which often passes by the name of humor, but consists chiefly in a certain superficial distortion or reversal of objects, and ends at best in laughter, bears no resemblance to the humor of Richter. A shallow endowment this; and often more a habit than an endowment. Vol. 14-2.2

It is but a poor fraction of humor; or rather, it is the body to which the soul is wanting; any life it has being false, artificial and irrational. True humor springs not more from the head than from the heart; it is not contempt, its essence is love; it issues not in laughter, but in still smiles, which lie far deeper. It is a sort of inverse sublimity; exalting, as it were, into our affections what is below us, while sublimity draws down into our affections what is above us. The former is scarcely less precious or heart-affecting than the latter; perhaps it is still rarer, and, as a test of genius, still more decisive. It is, in fact, the bloom and perfume, the purest effluence of a deep, fine and loving nature; a nature in harmony with itself, reconciled to the world and its stintedness and contradiction, nay finding in this very contradiction new elements of beauty as well as goodness. Among our own writers, Shakspeare, in this as in all other provinces, must have his place yet not the first; his humor is heartfelt, exuberant, warm, but seldom the tenderest or most subtle. Swift inclines more to simple irony: yet he had genuine humor too, and of no unloving sort, though cased, like Ben Jonson's, in a most bitter and caustic rind. Sterne follows next; our last specimen of humor, and, with all his faults, our best; our finest, if not our strongest; for Yorick and Corporal Trim and Uncle Toby have yet no brother but in Don Quixote, far as he lies above them. Cervantes is indeed. the purest of all humorists; so gentle and genial, so full yet so ethereal is his humor, and in such accordance with itself and his whole noble nature. The Italian mind is said to abound in humor; yet their classics seem to give us no right emblem of it except perhaps in Ariosto, there appears little in their current poetry that reaches the region of true humor. In France, since the days of Montaigne, it seems to be nearly extinct. Voltaire, much as he dealt in ridicule, never rises into humor; even with Molière, it is far more an affair of the understanding than of the character.

That, in this point, Richter excels all German authors, is saying much for him, and may be said truly. Lessing has humor, of a sharp, rigid, substantial, and, on the whole,

genial sort; yet the ruling bias of his mind is to logic. So likewise has Wieland, though much diluted by the general loquacity of his nature, and impoverished still farther by the influences of a cold, meagre, French scepticism. Among the Ramlers, Gellerts, Hagedorns, of Frederick the Second's time, we find abundance, and delicate in kind too, of that light matter which the French call pleasantry; but little or nothing that deserves the name of humor. In the present age, however, there is Goethe, with a rich true vein; and this sublimated, as it were, to an essence, and blended in still union with his whole mind. Tieck also, among his many fine susceptibilities, is not without a warm keen sense for the ridiculous; and a humor rising, though by short fits, and from a much lower atmosphere, to be poetic. But of all these men, there is none that, in depth, copiousness and intensity of humor, can be compared with Jean Paul. He alone exists in humor; lives, moves and has his being in it. With him it is not so much united to his other qualities, of intellect, fancy, imagination, moral feeling, as these are united to it; or rather unite themselves to it, and grow under its warmth, as in their proper temperature and climate. Not as if we meant to assert that his humor is in all cases perfectly natural and pure; nay, that it is not often extravagant, untrue, or even absurd: but still, on the whole, the core and life of it are genuine, subtle, spiritual. Not without reason have his panegyrists named him "Jean Paul der Einzige, Jean Paul the Unique: " in one sense or the other, either as praise or censure, his critics also must adopt this epithet; for surely, in the whole circle of Literature, we look in vain for his parallel. Unite the sportfulness of Rabelais, and the best sensibility of Sterne, with the earnestness, and, even in slight portions, the sublimity of Milton; and let the mosaic brain of old Burton give forth the workings of this strange union, with the pen of Jeremy Bentham !

To say how, with so peculiar a natural endowment, Richter should have shaped his mind by culture, is much harder than to say that he has shaped it wrong. Of affectation we will neither altogether clear him, nor very loudly pronounce him

guilty. That his manner of writing is singular, nay in fact a wild complicated Arabesque, no one can deny. But the true question is, How nearly does this manner of writing represent his real manner of thinking and existing? With what degree of freedom does it allow this particular form of being to manifest itself; or what fetters and perversions does it lay on such manifestation ? For the great law of culture is: Let each become all that he was created capable of being; expand, if possible, to his full growth; resisting all impediments, casting off all foreign, especially all noxious adhesions; and show himself at length in his own shape and stature, be these what they may. There is no uniform of excellence, either in physical or spiritual Nature: all genuine things are what they ought to be. The reindeer is good and beautiful, so likewise is the elephant. In Literature it is the same: "every man," says Lessing, "has his own style, like his own nose." True, there are noses of wonderful dimensions; but no nose can justly be amputated by the public, not even the nose of Slawkenbergius himself; so it be a real nose, and no wooden one put on for deception's sake and mere show!

To speak in grave language, Lessing means, and we agree with him, that the outward style is to be judged of by the inward qualities of the spirit which it is employed to body forth; that, without prejudice to critical propriety well understood, the former may vary into many shapes as the latter varies; that, in short, the grand point for a writer is not to be of this or that external make and fashion, but, in every fashion, to be genuine, vigorous, alive, - alive with his whole being, consciously, and for beneficent results.

Tried by this test, we imagine Richter's wild manner will be found less imperfect than many a very tame one. To the man it may not be unsuitable. In that singular form, there is a fire, a splendor, a benign energy, which persuades us into tolerance, nay into love, of much that might otherwise offend. Above all, this man, alloyed with imperfections as he may be, is consistent and coherent: he is at one with himself; he knows his aims, and pursues them in sincerity of heart, joyfully and with undivided will. A harmonious development

of being, the first and last object of all true culture, has been obtained; if not completely, at least more completely than in one of a thousand ordinary men. Nor let us forget that, in such a nature, it was not of easy attainment; that where much was to be developed, some imperfection should be forgiven. It is true, the beaten paths of Literature lead the safeliest to the goal; and the talent pleases us most, which submits to shine with new gracefulness through old forms. Nor is the noblest and most peculiar mind too noble or peculiar for working by prescribed laws: Sophocles, Shakspeare, Cervantes, and in Richter's own age, Goethe, how little did they innovate on the given forms of composition, how much in the spirit they breathed into them! All this is true; and Richter must lose of our esteem in proportion. Much, however, will remain; and why should we quarrel with the high, because it is not the highest? Richter's worst faults are nearly allied to his best merits; being chiefly exuberance of good, irregular squandering of wealth, a dazzling with excess of true light. These things may be pardoned the more readily, as they are little likely to be imitated.

On the whole, Genius has privileges of its own; it selects an orbit for itself; and be this never so eccentric, if it is indeed a celestial orbit, we mere star-gazers must at last compose ourselves; must cease to cavil at it, and begin to observe it, and calculate its laws. That Richter is a new Planet in the intellectual heavens, we dare not affirm; an atmospheric Meteor he is not wholly; perhaps a Comet, that, though with long aberrations, and shrouded in a nebulous veil, has yet its place in the empyrean.

Re

Of Richter's individual Works, of his opinions, his general philosophy of life, we have no room left us to speak. garding his Novels, we may say, that, except in some few instances, and those chiefly of the shorter class, they are not what, in strict language, we can term unities: with much callida junctura of parts, it is rare that any of them leaves on us the impression of a perfect, homogeneous, indivisible whole. A true work of art requires to be fused in the mind