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correspondence, which gives us a letter from Goethe to Herder's wife, dated 4th May, 1790, from Venice. "Through a singular and lucky accident I have been enabled to take a step fowards in my explanation of the animal development (Thierbildung). My servant, in jest, took up the fragment of an animal's skull from the Jewish cemetery, pretending to offer it me as a Jew's skull." Now when we remember that Goethe in after years affirmed that it was in 1790, and in the Jewish cemetery of Venice, that the idea of the vertebral structure of the skull flashed upon him, the evidence of this letter is conclusive.

Oken declares he made his discovery in 1806, and that in 1807 he wrote his Academic Programme. He was then a Privat-Docent in Göttingen, "at a time, therefore, when Goethe certainly knew nothing of my existence." He sent his dissertation to Jena, where he had just been appointed professor. Of that university Goethe was curator. Oken considers this fact decisive: namely, that Goethe would assuredly have remonstrated against Oken's claim to the discovery had he not recognised its justice. The fact, however, is by no means decisive: we shall see presently that Goethe had his own reasons for silence. "I naturally sent Goethe a copy of my programme. This discovery pleased him so much that he invited me, at Easter, 1808, to spend a week with him at Wiemar, which I did. As long as the discovery was ridiculed by men of science Goethe was silent, but no sooner did it attain renown through the works of Meckel, Spix, and others, than there grew up a murmur among Goethe's servile admirers that this idea originated with him. About this time Bojanus went to Weimar, and hearing of Goethe's discovery, half believed it, and sent the rumour to me, which I thoughtlessly printed in the Isis (1818, p. 509); whereupon I announced that I made my discovery in the autumn of 1806." This is equivocal. He did not throw any doubt on Goethe's claim to priority, he only asserted his own originality. "Now that Bojanus had brought the subject forward," he adds, "Goethe's vanity was piqued, and he came afterwards, thirteen years subsequent to my discovery, and said he had held the opinion for thirty years."

Why was Goethe silent when Oken first announced his discovery? and why did not Oken make the charge of plagiarism during Goethe's lifetime? The first question may be answered from Goethe's own works. In a note entitled Das Schädelgerüst aus sechs Wirbelknochen auferbaut, after alluding to his recognition first of three and subsequently of six vertebræ in the skull, which he spoke of among his friends, who set to work to demonstrate it if possible, he says:

"In the year 1807 this theory appeared tumultuously and imperfectly before the public, and naturally awakened great disputes and some applause. How seriously it was damaged by the incomplete and fantastic method of exposition History must relate." This criticism of the exposition will be understood by everyone who has read Oken, and who knows Goethe's antipathy to metaphysics.* With all his prepossession in favour of a Type, he could not patiently have accepted an exposition which "tumultuously" announced that "The whole man is but a vertebra." Accordingly he took no notice of the tumultuous metaphysician; and in his Tag und Jahres Hefte he mentions that while he was working out his theory with two friends, Riemer and Voigt, they brought him, with some surprise, the news that this idea had just been laid before the public in an academic programme, "a fact," he adds, "which they, being still alive, can testify." Why did he not claim priority? "I told my friends to keep quiet, for the idea was not properly worked out in the programme; and that it was not elaborated from original observations would be plain to all scientific men. I was frequently besought to speak plainly on the subject; but I was firm in my silence."

When I first discussed this question, and knew nothing of the decisive evidence which lay unpublished in the letter to Herder's wife, I said that this statement carried complete conviction to my mind. It was published many years before Oken made his charge, and it accused him in the most explicit terms of having prematurely disclosed an idea Goethe was then elaborating with the assistance of his friends. Nor was this all. It appealed to two honourable and respected men, then living, as witnesses of the truth. Oken said nothing when the question could have been peremptorily settled by calling upon Voigt and Riemer. He waited till death rendered an appeal impossible. He says, indeed, that he made no answer to the first passage I have cited, because he was not named in it, and he "did not wish to involve himself in a host of disagreeables." But this is no answer to the second passage. There he is named as plainly as if the name of Oken were printed in full; and not only is he named, but Goethe's friends speak of Oken's coming forward with Goethe's idea as a matter which "surprised" them. Those to whom this reasoning was not conclusive are now referred to the confirmation it receives from the letter to Herder's wife.

Having vindicated Goethe's character, and shown that biographically * So also Cuvier's antipathy to this exposition made him blind to the truth which it contained.

we are fully justified in assigning to him the honour of having first conceived this theory, it now remains to be added that historically the priority of Oken's claim must be admitted. In writing the poet's biography, it is of some importance to show that he was not indebted to Oken for the discovery. In writing the history of science, it would be to Oken that priority would be assigned, simply because, according to the judicious principles of historical appreciation, priority of publication carries off the prize. No man's claim to priority is acknowledged unless he can bring forward the evidence of publication; otherwise every discovery might be claimed by those who have no right to it. Moreover, Oken has another claim to him undeniably belongs the merit of having introduced the idea into. the scientific world, accompanied with sufficient amount of detail to make it acceptable to scientific minds, and to set them to work in verifying the idea. On these grounds I think it indisputable that the vertebral theory must be attributed to Oken, and not to Goethe; although it is not less indisputable that Goethe did anticipate the discovery by sixteen years, and would have earned the right to claim it of History, had he made his discovery public, instead of privately discussing it with his friends. Virchow thinks otherwise; he assigns priority to Goethe; but he would, I am sure, admit the generally received principle that priority of publication is the test upon which alone History can rely.

To conclude this somewhat lengthy chapter on the scientific studies, it must be stated that, for the sake of bringing together his various efforts into a manageable whole, I have not attended strictly to chronology. Nor have I specified the various separate essays he has written. They are all to be found collected in his works. My main object has been to show what were the directions of his mind; what were his achievements and failures in Science; what place Science filled in his life, and how false the supposition is that he was a mere dabbler. What Buffon says of Pliny may truly be said of Goethe, that he had cette facilité do penser en grand qui multiplie la science; and it is only as a thinker in this great department that I claim a high place for him.

CHAPTER XI.

THE CAMPAIGN IN FRANCE.

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WE now return to the narrative, some points of which have been anticipated in the preceding chapter. In 1790 Goethe undertook the government of all the Institutions for Science and Art, and busied himself with the arrangement of the Museums and Botanical Gardens at Jena. In March of the same year he went once more to Italy to meet the Duchess Amalia and Herder in Venice. tried in Science to find refuge from troubled thoughts. Italy on a second visit seemed, however, quite another place to him. He began to suspect there had been considerable illusion in the charm of his first visit. The Venetian Epigrams, if compared with the Roman Elegies, will indicate the difference of his mood. The yearning regret, the fulness of delight, the newness of wonder which give their accents to the Elegies, are replaced by sarcasms and the bitterness of disappointment. It is true that many of these epigrams were written subsequently, as their contents prove, but the mass of them are products of the Venetian visit. Something of this dissatisfaction must be attributed to his position. He was ill at ease with the world. The troubles of the time, and the troubles of his own domestic affairs, aggravated the dangers which then threatened his aims of self-culture, and increased his difficulty in finding that path in Science and Art whereon the culture of the world might be pursued.

In June he returned to Weimar. In July the Duke sent for him at the Prussian Camp in Silesia, "where, instead of stones and flowers, he would see the field sown with troops." He went unwillingly, but compensated himself by active researches into "stones and flowers", leaving to the Duke and others such interest as was to be found in soldiers. He lived like a hermit in the camp, and began to write an essay on the development of animals, and a comic opera.

In August they returned. The Duchess Amalia and Herder, impatient at "such waste of time over old bones," plagued him into

relinquishing osteology, and urged him to complete Wilhelm Meister.
He did not, however, proceed far with it. The creative impulse
was past; and to disprove Newton was a more imperious desire.
In 1791, which was a year of quiet study and domestic happiness
for him, the Court Theatre was established. He undertook the

direction with delight. In a future chapter we shall follow his
efforts to create a national stage, and by bringing them before the
eye in one continuous series, save the tedious repetition of isolated
details. In July the Duchess Amalia founded her Friday Even-
ings. Her palace, between the hours of five and eight, saw the
Duke, the Duchess Luise, Goethe and his circle, with a few favoured
friends from the court, assembled to hear some one of the members
read a composition of his own. No sort of etiquette was main-
tained. Each member, on entering, sat down where he pleased.
Only for the Reader was a distinct place allotted.
One night
Goethe read them the genealogy of Cagliostro, which he had brought
from Italy; another night he gave them a lecture on Colours;
Herder lectured on Immortality; Bertuch on Chinese Colours and
English Gardens; Böttiger on the Vases of the Ancients; Hufe-
land on his favourite theme of Longevity; and Bode read fragments
of his translation of Montaigne. When the reading was over, they
all approached a large table in the middle of the room, on which lay
some engravings or some novelty of interest, and friendly discussion
began. The absence of etiquette made these reunions delightful.

The mention of Cagliostro in the preceding paragraph recalls Goethe's comedy Der Gross Kophta, in which he dramatised the story of the Diamond Necklace. It had originally been arranged as an opera; Reichardt was to have composed the music; and if the reader happens to have waded through this dull comedy, he will regret that it was not made an opera, or anything else except what it is. One is really distressed to find such productions among the writings of so great a genius, and exasperated to find critics lavish in their praise of a work which their supersubtle ingenuity cannot rescue from universal neglect. I will not occupy space with an analysis of it.

And now he was to be torn from his quiet studies to follow the fortunes of an unquiet camp. The King of Prussia and the Duke of Brunswick at the head of a large army invaded France, to restore Louis XVI to his throne, and save legitimacy from the sacrilegious hands of Sansculottism. France, it was said, groaned under the tyranny of factions, and yearned for deliverance. The emigrants made it clear as day that the allies would be welcomed by the whole

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