Eugene Aram — Volume 02. Эдвард Бульвер-Литтон

only the history of his life, but the character and tone of Aram's mind, that I wish to stamp upon my page. Fortunately, however, the path my story assumes is of such a nature, that in order to effect this object, I shall never have to desert, and scarcely again even to linger by, the way.

      Every one knows the magnificent moral of Goethe's "Faust!" Every one knows that sublime discontent—that chafing at the bounds of human knowledge—that yearning for the intellectual Paradise beyond, which "the sworded angel" forbids us to approach—that daring, yet sorrowful state of mind—that sense of defeat, even in conquest, which Goethe has embodied,—a picture of the loftiest grief of which the soul is capable, and which may remind us of the profound and august melancholy which the Great Sculptor breathed into the repose of the noblest of mythological heroes, when he represented the God resting after his labours, as if more convinced of their vanity than elated with their extent!

      In this portrait, the grandeur of which the wild scenes that follow in the drama we refer to, do not (strangely wonderful as they are) perhaps altogether sustain, Goethe has bequeathed to the gaze of a calmer and more practical posterity, the burning and restless spirit—the feverish desire for knowledge more vague than useful, which characterised the exact epoch in the intellectual history of Germany, in which the poem was inspired and produced.

      At these bitter waters, the Marah of the streams of Wisdom, the soul of the man whom we have made the hero of these pages, had also, and not lightly, quaffed. The properties of a mind, more calm and stern than belonged to the visionaries of the Hartz and the Danube, might indeed have preserved him from that thirst after the impossibilities of knowledge, which gives so peculiar a romance, not only to the poetry, but the philosophy of the German people. But if he rejected the superstitions, he did not also reject the bewilderments of the mind. He loved to plunge into the dark and metaphysical subtleties which human genius has called daringly forth from the realities of things:—

      "To spin

      A shroud of thought, to hide him from the sun

      Of this familiar life, which seems to be,

      But is not—or is but quaint mockery

      Of all we would believe;—or sadly blame

      The jarring and inexplicable frame

      Of this wrong world: and then anatomize

      The purposes and thoughts of man, whose eyes

      Were closed in distant years; or widely guess

      The issue of the earth's great business,

      When we shall be, as we no longer are,

      Like babbling gossips, safe, who hear the war

      Of winds, and sigh!—but tremble not!"

      Much in him was a type, or rather forerunner, of the intellectual spirit that broke forth when we were children, among our countrymen, and is now slowly dying away amidst the loud events and absorbing struggles of the awakening world. But in one respect he stood aloof from all his tribe—in his hard indifference to worldly ambition, and his contempt of fame. As some sages have seemed to think the universe a dream, and self the only reality, so in his austere and collected reliance upon his own mind—the gathering in, as it were, of his resources, he appeared to consider the pomps of the world as shadows, and the life of his own spirit the only substance. He had built a city and a tower within the Shinar of his own heart, whence he might look forth, unscathed and unmoved, upon the deluge that broke over the rest of earth.