their appearance may be. But the error that we blame is
extremely manifold and varying; it is in conflict not only with the good
and the true, but also with itself; it is self-contradictory. Thus it is
that the words of blame in our literature must necessarily outnumber the
words of praise.

469

The Greeks, whose poetry and rhetoric was of a simple and positive
character, express approval more often than disapproval. With the Latin
writers it is the contrary; and the more poetry and the arts of speech
decay, the more will blame swell and praise shrink.

470

'What are tragedies but the versified passions of people who make Heaven
knows what out of the external world?'

471

There are certain empirical enthusiasts who are quite right in showing
their enthusiasm over new productions that are good; but they are as
ecstatic as if there were no other good work in the world at all.

472

In _Sakontala_ the poet appears in his highest function. As the
representative of the most natural condition of things, the finest mode
of life, the purest moral endeavour, the worthiest majesty, and the most
solemn worship, he ventures on common and ridiculous contrasts.

473

Shakespeare's _Henry IV_. If everything were lost that has ever been
preserved to us of this kind of writing, the arts of poetry and rhetoric
could be completely restored out of this one play.

474

Shakespeare's finest dramas are wanting here and there in facility: they
are something more than they should be, and for that very reason
indicate the great poet.

475

Shakespeare is dangerous reading for budding talents: he compels them to
reproduce him, and they fancy they are producing themselves.

476

Yorick Sterne was the finest spirit that ever worked. To read him is to
attain a fine feeling of freedom; his humour is inimitable, and it is
not every kind of humour that frees the soul.

477

The peculiar value of so-called popular ballads is that their motives
are drawn direct from nature. This, however, is an advantage of which
the poet of culture could also avail himself, if he knew how to do it.

478

But in popular ballads there is always this advantage, that in the art
of saying things shortly uneducated men are always better skilled than
those who are in the strict sense of the word educated.

479

_Gemueth = Heart_. The translator must proceed until he reaches the
untranslatable; and then only will he have an idea of the foreign