August 30, 1869.--Still some chapters of Schopenhauer. Schopenhauer believes in the unchangeableness of innate tendencies in the individual, and in the invariability of the primitive disposition. He refuses to believe in the new man, in any real progress toward perfection, or in any positive improvement in a human being. Only the appearances are refined; there is no change below the surface. Perhaps he confuses temperament, character, and individuality? I incline to think that individuality is fatal and primitive, that temperament reaches far back, but is alternable, and that character is more recent and susceptible of voluntary or involuntary modifications. Individuality is a matter of psychology, temperament, a matter of sensation or aesthetics; character alone is a matter of morals. Liberty and the use of it count for nothing in the first two elements of our being; character is a historical fruit, and the result of a man’s biography. For Schopenhauer, character is identified with temperament just as will with passion. In short, he simplifies too much, and looks at man from that more elementary point of view which is only sufficient in the case of the animal. That spontaneity which is vital or merely chemical he already calls will. Analogy is not equation; a comparison is not reason; similes and parables are not exact language. Many of Schopenhauer’s originalities evaporate when we come to translate them into a more close and precise terminology. _Later_.--One has merely to turn over the “Lichtstrahlem” of Herder to feel the difference between him and Schopenhauer. The latter is full of marked features and of observations which stand out from the page and leave a clear and vivid impression. Herder is much less of a writer; his ideas are entangled in his style, and he has no brilliant condensations, no jewels, no crystals. While he proceeds by streams and sheets of thought which have no definite or individual outline, Schopenhauer breaks the current of his speculation with islands, striking, original, and picturesque, which engrave themselves in the memory. It is the same difference as there is between Nicole and Pascal, between Bayle and Satin-Simon. What is the faculty which gives relief, brilliancy, and incisiveness to thought? Imagination. Under its influence expression becomes concentrated, colored, and strengthened, and by the power it has of individualizing all it touches, it gives life and permanence to the material on which it works. A writer of genius changes sand into glass and glass into crystal, ore into iron and iron into steel; he marks with his own stamp every idea he gets hold of. He borrows much from the common stock, and gives back nothing; but even his robberies are willingly reckoned to him as private property. He has, as it were, _carte blanche_, and public opinion allows him to take what he will.