From the very commencement of Börne's career as a journalist, his talent had attracted the attention of the great reactionaries. On the 18th of May 1819, Rahel writes that Gentz has recommended _Die Wage_ to her, as containing the cleverest, wittiest writing of the day, the best of its kind since Lessing's time. Börne's father was perfectly aware that Herr von Gentz praised his son's style, and Prince Metternich his grasp of politics.[14] So he privately set to work to secure an advantageous sphere of operation for him on the sunny side of society. Before young Börne was told anything about it, Metternich had eagerly come forward with the most liberal proposals: The young man was to live in Vienna with the title, position, and emoluments of an Imperial Councillor (kaiserlicher Rath), and with no claim made on him for any service in return. Everything he chose to write was to be entirely exempt from censorship; he should be his own censor. And if, in the course of a few months, he should elect to give up his appointment, he was to be free to do so. In such a position he would have the very best opportunity of working for the cause of progress and humanity. His father wrote: "Dear Louis! I beg of you to read this letter as carefully as I have read it. Believe me, the independence you prize so highly is an uncertain possession; will you, can you retain it? Why should not you, too, at last think of making a settled position for yourself?... On what is your present bliss founded? Surely not on the 500 francs (Cotta's monthly payment)? Make up your mind, for the sake of your future, to take a journey to Vienna at my expense; I beseech of you not to throw away this chance of success...." Börne refused everything point blank, refused to hold any communication with those in power.[15] Goethe might allow himself to be appointed Privy Councillor at a court, but he, Börne, would not. And yet the temptation must have been greater in the case of the born plebeian, who had had to take off his hat at the bidding of every passer-by, than it was in the case of the great patrician. In reading the hard, contemptuous, and unjust words which Börne wrote of Goethe, we must not forget that behind these words there was a man who would not do what Goethe did. Börne was devoid of artistic sense in the strict acceptation of the term. He frankly confessed the fact himself, and, moreover, betrays it in his intolerance of those to whom it is a matter of indifference what the artist represents, but all-important how he represents it. Artists and connoisseurs of this type are utterly repugnant to him. It disgusts him that any man can prefer a painting of still life to a painting of a Madonna. His natural bias towards the lofty, the sublime, the divine, leads him to demand these qualities in art, and to declare frankly that all works of art in which these qualities are wanting, are to him simply daubs or monstrosities.[16]