How far are our perceptions confined to our outward senses? Can any one tell?--for that our perceptions are not wholly confined to impressions taken in by the outward senses, seems the only one thing proved; and are such sensible impressions the only real ones? When any one asks me gaily the so common and common-place question--common even in these our rational times--"Do you now really believe in ghosts?" I generally answer as gaily--"I really don't know!" In the common, vulgar meaning of the words, I certainly do _not_; but in the reality of many things termed imaginary I certainly do. * * * * * The following beautiful and original interpretation of Goethe's ballad of the "Erl-King" is not in Ekermann's book (the "Gespräche mit Goethe," which I am now studying), but I give it to you in the words in which it was given to me. "Goethe's 'Erl-König' is a moral allegory of deep meaning, though I am not sure he meant it as such, or intended all that it signifies. There are beings in the world who see, who feel, with a finer sense than that granted to other mortals. They see the spiritual, the imaginative sorrow, or danger, or terror which threatens them; and those who see not with the same eyes, talk reason and philosophy to them. The poor frightened child cries out for aid, for mercy; and Papa Wisdom--worldly wisdom--answers,-- "'Mein Sohn, es ist ein Nebelstrief!' "Or,-- "'Es scheinen die alten Weiden so grau!' "It is only the vapour-wreath, or the grey willows waving, and tells him to be quiet! At last the poor child of feeling is found dead in the arms of Wisdom, from causes which no one else perceived--or believed! Is it not often so?" * * * * * On the subject of religion I find this beautiful comparison, but am not sure whether it be Ekermann's or Goethe's. "A connoisseur standing before the picture of a great master will regard it as a whole. He knows how to combine instantly the scattered parts into the general effect; the universal, as well as the individual, is to him animated. He has no preference for certain portions: he does not ask why this or that face is beautiful or otherwise; why _this_ part is light, _that_ dark; only he requires that all shall be in the right place, and according to the just rules of art; but place an ignorant person before such a picture, and you will see that the great design of the whole will either be overlooked by him, or confuse him utterly. Some small portion will attract him, another will offend him, and in the end he will dwell upon some trifling object which is familiar to him, and praise this helmet, or that feather, as being well executed.