There are limits and conditions in man, as well as around him, to which the like justice is done. Such are Special Character, Natural Degree and Vocation, Moral Imperfection, and Limitation of Self-Knowledge. Each of these plays a part of vast importance in life; each is portrayed and used in Goethe's picture. But, though with reluctance, I must merely name and pass them by. Enough to say here, that he sees them and sees through them. Enough that they appear, and as means and material. Nor does he merely distinguish and harp upon them, after the hard analytic fashion one would use here; but, as the violinist sweeps all the strings of his instrument, not to show that one sounds _so_ and another _so_, but out of all to bring a complete melody, so does this master touch the chords of life, and, in thus recognizing, bring out of them the melodious completeness of a human soul. One inquiry remains. What of inspirational impulse does Goethe bring to his work? He depicts growth; what leads him to do so? Is it nothing but cold curiosity? and does he leave the reader in a like mood? Or is he commanded by some imperial inward necessity? and does he awaken in the reader a like noble necessity, not indeed to write, but to _live_? The inspiration which he feels and communicates is art infinite, unspeakable reverence for Personality, for the completed, spiritual reality of man. Literally unspeakable, it is the silent spirit in which he writes, sovereign in him and in his work,--the soul of every sentence, and professed in none. You find it scarcely otherwise than in his manner of treating his material. But there you _may_ find it: the silent, majestic homage that he pays to every _real_ grace and spiritual accomplishment of man or woman. Any smallest trait of this is delineated with a heed that makes no account of time or pains, with a venerating fidelity and religious care that _unutterably_ imply its preciousness. Indeed, it is one point of his art to bestow elaborate, reverential attention upon some minor grace of manhood or womanhood, that one may say, "If this be of such price, how priceless is the whole!" He resorts habitually to this inferential suggestion,--puzzling hasty readers, who think him frivolously exalting little things, rather than hinting beyond all power of direct speech at the worth of the greater. In landscape paintings a bush in the foreground may occupy more space than a whole range of mountains in the distance: perhaps the bush is there to show the scale of the drawing, and intimate the greatness, rather than littleness, of the mountains.