Goethe is a romantic poet; he is a novelist in verse. He is a philosopher of experience as it comes to the individual; the philosopher of life, as action, memory, or soliloquy may put life before each of us in turn. Now the zest of romanticism consists in taking what you know is an independent and ancient world as if it were material for your private emotions. The savage or the animal, who should not be aware of nature or history at all, could not be romantic about them, nor about himself. He would be blandly idiotic, and take everything quite unsuspectingly for what it was in him. The romanticist, then, should be a civilized man, so that his primitiveness and egotism may have something paradoxical and conscious about them; and so that his life may contain a rich experience, and his reflection may play with all varieties of sentiment and thought. At the same time, in his inmost genius, he should be a barbarian, a child, a transcendentalist, so that his life may seem to him absolutely fresh, self-determined, unforeseen, and unforeseeable. It is part of his inspiration to believe that he creates a new heaven and a new earth with each revolution in his moods or in his purposes. He ignores, or seeks to ignore, all the conditions of life, until perhaps by living he personally discovers them.[2] Like Faust, he flouts science, and is minded to make trial of magic, which renders a man’s will master of the universe in which he seems to live. He disowns all authority, save that mysteriously exercised over him by his deep faith in himself. He is always honest and brave; but he is always different, and absolves himself from his past as soon as he has outgrown or forgotten it. He is inclined to be wayward and foolhardy, justifying himself on the ground that all experience is interesting, that the springs of it are inexhaustible and always pure, and that the future of his soul is infinite. In the romantic hero the civilized man and the barbarian must be combined; he should be the heir to all civilization, and, nevertheless, he should take life arrogantly and egotistically, as if it were an absolute personal experiment. This singular combination was strikingly exemplified in Doctor Johannes Faustus, a figure half historical, half legendary, familiar to Goethe in his boyhood in puppet-shows and chapbooks. An adventurer in the romantic as well as in the vulgar sense of the word, somewhat like Paracelsus or Giordano Bruno, Doctor Faustus had felt the mystery of nature, had scorned authority, had credited magic, had lived by imposture, and had fled from the police. His blasphemous boasts and rascally conduct, together with his magic arts, had made him even in his lifetime a scandalous and interesting personage. He was scarcely dead when legends gathered about his name. It was published abroad that he had sold his soul to the devil, in exchange for twenty-four years of wild pleasures upon earth.