[Footnote 44: The German will admit of the interpretation that the reference is merely to genius, but I think Hegel clearly means that neither one nor the other can be thus conjured up.] [Footnote 45: At the end of the first main division of the work.] [Footnote 46: One of Meredith's correspondents has put the question with all gravity whether he considered inspiration could be assisted by wine drinking. With equal gravity our humourist replied that though wine might be something of a restorative after mental effort it was not his experience that it contributed to first-rate artistic work. He actually mentions the case of Schiller. Though I have read somewhere that this poet used to be inspired by the smell of rotten apples I do not recollect reading that he favoured the champagne bottle. Meredith also mentions the case of Hoffmann, and adds that the type of his work does not increase our respect for the precedent.] [Footnote 47: _Eine äusserliche Arbeit._ A craftsmanship which has to deal with the outside surface. We may translate "external craftsmanship"; but the translation in the text gives the meaning best, I think.] [Footnote 48: _Keinen geistigen Stoff._ Professor Bosanquet translates "spiritual content." I imagine the emphasis to be mainly on the absence of positive ideas available to knowledge. In any case Hegel appears to press his point of contrast too far. Men of genius such as Mozart (who was probably in his mind) and Schubert may bear him out. But on the other hand we have a Keats, Shelley, and Raphael. Genius matures rapidly, but the greatest works of musical art no less than any other imply a real maturity of mind at least, and more than is here assumed of, I should say, a rich experience. Mozart, of course, upsets any theory, and it is questionable even whether Mozart is really an exception. It depends on the point of view from which we are estimating the intelligible content of music as an expression of soul-life.] [Footnote 49: The "Iphigenie" was completed in Goethe's thirty-eighth year, fourteen years later than "Götz." The bulk of his more important works are of the same date or later. Schiller's "Wallenstein" was completed after his thirty-fifth year.] [Footnote 50: This is surely not quite accurate. The medium of painting in the sense that speech or writing is the medium of poetry is not canvas or panel but oil or other colour. Canvas would correspond with the blank pages of a book.] [Footnote 51: Free, that is, from accidental and irrelevant matter.]