76 GOETHE'S ' FARBENLEHRE.' 



1 Goethe's life,' says Carlyle, ' if we examine it, is well 

 represented in that emblem of a solar day. Beautifully 

 rose our summer sun, gorgeous in the red, fervid east, 

 scattering the spectres and sickly damps, of both of 

 which there were enough to scatter ; strong, benignant, 

 in his noonday clearness, walking triumphant through 

 the upper realms — and now mark also how he sets I 

 " So stirbt ein Held ; " so dies a hero ! ' 



Two grander illustrations of the aphorism i To err 

 is human ' can hardly be pointed- out in history than 

 Newton and Goethe. For Newton went astray, not 

 only as regards the question of achromatism, but also 

 as regards vastly larger questions touching the nature 

 of light. But though as errors they fall into the same 

 category, the mistake of Newton was qualitatively dif- 

 ferent from that of Groethe. Newton erred in adopting 

 a wrong mechanical conception in his theory of light, 

 but in doing so he never for a moment quitted the 

 ground of strict scientific method. Groethe erred in 

 seeking to engraft in his ' Farbenlehre ' methods alto- 

 gether foreign to physics or to the treatment of a 

 purely physical theme. 



We frequently hear protests made against the cold 

 mechanical mode of dealing with aesthetic phenomena 

 employed by scientific men. The dissection by Newton 

 of the light to which the world owes all its visible 

 splendour seemed to Goethe a desecration. We find, 

 even in our own day, the endeavour of Helmholtz to 

 arrive at the principles of harmony and discord in 

 music resented as an intrusion of the scientific intel- 

 lect into a region which ought to be sacred to the 

 human heart. But all this opposition and antago- 

 nism has for its essential cause the incompleteness 

 of those with whom it originates. The feelings and 

 aims with which Newton and Goethe respectively ap- 



