for evil, all the existence of a man is work, and that no one is ever wholly lost so long as the power of accomplishment remains his. But if work is the essence of life, then satisfaction must be found not in feelings but in deeds. The world is good if we can make it so, not otherwise. The problem of Faust is therefore the discovery of the perfect kind of activity.
With this insight the romantic spirit has risen beyond itself. The essence of romanticism is the desire for fullness of personal experience. The essence of this new spirit is the eagerness to accomplish something. The difference is vast. Faust, following this new tendency, might be led to an obscure toiling life of endless self-sacrifice. His pessimism (for in the early scenes he is a pessimist) might give way before unquestioning heroic devotion to some great end. Does this take place? We know too well the answer. The whole poem is indeed a conflict between the two tendencies in Faust, but the first, the desire for manifold passive experiences, is until the last scenes of the second part predominant. Faust is active, but his activity is mainly a continual pursuit of new experiences. Even at the end he is not active as other men are active; his work is done by magic; and the accomplishment for whose sake he is at last willing to say, This is the highest moment, is an anticipation, not a reality. In the real world the satisfactory work is never found. And thus the solution of the problem is not fully given, though the poet, while suggesting it, has done more than any other modern poet. The revolution had furnished as life-ideals grand emotion and heroic ac-
