speech, and by a pleasant sort of pantomime, combine the pauses of the dialogue with the general whole; but such a practice as this, cooperating with a happy natural turn, and training it to compete with the author, is far from being so habitual as, for the comfort of playgoing people, were to be desired."
"But will not a happy natural turn," said Wilhelm, "as the first and last requisite, of itself conduct the player, like every other artist,—nay, perhaps every other man,—to the lofty mark he aims at?"
"The first and the last, the beginning and the end, it may well be; but, in the middle, many things will still be wanting to an artist, if instruction, and early instruction too, have not previously made that of him which he was meant to be: and perhaps for the man of genius it is worse in this respect than for the man possessed of only common capabilities; the one may much more easily be misinstructed, and be driven far more violently into false courses, than the other."
"But," said Wilhelm, "will not genius save itself, not heal the wounds which itself has inflicted?"
"Only to a very small extent, and with great difficulty," said the other, "or perhaps not at all. Let no one think that he can conquer the first impressions of his youth. If he has grown up in enviable freedom, surrounded with beautiful and noble objects, in constant intercourse with worthy men; if his masters have taught him what he needed first to know, for comprehending more easily what followed; if he has never learned anything which he requires to unlearn; if his first operations have been so guided, that, without altering any of his habits, he can more easily produce what is excellent in future,—then such a one will lead a purer, more perfect and happier, life, than another man who has wasted the force of his youth in opposition and error. A great deal is said and written about education; yet I meet with very few who can
