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Paul Bourget

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Look at Goethe, at Lamartine and at many others! To depict feelings on this high plane, you must give up the process of minute and insignificant observation which is the bane of the artists of to-day.
--
Pierre Fauchery, as quoted by the character "Jules Labarthe"

 
Paul Bourget

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A person can be both good and evil, just as it is quite simply said that a human being has a disposition to both good and evil, but one cannot simultaneously become both good and evil. Esthetically, the poet has been required not to depict these abstract models of virtue or diabolical characters but to do as Goethe does, whose characters are both good and evil. And why is this a legitimate requirement? Because we want the poet to depict human beings as they are, and every human being is both good and evil, and because the poet’s medium is the medium of imagination, is being but not becoming, at most is becoming in a very foreshortened perspective. But take the individual out of this medium of imagination, out of this being, and place him in existence-then ethics immediately confronts him with its requirement, whether he now deigns to become, and then he becomes-either good or evil. In the earnest moment of self-contemplation, in the sacred moment of confession, the individual removes himself from the process of becoming and in the realm of being inspects how he is. Alas, the result unfortunately is that he is both good and evil, but as soon as he is again in the process of becoming he becomes either good or evil.

 
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Goethe's thinking was mobile. It followed the whole growth process of the plant and followed how one plant form is a modification of the other. Goethe's thinking was not rigid with inflexible contours; it was a thinking in which the concepts continually metamorphose. Thereby his concepts became, if I may put it this way, intimately adapted to the process that plant nature itself goes through.

 
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No piece of art can depict feelings if a piece of reality is not included in it.

 
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