PlaywrightGermany

Gotthold Ephraim Lessing

The critic who chose the search over the truth

12 works · 1,766 passages grounded

Lifespan
1729–1781
Wikipedia

The mind

In 1774 the librarian of the ducal library at Wolfenbüttel began to print pieces of a manuscript that attacked revealed religion. In his preface he wrote that he had no idea how or when it had come into the library. That was a cover. The author was Hermann Samuel Reimarus, a Hamburg professor of oriental languages who had died in 1768 after showing his long hunt for contradictions in the Bible only to close friends; the pretence protected his family. Over the next four years the librarian, Gotthold Ephraim Lessing, printed seven of these fragments.

Lessing knew the theology he was disturbing from the inside. His father was a Lutheran archdeacon in Kamenz, in Saxony, and wanted him to study theology; at Leipzig Lessing soon turned to poetry and the theatre instead. He spent the next two decades as a journalist, playwright and critic. In the Hamburg Dramaturgy (1767–69) he argued that the French dramatists who claimed to obey Aristotle's rules had misunderstood them. The method was already his: take an authority, read it closely, and show that it does not say what its defenders claim.

The fragments brought defenders of scripture into print, and against one of them, Johann Daniel Schumann, a school director in Hannover, Lessing wrote the open letter "Über den Beweis des Geistes und der Kraft" (1777). Origen, the early church father, had been able to point to miracles still happening in his own day. Lessing had only reports that other people once saw them. Accidental truths of history, he concluded, can never prove necessary truths of reason, and between the two lies an ugly broad ditch that he had tried many times to jump and could not. In ordinary words: even a reliable report that something happened in the first century cannot oblige anyone, centuries later, to believe a doctrine about God. If Christianity is true, it must be true on its own inner evidence.

He did not take Reimarus's side either. In A Rejoinder, written that winter against a Wolfenbüttel theologian who had defended the Gospel accounts of the resurrection against one of the fragments, he granted that the accounts contradict each other and denied that this disproved the resurrection itself. The same pamphlet, which appeared in January 1778, holds his best-known paragraph: offered all truth in God's right hand and in the left only the restless drive toward it, he would humbly choose the left.

Johann Melchior Goeze, the chief pastor of Hamburg, called the publication blasphemy, and between April and July Lessing answered him in eleven open letters, the Anti-Goeze. A true Lutheran, he wrote, wants the protection of Luther's spirit, not of Luther's writings, and pastors who could tell their flock where inquiry must stop would have become popes. In July 1778 Duke Karl of Brunswick, his employer, withdrew his exemption from censorship. Lessing told Elise Reimarus, the dead author's daughter, that he would see whether he could still preach from his old pulpit, the theatre.

Nathan the Wise came out in 1779. Set in Jerusalem during the Third Crusade, it gives its title role to a Jewish merchant modelled on Lessing's friend Moses Mendelssohn, the Jewish philosopher. At its centre stands a parable taken from Boccaccio: a father with one precious ring and three sons he loves equally has two perfect copies made, and since no one can tell which ring is genuine, each son must prove his by how he lives. The Education of the Human Race followed in 1780, arguing that revelation teaches humanity as a teacher teaches a child, and that the New Testament too will one day be outgrown. Lessing died in Braunschweig on 15 February 1781.

In 1785 the philosopher Friedrich Heinrich Jacobi made public his report that Lessing had privately called himself a follower of Spinoza, which contemporaries heard as a charge of atheism; the quarrel that followed, with Mendelssohn defending his dead friend, became known as the pantheism controversy. Kierkegaard, the Danish philosopher, took up the ugly broad ditch in two of his books. The Nazis banned Nathan, and on 7 September 1945 the Deutsches Theater in Berlin reopened with it.

Key concepts

What is the "ugly broad ditch" in Lessing's thought?

It is the gap between what history can report and what faith asks a person to believe. Lessing had only reports that others once saw miracles, and a report, however reliable, can never oblige anyone to accept a doctrine about God. He wrote that he had tried many times to jump this ditch and could not. So a religion must convince by its own inner evidence, not by documents.

Why does pity matter so much in Lessing's theory of theatre?

Because he thought pity is the feeling that makes people better. In his letters on tragedy he wrote that the most compassionate person is the best person, readiest for every social virtue, and that tragedy exists to train that capacity. Later he read Aristotle's fear the same way: we fear for a hero made of the same stuff as we are, which is pity turned towards ourselves.

What does it mean to follow a thinker's spirit rather than his letter?

It means keeping faith with what a teacher was trying to do rather than guarding every sentence he wrote. Lessing made this move twice. Against Goeze he said a true Lutheran wants Luther's spirit, which forbids pastors to fix where inquiry must stop. Against the French dramatists he argued that those who obeyed Aristotle's rules word for word had misunderstood them. Loyalty, for him, can mean contradicting the followers.

Why can't poetry and painting do the same things, according to Lessing?

Because they work in different materials. Painting places figures side by side in space and shows a single moment, while poetry sets words one after another in time and so tells actions. A poet may let the Trojan priest Laocoon scream, but a sculptor who carved the scream would twist the face into ugliness, so the marble Laocoon only sighs. Each art does best what its own medium allows.

Why does Lessing value searching for truth above possessing it?

He held that a person's worth lies in the honest effort to reach truth, because that effort keeps their powers growing, while possession makes people calm, lazy and proud. Hence his famous choice: offered all truth in God's right hand and the restless drive toward it in the left, he would take the left. It explains why he kept public arguments open instead of closing them.

Themes of the Mind

Concepts that recur together across the corpus held here, gathered into themes and ordered by how much of this philosopher's writing each one occupies.

Truth Won by Quarrelling

Is truth something a person can own, or only something they keep fighting toward? Lessing chose the fight, and conducted it in print against every authority that claimed to have settled it.

Lessing held that a person's worth lies in the honest effort to reach truth, not in holding it, because possession makes people calm, lazy and proud. So he read authorities against their defenders: Aristotle against the French dramatists who claimed to obey him, Luther's spirit against the Lutheran pastors who guarded his writings. He printed arguments he did not share so that they could be answered in the open, and called pastors who set limits to inquiry popes. What follows is a trust in public argument that no office may close.

  • argumentation
  • rhetoric
  • irony
  • satire
  • criticism
  • literary criticism
  • dramatic criticism
  • aristotle
  • interpretation
  • language

A Faith History Cannot Carry

Can a report of what happened in the first century oblige anyone, centuries later, to believe something about God? Lessing said it cannot, and still refused to call Christianity false.

Accidental truths of history, Lessing held, can never prove necessary truths of reason: even a reliable account of miracles remains a report, and between it and a doctrine lies a ditch he could not jump. He turned the point against both camps. Against the orthodox, the Bible is not religion, and Christianity was alive before a single Gospel was written. Against Reimarus, contradictions in the Easter accounts do not disprove the resurrection. A religion stands or falls by its inner truth, which no document can supply.

  • biblical interpretation
  • hermeneutics
  • historical evidence
  • scripture
  • authorship
  • translation

Theatre That Trains Compassion

What is a tragedy for, if not to preach a lesson or parade a hero? Lessing's answer was that it should enlarge our capacity to feel with other people.

In letters to Mendelssohn and Nicolai, Lessing argued that tragedy improves us by one route only, by training pity, and that the most compassionate person is the best person, readiest for every social virtue. A decade later, in the Hamburg Dramaturgy, he read Aristotle's fear as pity turned on ourselves: we fear for a hero made of the same stuff as we are. That rules out the flawless hero and the monster alike. The stage becomes a school of feeling rather than a pulpit for maxims.

  • tragedy
  • theater
  • pity
  • emotion
  • compassion
  • admiration
  • moral psychology
  • audience
  • comedy
  • acting

What Each Art Can Do

Can a poem do what a painting does, or a play what a treatise does? Lessing kept asking what each form is for, and what goes wrong when one borrows another's task.

Painting, Lessing argued in the Laocoon, works with figures side by side in space, poetry with actions one after another in time, so a poet who describes like a painter bores, and a sculptor who carves a scream disfigures. The same question ran through all his criticism: a poem is not a metaphysical system, as his early essay with Mendelssohn told the readers of Pope, and a tragedy has an end of its own. Genius, he held, carries the test of every rule within itself.

  • aesthetics
  • poetry
  • painting
  • representation
  • imitation
  • beauty
  • art history
  • dramatic theory
  • dramatic structure
  • character
  • characterization

A Humanity Still Growing Up

If God teaches humanity as a teacher teaches a child, what is left when the pupil grows up? Lessing wagered that people would one day do good because it is good.

In The Education of the Human Race, revelation gives humanity nothing it could not reach by reason, only sooner, as education gives a child what it could have found alone. The Old Testament was a primer, the New a better one, and a time of completion will come when nobody needs rewards to do right. The same impatience with doctrine runs through pieces early and late: people were made for doing, not for hair-splitting, and states and churches divide the very people they bring together.

  • religion
  • virtue

By the numbers

works held
12
passages traced
1,766
concepts traced
1,289
thematic clusters
4

Concepts that travel together

The wheel takes the leading concepts of these writings and shows how often they come up together. The wider the band between two, the more passages speak of both. Among them, most often together: “aesthetics” and “poetry”.
Concept co-occurrence, strongest first 8 concepts, joined by 17 pairings. 97 pairings reach beyond these concepts and are not drawn.
ConceptPaired conceptShared passages
aestheticspoetry48
aestheticstragedy41
religionscripture19
biblical interpretationreligion7
aestheticsrhetoric5
poetryrhetoric5
metaphysicspoetry4
aestheticsreligion3
biblical interpretationrhetoric3
religionrhetoric2
aestheticsbiblical interpretation1
aestheticsmetaphysics1
biblical interpretationscripture1
metaphysicsrhetoric1
poetryreligion1
poetrytragedy1
religiontragedy1

The arc of a career

A cell's weight is that concept's share of the work's passages, so a column can be read downwards as well as a row across. Densest: biblical interpretation in A Rejoinder, 59.6%.

Density 0% 59.6%

Concept density per work, chronological 12 works, in the order they were written. 8 concept columns, ranked by total weight. 82 further concepts fall outside the columns shown.
WorkYearreligionaestheticsbiblical interpretationtragedyscripturemetaphysicspoetryrhetoric
Pope ein Metaphysiker!1.7%3.4%0%0%0%15.3%20.3%6.8%
Briefwechsel über das Trauerspiel0.8%24.8%0%48.8%0%0.8%0%0.8%
Laocoön: An Essay on the Limits of Painting and Poetry1.9%47.5%0%2.3%0%0%33.2%1.2%
Hamburg Dramaturgy1.5%12.8%0%21.1%0%0%1.5%1.5%
Kleine Schriften zum Fragmentenstreit7.9%0%7.9%0%5.3%5.3%0%7.9%
A Rejoinder5.7%1.4%59.6%0%0.7%0%0%5%
Anti-Goeze13.8%0%4.1%0%0.8%0%0%18.7%
Axioms36.5%0%4.8%0%44.4%0%0%3.2%
Ernst and Falk: Dialogues for Freemasons7%0%0%0%0%0%0%1.8%
The Education of the Human Race5.6%0%2.8%0%16.7%2.8%0%0%
Gotthold Ephraim Leßings theologischer Nachlaß16.7%0%0%0%0%12.5%0%4.2%
Philosophischer Nachlass11.8%0%0%0%0%23.5%0%0%

Works held

Titles in your language, the original beneath in brackets; “lit.” marks our own translation where no English edition exists. Side chips show which full texts are held.

EARLY — REASON'S RELIGION & THE LETTERS ON TRAGEDY

  1. 1755 lit. Pope a Metaphysician! Pope ein Metaphysiker!

    Written jointly with Moses Mendelssohn early in their friendship, this pamphlet first drew the line between poet and philosopher that Laocoön would later redraw between poet and painter.

    DE
  2. 1757 lit. Correspondence on Tragedy Briefwechsel über das Trauerspiel

    The workshop of Lessing's dramatic theory: here, against Mendelssohn and Nicolai, he first tested the account of pity that he later rebuilt for the Hamburg Dramaturgy.

    DE

THE CRITIC — LAOCOON & THE HAMBURG STAGE

  1. 1766 Laocoön: An Essay on the Limits of Painting and Poetry (Laokoon oder über die Grenzen der Malerei und Poesie)

    Prepared in Breslau, where Lessing served a Prussian general from 1760 to 1765, this is the one part Lessing published of a larger planned study, and it carries over the poet–philosopher divide of his Pope essay into the arts.

    DE
  2. 1767 Hamburg Dramaturgy (Hamburgische Dramaturgie)

    A periodical before it was a book, written week by week for a theatre that did not last, this became Lessing's principal work on the theory of drama.

    DE

WOLFENBÜTTEL — THE FRAGMENTS CONTROVERSY

  1. 1777 lit. Shorter Writings on the Fragments Controversy Kleine Schriften zum Fragmentenstreit

    Short pamphlets from 1777 and 1778, written as the fragments controversy moved from courteous replies to Schumann toward the open feud with Goeze.

    DE
  2. 1778 A Rejoinder (Eine Duplik)

    A reply to a single defender of the Easter accounts, written in the winter of 1777–78, just before the quarrel with Goeze crowded out every other exchange.

    DE
  3. 1778 Anti-Goeze

    The centre of the fragments controversy; after the duke's ban the same argument moved into Nathan the Wise.

    DE
  4. 1778 Axioms (Axiomata, wenn es deren in dergleichen Dingen giebt)

    Argued point by point rather than fought, this answer to Goeze sets out in compact form the distinction between the Bible and religion that the Anti-Goeze letters defend with ridicule.

    DE
  5. 1778 Ernst and Falk: Dialogues for Freemasons (Ernst und Falk. Gespräche für Freimäurer)

    Dialogue rather than treatise, and written for Freemasons rather than about them, this is where Lessing carried the tolerance argument of his theological quarrels into a theory of civil society.

    DE

LAST YEARS — EDUCATION & FREEMASONRY

  1. 1780 The Education of the Human Race (Die Erziehung des Menschengeschlechts)

    Its hundred numbered paragraphs, begun inside the fragments controversy and finished after it, turn the quarrel over scripture into a single picture of religious history.

    DE
  1. 1784 lit. Theological Remains Gotthold Ephraim Leßings theologischer Nachlaß (Theologischer Nachlass)

    An editorial title for papers Lessing kept to himself: two of them come from his early twenties in Berlin, decades before the fragments controversy made his religious views public.

    DE
  2. 1795 lit. Philosophical Remains Philosophischer Nachlass

    Working notes on metaphysics that Lessing kept to himself, from his Breslau years onward; at least one reached print only after Jacobi's report had made his Spinozism a public question.

    DE
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