the moderate liberalism of Baron von Stein and his followers. Klingsor, voicing the sentiments of Romantic aristocratism, accuses him:
"You tell the mob: Be your own Savior; seek inspiration in your own work. The people like to be told of their majesty. Keep on bravely lying, sweetly flattering, and the prophet is complete."
Merlin retorts:
"You describe yourself, not me. Men have a deep sense of truth, and pay in false coin only him that offers them false gifts." He then continues, lashing the transcendent egotism of the Romantic conception of man in the universe: "To you the earth, the ocean, the firmament, are nothing but a ladder for your own elevation, and you must absolutely reject the thing called humility. In order to maintain yourself strong and whole you have to find men weak and only partial beings," etc. Later, in lines 1637ff., he proceeds, in what are probably the finest and richest passages in the work, to state his own purpose of combining all that is great, true, beautiful, human, and noble, into one comprehensive and rational faith of humanity.
Merlin tries to teach his faith to King Artus and his circle, who embody the frivolous, irresponsible, though refined, conduct of the nobility, essentially the same nobility whom von Stein accused of injuring the nation and Immermann satirized and exposed in Münchhausen. They decide to seek salvation in the primitive idealism of India, appointing Merlin their guide. Merlin, however, succumbs to the silly Niniana, the personification of wanton desire. She makes him tell her a fated word, after promising not to repeat it. She thoughtlessly repeats it. He now loses his superhuman power, i.e., the power of absolute spiritual integrity, and becomes subject to the limitations of earth, like a common man. He can no longer lead Artus and his court, who perish of their own spiritual vacuity.
The end of the play is unsatisfactory. The hero's surrender to the lust of the flesh, undoubtedly suggested by
