und Wahrheit" came to my mind, in the midst of my reveries: they were in my memory; I did not have to re-read them,—and indeed, they seem most fitting as the motto for what I then undertook; they furnish the simplest and most plausible explanation for my venture. The temptation which the young Goethe had naively followed, namely to carry out the short legendary report of the Genesis in "all its details," repeated itself in my case at a stage of my life when the poetic execution could definitely obtain human and spiritual substance as well. But what does that mean: to carry out in detail what has been briefly reported? It is exactness, realization; it is to draw into proximity something very remote and vague, so that you believe you see it with your eyes and grasp it with your hands, and you think, that, finally, you learn the definite truth about it after having so long entertained very uncertain ideas on the subject. I still remember how amused I was, and how much of a compliment I considered it, when my copyist in Munich, a simple woman, brought me the typewritten copy of the first volume, "The Stories of Jaacob," and said: "Now we know at last how all this actually happened." That was touching—for, after all, it did not happens. The exactness, the realism are fictional they are play and artful illusion, they are realization and visualization forcibly brought about by all the means of language, psychology, presentation and, in addition, critical comment; and humor, despite all human seriousness, is their soul. What, above all, is inspired by humor in the book is the analysis and scientific research, which are, just like the narrative and the descriptions, a means of establishing reality; and the command to the artist, to create forms and not to talk are invalid in this case.
The reasoning also is playful, it is not really the language
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