and still more so with the fanatical æsthete or Heine worshipper, who believes, like all idolaters, that his idol is perfection and all solid gold, even though the wooden core appears visibly through cracks in the plating. But the sensible critic knows that it is after all of immense value, and makes allowance for defects.
I believe that Heine himself would have approved in his heart of such fair treatment. He was as a rule only an enemy to such as had reviled him with personal insult, as did Platen. In the chapter on Anna Bullen he praises Queen Elizabeth because she desired that Shakespeare should set forth the English sovereigns, including her own father, with perfect impartiality. Heine knew his own defects—his contradictions of character, inconsistencies, and errors—he admits them sadly and sincerely enough, and rather touchingly attempts, like a child, to put them off on something else—"on this horrid age."
But Heine was also conscious of his own stupendous genius, and knew that the bell, though it had a flaw in it, could ring forth tones which should be heard to all times. Therefore he would not have objected even to the closest criticism, if it were truthful, and accompanied with sincere and enlightened appreciation of his merits. The latter indeed speak for themselves so loudly and clearly as to require no comment.
