Johann Wolfgang von Goethe

Johann Wolfgang von Goethe

1749–1832 · lived 82 years DE DE

Johann Wolfgang von Goethe was a prolific German writer, poet, playwright, and statesman whose vast body of work significantly impacted European literature and thought. His writings explored profound themes of nature, humanity, science, and the human condition, often blending romantic idealism with classical restraint. Goethe's influence extended beyond literature; he was also a respected figure in science and politics, embodying the ideal of the well-rounded Renaissance man. His literary creations, such as "Faust," remain cornerstones of world literature.

n. 1749-08-28, Frankfurt am Main · m. 1832-03-22, Weimar

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With A Painted Ribbon

With A Painted Ribbon

LITTLE leaves and flow'rets too,

Scatter we with gentle hand,
Kind young spring-gods to the view,
Sporting on an airy band.
Zephyr, bear it on the wing,
Twine it round my loved one's dress;


To her glass then let her spring,
Full of eager joyousness.
Roses round her let her see,
She herself a youthful rose.


Grant, dear life, one look to me!
'Twill repay me all my woes,
What this bosom feels, feel thou.
Freely offer me thy hand;


Let the band that joins us now
Be no fragile rosy band!
Read full poem
Bio

Identification and basic context

Johann Wolfgang von Goethe was a central figure in German literature and a polymath whose work spanned poetry, drama, novels, scientific inquiry, and political theory. Born into a prominent family in Frankfurt, he was a key figure of the Weimar Classicism movement. Goethe's writings are characterized by their depth, philosophical inquiry, and exploration of human nature, often infused with a blend of Romantic sensibility and Neoclassical form. He was also a minister of state in the Duchy of Weimar, demonstrating a profound engagement with civic and political life. His national and linguistic identity were deeply rooted in Germany, and his work was primarily written in German, though its impact transcended linguistic boundaries.

Childhood and education

Goethe received an excellent education, benefiting from private tutors and the intellectual stimulation of his household, which included his father's library. He was exposed to classical literature, languages, and the arts from an early age. His formal education included studies at the University of Leipzig and the University of Strasbourg, where he studied law but also delved into literature and alchemy. He was influenced by the burgeoning Sturm und Drang movement, which emphasized individual emotion and rebellion against artistic conventions, as well as by Enlightenment ideals and the rediscovery of classical antiquity. His early experiences and readings laid the foundation for his multifaceted literary and intellectual development.

Literary trajectory

Goethe's literary career began in his youth with the Sturm und Drang movement, marked by works like "The Sorrows of Young Werther." This period was characterized by intense emotional expression and a focus on individual experience. His move to Weimar marked a shift towards Weimar Classicism, characterized by a more balanced, harmonious, and ethically focused approach, exemplified by "Iphigenia in Tauris" and "Torquato Tasso." The creation of "Faust," which occupied him for much of his life, represents the apex of his philosophical and dramatic achievement, evolving through different phases and reflecting his mature contemplation of human existence. He was also actively involved in periodicals and collaborated with other writers, contributing significantly to the literary landscape of his time.

Works, style, and literary characteristics

Goethe's major works include the epistolary novel "The Sorrows of Young Werther" (1774), the dramas "Iphigenia in Tauris" (1787) and "Egmont" (1788), the novel "Wilhelm Meister's Apprenticeship" (1795-96), and his monumental dramatic poem "Faust" (Part I, 1808; Part II, 1832). His themes are vast, encompassing love, nature, science, art, religion, the human condition, and the pursuit of knowledge and self-realization. His style evolved from the passionate and individualistic Sturm und Drang to the balanced, formal elegance of Weimar Classicism, and later, a more complex, symbolic, and philosophical mode in "Faust Part II." He masterfully employed various forms, including lyric poetry, dramatic verse, and prose, often experimenting with meter and structure. His poetic voice ranged from intensely personal and lyrical to philosophical and universal. Goethe's language is rich, precise, and evocative, utilizing powerful imagery and rhetorical devices to explore profound ideas. He is credited with significant innovations in German literature, bridging Romanticism and Classicism, and profoundly influencing the development of the European novel and drama.

Cultural and historical context

Goethe lived through a period of immense upheaval in European history, including the French Revolution and the Napoleonic Wars, which profoundly shaped his worldview and writings. He was a central figure of the Weimar Classicism movement, alongside Friedrich Schiller, representing a peak of German cultural achievement during a time when Germany was politically fragmented. His engagement with Enlightenment thought, the rediscovery of Greek and Roman antiquity, and the rise of Romanticism placed him at the intersection of major intellectual currents. His positions in Weimar gave him insight into political affairs, and his work often reflected on societal structures, the role of the individual, and the nature of governance.

Personal life

Goethe's personal life was rich and complex. His relationships, particularly with Charlotte von Stein, had a significant impact on his emotional and creative life. His later relationship with Christiane Vulpius, whom he eventually married, brought him domestic stability. He maintained friendships with many leading intellectuals of his time, including Schiller and Herder, and also experienced literary rivalries. Goethe's scientific pursuits, particularly in botany and optics, were not merely academic but intertwined with his poetic vision, reflecting a holistic view of knowledge. His philosophical and spiritual beliefs evolved throughout his life, moving from a pantheistic view of nature to a more nuanced engagement with Christian themes, particularly in his later works.

Recognition and reception

Goethe achieved immense fame and recognition during his lifetime, both within Germany and internationally. He was revered as a literary genius and a national icon. His works were widely translated and admired, and he received numerous honors and distinctions. The reception of his work has remained consistently high, with "Faust" considered one of the greatest works of world literature. While he enjoyed immense popularity and academic respect during his life, his complex philosophical and literary achievements continue to be subjects of intensive scholarly study and critical analysis.

Influences and legacy

Goethe was influenced by a wide array of sources, including classical Greek and Roman literature, the Bible, Shakespeare, and the emerging Sturm und Drang and Enlightenment philosophies. His legacy is immeasurable; he profoundly influenced German literature and culture, shaping the development of Romanticism, Realism, and subsequent literary movements. His concepts, such as the "eternal feminine" in "Faust," and his exploration of the human drive for self-fulfillment, have resonated across generations. He is a cornerstone of the German literary canon and a globally recognized literary figure. His works have been translated into virtually every major language and have inspired countless adaptations in music, theater, and film.

Interpretation and critical analysis

Goethe's work, particularly "Faust," has been subjected to endless interpretation and critical analysis. Themes of good versus evil, the pursuit of knowledge, the nature of progress, and the relationship between the spiritual and material worlds are central to scholarly debate. His complex philosophical outlook, blending elements of Romanticism, Classicism, and humanism, continues to provoke discussion. The tension between individual freedom and societal responsibility, and the search for meaning in a complex world, remain enduring aspects of his critical legacy.

Curiosities and lesser-known aspects

Goethe's fascination with science extended to empirical studies, including his theory of colors, which, though controversial, demonstrated his rigorous approach to observation. His personal life contained elements of both conventionality and unconventionality; his long-term relationship with Christiane Vulpius, who came from a lower social class, was unusual for a man of his stature. He maintained a disciplined writing routine, often working in the early hours of the morning. Anecdotes abound about his charismatic presence and his ability to engage with people from all walks of life. His extensive correspondence provides invaluable insights into his thoughts and daily life.

Death and memory

Johann Wolfgang von Goethe died in Weimar at the age of 82. His death was a significant national event, marking the end of an era in German culture. His memory is celebrated through numerous institutions, monuments, and cultural events dedicated to his life and work. His literary and scientific contributions continue to be studied and revered, ensuring his enduring place in the annals of world culture. His collected works are vast and continue to be published and re-edited, testifying to his lasting impact.

Poems

182

Love As A Landscape Painter

Love As A Landscape Painter

ON a rocky peak once sat I early,
Gazing on the mist with eyes unmoving;
Stretch'd out like a pall of greyish texture,
All things round, and all above it cover'd.


Suddenly a boy appear'd beside me,
Saying "Friend, what meanest thou by gazing
On the vacant pall with such composure?
Hast thou lost for evermore all pleasure
Both in painting cunningly, and forming?"
On the child I gazed, and thought in secret:
"Would the boy pretend to be a master?"


"Wouldst thou be for ever dull and idle,"
Said the boy, "no wisdom thou'lt attain to;
See, I'll straightway paint for thee a figure,--
How to paint a beauteous figure, show thee."


And he then extended his fore-finger,-(
Ruddy was it as a youthful rosebud)
Tow'rd the broad and far outstretching carpet,
And began to draw there with his finger.


First on high a radiant sun he painted,
Which upon mine eyes with splendour glisten'd,
And he made the clouds with golden border,
Through the clouds he let the sunbeams enter;
Painted then the soft and feathery summits
Of the fresh and quicken'd trees, behind them
One by one with freedom drew the mountains;
Underneath he left no lack of water,
But the river painted so like Nature,
That it seem'd to glitter in the sunbeams,
That it seem'd against its banks to murmur.


Ah, there blossom'd flowers beside the river,
And bright colours gleam'd upon the meadow,
Gold, and green, and purple, and enamell'd,
All like carbuncles and emeralds seeming!


Bright and clear he added then the heavens,
And the blue-tinged mountains far and farther,
So that I, as though newborn, enraptured
Gazed on, now the painter, now the picture.


Then spake he: "Although I have convinced thee
That this art I understand full surely,
Yet the hardest still is left to show thee."


Thereupon he traced, with pointed finger,
And with anxious care, upon the forest,
At the utmost verge, where the strong sunbeams



From the shining ground appear'd reflected,


Traced the figure of a lovely maiden,
Fair in form, and clad in graceful fashion,
Fresh the cheeks beneath her brown locks' ambush,
And the cheeks possess'd the selfsame colour
As the finger that had served to paint them.


"Oh thou boy!" exclaim'd I then, "what master
In his school received thee as his pupil,
Teaching thee so truthfully and quickly
Wisely to begin, and well to finish?"


Whilst I still was speaking, lo, a zephyr
Softly rose, and set the tree-tops moving,
Curling all the wavelets on the river,
And the perfect maiden's veil, too, fill'd it,
And to make my wonderment still greater,
Soon the maiden set her foot in motion.
On she came, approaching tow'rd the station
Where still sat I with my arch instructor.


As now all, yes, all thus moved together,--
Flowers, river, trees, the veil,--all moving,--
And the gentle foot of that most fair one,
Can ye think that on my rock I linger'd,
Like a rock, as though fast-chain'd and silent?
325

Lines On Seeing Schiller's Skull

Lines On Seeing Schiller's Skull

WITHIN a gloomy charnel-house one day

I view'd the countless skulls, so strangely mated,
And of old times I thought, that now were grey.
Close pack'd they stand, that once so fiercely hated,


And hardy bones, that to the death contended,


Are lying cross'd,--to lie for ever, fated.
What held those crooked shoulder-blades suspended?
No one now asks; and limbs with vigour fired,


The hand, the foot--their use in life is ended.


Vainly ye sought the tomb for rest when tired;
Peace in the grave may not be yours; ye're driven
Back into daylight by a force inspired;


But none can love the wither'd husk, though even


A glorious noble kernel it contained.
To me, an adept, was the writing given
Which not to all its holy sense explained,


When 'mid the crowd, their icy shadows flinging,


I saw a form, that glorious still remained.
And even there, where mould and damp were clinging,
Gave me a blest, a rapture-fraught emotion,


As though from death a living fount were springing.


What mystic joy I felt! What rapt devotion!
That form, how pregnant with a godlike trace!
A look, how did it whirl me tow'rd that ocean


Whose rolling billows mightier shapes embrace!


Mysterious vessel! Oracle how dear!
Even to grasp thee is my hand too base,
Except to steal thee from thy prison here


With pious purpose, and devoutly go


Back to the air, free thoughts, and sunlight clear.
What greater gain in life can man e'er know
Than when God-Nature will to him explain


How into Spirit steadfastness may flow,
How steadfast, too, the Spirit-Born remain.
352

Like And Like

Like And Like

A FAIR bell-flower

Sprang tip from the ground;
And early its fragrance
It shed all around;


A bee came thither


And sipp'd from its bell;
That they for each other
Were made, we see well.
382

Legend

Legend


THERE lived in the desert a holy man

To whom a goat-footed Faun one day
Paid a visit, and thus began


To his surprise: 'I entreat thee to pray
That grace to me and my friends may be given,
That we may be able to mount to Heaven,
For great is our thirst for heav'nly bliss.'
The holy man made answer to this:
'Much danger is lurking in thy petition,
Nor will it be easy to gain admission;
Thou dost not come with an angel's salute;
For I see thou wearest a cloven foot.'
The wild man paused, and then answer'd he:
'What doth my goat's foot matter to thee?
Full many I've known into heaven to pass
Straight and with ease, with the head of an ass!'
453

Joy And Sorrow

Joy And Sorrow

As a fisher-boy I fared

To the black rock in the sea,
And, while false gifts I prepared.
Listen'd and sang merrily,


Down descended the decoy,


Soon a fish attack'd the bait;
One exultant shout of joy,-
And the fish was captured straight.
Ah! on shore, and to the wood
Past the cliffs, o'er stock and stone,


One foot's traces I pursued,


And the maiden was alone.
Lips were silent, eyes downcast
As a clasp-knife snaps the bait,


With her snare she seized me fast,
And the boy was captured straight.
Heav'n knows who's the happy swain
That she rambles with anew!


I must dare the sea again,


Spite of wind and weather too.
When the great and little fish
Wail and flounder in my net,


Straight returns my eager wish
In her arms to revel yet!
427

Joy

Joy


A DRAGON-FLY with beauteous wing
Is hov'ring o'er a silv'ry spring;
I watch its motions with delight,--
Now dark its colours seem, now bright;
Chameleon-like appear, now blue,
Now red, and now of greenish hue.
Would it would come still nearer me,
That I its tints might better see


It hovers, flutters, resting ne'er!


But hush! it settles on the mead.
I have it safe now, I declare!


And when its form I closely view,


'Tis of a sad and dingy blue--
Such, Joy-Dissector, is thy case indeed
357

It Is Good

It Is Good

IN Paradise while moonbeams play'd,

Jehovah found, in slumber deep,
Adam fast sunk; He gently laid


Eve near him,--she, too, fell asleep.
There lay they now, on earth's fair shrine,
God's two most beauteous thoughts divine.--
When this He saw, He cried:--'Tis Good!!!
And scarce could move from where He stood.


No wonder, that our joy's complete
While eye and eye responsive meet,
When this blest thought of rapture moves us--
That we're with Him who truly loves us,
And if He cries:--Good, let it be!
'Tis so for both, it seems to me.
Thou'rt clasp'd within these arms of mine,
Dearest of all God's thoughts divine!
359

Human Feelings

Human Feelings

AH, ye gods! ye great immortals
In the spacious heavens above us!
Would ye on this earth but give us
Steadfast minds and dauntless courage
We, oh kindly ones, would leave you
All your spacious heavens above us!
374

In A Word

In A Word

THUS to be chain'd for ever, can I bear?
A very torment that, in truth, would be.
This very day my new resolve shall see.-I'll
not go near the lately-worshipp'd Fair.
Yet what excuse, my heart, can I prepare
In such a case, for not consulting thee?
But courage! while our sorrows utter we
In tones where love, grief, gladness have a share.
But see! the minstrel's bidding to obey,
Its melody pours forth the sounding lyre,
Yearning a sacrifice of love to bring.
Scarce wouldst thou think it--ready is the lay;
Well, but what then? Methought in the first fire
We to her presence flew, that lay to sing.
299

Hermann And Dorothea - VIII. Melpomene

Hermann And Dorothea - VIII. Melpomene

HERMANN AND DOROTHEA.

So tow'rd the sun, now fast sinking to rest, the two walk'd together,
Whilst he veil'd himself deep in clouds which thunder portended.
Out-of his veil now here, now there, with fiery glances
Beaming over the plain with rays foreboding and lurid.
'May this threatening weather,' said Hermann, 'not bring to us shortly
Hail and violent rain, for well does the harvest now promise.'
And they both rejoiced in the corn so lofty and waving,
Well nigh reaching the heads of the two tall figures that walk'd there.
Then the maiden spoke to her friendly leader as follows
'Generous youth, to whom I shall owe a kind destiny shortly,
Shelter and home, when so many poor exiles must weather the tempest,
In the first place tell me all about your good parents,
Whom I intend to serve with all my soul from hence-forward;
Knowing one's master, 'tis easier far to give satisfaction,
By rememb'ring the things which he deems of the highest importance,
And on which he has set his heart with the greatest decision.
Tell me, then, how best I can win your father and mother.'


Then the good and sensible youth made answer as follows
'You are indeed quite right, my kind and excellent maiden,
To begin by asking about the tastes of my parents!
For I have hitherto striven in vain to satisfy Father,
When I look'd after the inn, as well as my regular duty,
Working early and late in the field, and tending the vineyard.
Mother indeed was contented; she knew how to value my efforts;
And she will certainly hold you to be an excellent maiden,
If you take care of the house, as though the dwelling your own were.
But my father's unlike her; he's fond of outward appearance.
Gentle maiden, deem me not cold and void of all feeling,
If I disclose my father's nature to you, who're a stranger.
Yes, such words have never before escaped, I assure von
Out of my mouth, which is little accustom'd to babble and chatter;
But you have managed to worm all my secrets from out of my bosom.
Well, my worthy father the graces of life holds in honour,
Wishes for outward signs of love, as well as of rev'rence,
And would doubtless be satisfied with an inferior servant
Who understood this fancy, and hate a better, who did not.'


Cheerfully she replied, with gentle movement increasing
Through the darkening path the speed at which she was walking:
I in truth shall hope to satisfy both of your parents,
For your mother's character my own nature resembles,
And to external graces have I from my youth been accustom'd.
Our old neighbours, the French, in their earlier days laid much stress on
Courteous demeanour; 'twas common alike to nobles and burghers,
And to peasants, and each enjoin'd it on all his acquaintance.
in the same way, on the side of the Germans, the children were train'd up
Every morning, with plenty of kissing of hands and of curtsies,
To salute their parents, and always to act with politeness.
All that I have learnt, and all I have practised since childhood,



All that comes from my heart,--I will practise it all with the old man.
But on what terms shall I--I scarcely dare ask such a question,--
Be with yourself, the only son, and hereafter my master?'


Thus she spoke, and at that moment they came to the peartree.
Down from the skies the moon at her full was shining in glory;
Night had arrived, and the last pale gleam of the sunset had vanish'd.
So before them were lying, in masses all heap'd up together,
Lights as clear as the day, and shadows of night and of darkness.
And the friendly question was heard by Hermann with pleasure,
Under the shade of the noble tree at the spot which he loved so
Which that day had witness'd his tears at the fate of the exile.
And whilst they sat themselves down, to take a little repose there,
Thus the loving youth spoke, whilst he seized the hand of the maiden
'Let your heart give the answer, and always obey what it tells you!'
But he ventured to say no more, however propitious
Was the moment; he feard that a No would be her sole answer,
Ah! and he felt the ring on her finger, that sorrowful token.
So by the side of each other they quietly sat and in silence,
But the maiden began to speak, and said, 'How delightful
Is the light of the moon! The clearness of day it resembles.
Yonder I see in the town the houses and courtyards quite plainly,
In the gable a window; methinks all the panes I can reckon.'


'That which you see,' replied the youth, who spoke with an effort,
'That is our house down to which I now am about to conduct you,
And that window yonder belongs to my room in the attic,
Which will probably soon be yours, as we're making great changes.
All these fields are ours, and ripe for the harvest to-morrow;
Here in the shade we are wont to rest, enjoying our meal-time.
But let us now descend across the vineyard and garden,
For observe how the threatening storm is hitherward rolling,
Lightening first, and then eclipsing the beautiful full moon.'
So the pair arose, and wauder'd down by the corn-field,


Through the powerful corn, in the nightly clearness rejoicing;
And they reach'd the vineyard, and through its dark shadows proceeded.
So he guided her down the numerous tiers of the flat stones
Which, in an unhewn state, served as steps to the walk through the foliage.
Slowly she descended, and placed her hands on his shoulders;
And, with a quivering light, the moon through the foliage o'erlook'd them,
Till by storm-clouds envelop'd, she left the couple in darkness.
Then the strong youth supported the maiden, who on him was leaning;
She, however, not knowing the path, or observing the rough steps,
Slipp'd as she walk'd, her foot gave way, and she well nigh was falling.
Hastily held out his arm the youth with nimbleness thoughtful,
And held up his beloved one; she gently sank on his shoulders,
Breast was press'd against breast, and cheek against cheek, and so stood he
Fix'd like a marble statue, restrained by a firm resolution;
He embraced her no closer, thoughall her weight he supported;
So he felt his noble burden, the warmth of her bosom,
And her balmy breath, against his warm lips exhaling,



Bearing with manly feelings the woman's heroical greatness.


But she conceal'd the pain which she felt, and jestingly spoke thus
'It betokens misfortune,--so scrupulous people inform us,--
For the foot to give way on entering a house, near the threshold.
I should have wish'd, in truth, for a sign of some happier omen!
Let us tarry a little, for fear your parents should blame you
For their limping servant, and you should be thought a bad landlord.'
388

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