Poems List

The Shepherd's Lament

The Shepherd's Lament

ON yonder lofty mountain

A thousand times I stand,
And on my staff reclining,
Look down on the smiling land.
My grazing flocks then I follow,
My dog protecting them well;


I find myself in the valley,
But how, I scarcely can tell.
The whole of the meadow is cover'd
With flowers of beauty rare;


I pluck them, but pluck them unknowing
To whom the offering to bear.
In rain and storm and tempest,
I tarry beneath the tree,


But closed remaineth yon portal;
'Tis all but a vision to me.
High over yonder dwelling,
There rises a rainbow gay;


But she from home hath departed
And wander'd far, far away.
Yes, far away bath she wander'd,
Perchance e'en over the sea;


Move onward, ye sheep, then, move onward!
Full sad the shepherd must be.
405

The Reckoning

The Reckoning

LEADER.
LET no cares now hover o'er us
Let the wine unsparing run!


Wilt thou swell our merry chorus?
Hast thou all thy duty done?
SOLO.
Two young folks--the thing is curious--
Loved each other; yesterday


Both quite mild, to-day quite furious,


Next day, quite the deuce to pay!
If her neck she there was stooping,
He must here needs pull his hair.

I revived their spirits drooping,
And they're now a happy pair.
CHORUS.
Surely we for wine may languish!
Let the bumper then go round!


For all sighs and groans of anguish
Thou to-day in joy hast drown'd.
SOLO.
Why, young orphan, all this wailing?
"Would to heaven that I were dead!


For my guardian's craft prevailing


Soon will make me beg my bread."
Knowing well the rascal genus,
Into court I dragg'd the knave;

Fair the judges were between us,
And the maiden's wealth did save.
CHORUS.
Surely we for wine may languish!



Let the bumper then go round!
For all sighs and groans of anguish
Thou to-day in joy hast drown'd.
SOLO.

To a little fellow, quiet,
Unpretending and subdued,
Has a big clown, running riot,

Been to-day extremely rude.

I bethought me of my duty,
And my courage swell'd apace,
So I spoil'd the rascal's beauty,

Slashing him across the face.
CHORUS.
Surely we for wine may languish!
Let the bumper then go round!


For all sighs and groans of anguish
Thou to-day in joy hast drown'd.
SOLO.
Brief must be my explanation,
For I really have done nought.


Free from trouble and vexation,


I a landlord's business bought.
There I've done, with all due ardour,
All that duty order'd me;

Each one ask'd me for the larder,
And there was no scarcity.
CHORUS.
Surely we for wine may languish!
Let the bumper then go round!


For all sighs and groans of anguish
Thou to-day in joy hast drown'd.



LEADER.
Each should thus make proclamation
Of what he did well to-day!


That's the match whose conflagration


Should inflame our tuneful lay.
Let it be our precept ever
To admit no waverer here!


For to act the good endeavour,
None but rascals meek appear.
CHORUS.
Surely we for wine may languish!
Let the bumper then go round!


For all sighs and groans of anguish
We have now in rapture drown'd.
TRIO.
Let each merry minstrel enter,
He's right welcome to our hall!


'Tis but with the selfÄtormentor
That we are not liberal;
For we fear that his caprices,
That his eye-brows dark and sad,


That his grief that never ceases
Hide an empty heart, or bad.
CHORUS.
No one now for wine shall languish!
Here no minstrel shall be found,


Who all sighs and groans of anguish,
Has not first in rapture drown'd!
353

The Rule Of Life

The Rule Of Life

IF thou wouldst live unruffled by care,
Let not the past torment thee e'er;
As little as possible be thou annoy'd,
And let the present be ever enjoy'd;
Ne'er let thy breast with hate be supplied,
And to God the future confide.
381

The Pariah - The Pariah's Thanks

The Pariah - The Pariah's Thanks

MIGHTY Brama, now I'll bless thee!

'Tis from thee that worlds proceed!
As my ruler I confess thee,
For of all thou takest heed.
All thy thousand ears thou keepest
Open to each child of earth;


We, 'mongst mortals sunk the deepest,
Have from thee received new birth.
Bear in mind the woman's story,
Who, through grief, divine became;


Now I'll wait to view His glory,
Who omnipotence can claim.
345

The Pupil In Magic

The Pupil In Magic

I AM now,--what joy to hear it!--
Of the old magician rid;
And henceforth shall ev'ry spirit
Do whate'er by me is bid;


I have watch'd with rigour
All he used to do,
And will now with vigour
Work my wonders too.


Wander, wander
Onward lightly,
So that rightly


Flow the torrent,
And with teeming waters yonder
In the bath discharge its current!


And now come, thou well-worn broom,
And thy wretched form bestir;
Thou hast ever served as groom,
So fulfil my pleasure, sir!


On two legs now stand,
With a head on top;
Waterpail in hand,
Haste, and do not stop!


Wander, wander
Onward lightly,
So that rightly
Flow the torrent,
And with teeming waters yonder
In the bath discharge its current!


See! he's running to the shore,
And has now attain'd the pool,
And with lightning speed once more
Comes here, with his bucket full!


Back he then repairs;
See how swells the tide!
How each pail he bears
Straightway is supplied!


Stop, for, lo!
All the measure
Of thy treasure


Now is right!-


Ah, I see it! woe, oh woe!

I forget the word of might.
Ah, the word whose sound can straight
Make him what he was before!
Ah, he runs with nimble gait!


Would thou wert a broom once more!
Streams renew'd for ever
Quickly bringeth he;
River after river
Rusheth on poor me!

Now no longer
Can I bear him;
I will snare him,


Knavish sprite!
Ah, my terror waxes stronger!
What a look! what fearful sight


Oh, thou villain child of hell!
Shall the house through thee be drown'd
Floods I see that wildly swell,
O'er the threshold gaining ground.


Wilt thou not obey,
Oh, thou broom accurs'd?
Be thou still I pray,
As thou wert at first!


Will enough
Never please thee?
I will seize thee,


Hold thee fast,
And thy nimble wood so tough,
With my sharp axe split at last.


See, once more he hastens back!
Now, oh Cobold, thou shalt catch it!
I will rush upon his track;
Crashing on him falls my hatchet.


Bravely done, indeed!

See, he's cleft in twain!
Now from care I'm freed,
And can breathe again.


Woe, oh woe!
Both the parts,
Quick as darts,


Stand on end,
Servants of my dreaded foe!
Oh, ye gods protection send!


And they run! and wetter still
Grow the steps and grows the hail.
Lord and master hear me call!
Ever seems the flood to fill,


Ah, he's coming! see,
Great is my dismay!
Spirits raised by me
Vainly would I lay!


"To the side
Of the room
Hasten, broom,


As of old!
Spirits I have ne'er untied
Save to act as they are told."
332

The Pariah - Legend

The Pariah - Legend

WATER-FETCHING goes the noble
Brahmin's wife, so pure and lovely;
He is honour'd, void of blemish.
And of justice rigid, stern.
Daily from the sacred river
Brings she back refreshments precious;--
But where is the pail and pitcher?
She of neither stands in need.
For with pure heart, hands unsullied,
She the water lifts, and rolls it
To a wondrous ball of crystal
This she bears with gladsome bosom,
Modestly, with graceful motion,
To her husband in the house.


She to-day at dawn of morning
Praying comes to Ganges' waters,
Bends her o'er the glassy surface--
Sudden, in the waves reflected,
Flying swiftly far above her,
From the highest heavens descending,
She discerns the beauteous form
Of a youth divine, created
By the God's primeval wisdom
In his own eternal breast.


When she sees him, straightway feels she
Wondrous, new, confused sensations
In her inmost, deepest being;
Fain she'd linger o'er the vision,
Then repels it,--it returneth,--
And, perplex'd, she bends her flood-wards
With uncertain hands to draw it;
But, alas, she draws no more!
For the water's sacred billows
Seem to fly, to hasten from her;
She but sees the fearful chasm
Of a whirlpool black disclosed.


Arms drop down, and footsteps stumble,
Can this be the pathway homewards?
Shall she fly, or shall she tarry?
Can she think, when thought and counsel,
When assistance all are lost?
So before her spouse appears she--
On her looks he--look is judgment--
Proudly on the sword he seizes,
To the hill of death he drags her,
Where delinquents' blood pays forfeit.
What resistance could she offer?
What excuses could she proffer,
Guilty, knowing not her guilt?



And with bloody sword returns he,
Musing, to his silent dwelling,
When his son before him stands:
"Whose this blood? Oh, father! father!"
"The delinquent woman's!"--"Never!
For upon the sword it dries not,
Like the blood of the delinquent;
Fresh it flows, as from the wound.
Mother! mother! hither hasten!
Unjust never was my father,
Tell me what he now hath done."-"
Silence! silence! hers the blood is!"
"Whose, my father?"--"Silence! Silence!"
"What! oh what! my mother's blood!
What her crime? What did she? Answer!
Now, the sword! the sword now hold I;
Thou thy wife perchance might'st slaughter,
But my mother might'st not slay!
Through the flames the wife is able
Her beloved spouse to follow,
And his dear and only mother
Through the sword her faithful son."
"Stay! oh stay!" exclaim'd the father:
"Yet 'tis time, so hasten, hasten!
Join the head upon the body,
With the sword then touch the figure,
And, alive she'll follow thee."


Hastening, he, with breathless wonder,
Sees the bodies of two women
Lying crosswise, and their heads too;
Oh, what horror! which to choose!
Then his mother's head he seizes,--
Does not kiss it, deadly pale 'tis,--
On the nearest headless body
Puts it quickly, and then blesses
With the sword the pious work.
Then the giant form uprises,--
From the dear lips of his mother,
Lips all god-like--changeless--blissful,
Sound these words with horror fraught:
"Son, oh son! what overhast'ning!
Yonder is thy mother's body,
Near it lies the impious head
Of the woman who hath fallen
Victim to the judgment-sword!
To her body I am grafted
By thy hand for endless ages;
Wise in counsel, wild in action,
I shall be amongst the gods.
E'en the heav'nly boy's own image,



Though in eye and brow so lovely,
Sinking downwards to the bosom
Mad and raging lust will stir.


"'Twill return again for ever,
Ever rising, ever sinking,
Now obscured, and now transfigur'd,--
So great Brama hath ordain'd.
He 'twas sent the beauteous pinions,
Radiant face and slender members
Of the only God-begotten,
That I might be proved and tempted;
For from high descends temptation,
When the gods ordain it so.
And so I, the Brahmin woman,
With my head in Heaven reclining,
Must experience, as a Pariah,
The debasing power of earth.


Son, I send thee to thy father!
Comfort him! Let no sad penance,
Weak delay, or thought of merit,
Hold thee in the desert fast
Wander on through ev'ry nation,
Roam abroad throughout all ages,
And proclaim to e'en the meanest,
That great Brama hears his cry!


"None is in his eyes the meanest--
He whose limbs are lame and palsied,
He whose soul is wildly riven,
Worn with sorrow, hopeless, helpless,
Be he Brahmin, be he Pariah,
If tow'rd heaven he turns his gaze,
Will perceive, will learn to know it:
Thousand eyes are glowing yonder,
Thousand ears are calmly list'ning,
From which nought below is hid.


"If I to his throne soar upward,
If he sees my fearful figure
By his might transform'd to horror,
He for ever will lament it,--
May it to your good be found!
And I now will kindly warn him,
And I now will madly tell him
Whatsoe'er my mind conceiveth,
What within my bosom heaveth.
But my thoughts, my inmost feelings--
Those a secret shall remain."
403

The Originals

The Originals

A FELLOW says: "I own no school or college;
No master lives whom I acknowledge;
And pray don't entertain the thought
That from the dead I e'er learnt aught."
This, if I rightly understand,
Means: "I'm a blockhead at first hand."
386

The Muse's Mirror

The Muse's Mirror

EARLY one day, the Muse, when eagerly bent on adornment,
Follow'd a swift-running streamlet, the quietest nook by it seeking.
Quickly and noisily flowing, the changeful surface distorted
Ever her moving form; the goddess departed in anger.
Yet the stream call'd mockingly after her, saying: "What, truly!
Wilt thou not view, then, the truth, in my mirror so clearly depicted?"
But she already was far away, on the brink of the ocean,
In her figure rejoicing, and duly arranging her garland.
347

The New Amadis

The New Amadis

IN my boyhood's days so drear

I was kept confined;
There I sat for many a year,
All alone I pined,


As within the womb.
Yet thou drov'st away my gloom,
Golden phantasy!


I became a hero true,


Like the Prince Pipi,
And the world roam'd through,
Many a crystal palace built,
Crush'd them with like art,


And the Dragon's life-blood spilt


With my glitt'ring dart.
Yes! I was a man!
Next I formed the knightly plan
Princess Fish to free;


She was much too complaisant,


Kindly welcomed me,--
And I was gallant.
Heav'nly bread her kisses proved,
Glowing as the wine;


Almost unto death I loved.


Sun-s appeared to shine
In her dazzling charms.
Who hath torn her from mine arms?
Could no magic band


Make her in her flight delay?


Say, where now her land?
Where, alas, the way?
471

The Mountain Village

The Mountain Village

"THE mountain village was destroy'd;
But see how soon is fill'd the void!
Shingles and boards, as by magic arise,
The babe in his cradle and swaddling-clothes lies;
How blest to trust to God's protection!"


Behold a wooden new erection,
So that, if sparks and wind but choose,
God's self at such a game must lose!
441

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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.