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 " Great Mriters." 
 
 EDITED BY 
 
 PROFESSOR ERIC S. ROBERTSON, M.A. 
 
 LIFE OF GOETHE.
 
 LIFE 
 
 OF 
 
 JOHANN WOLFGANG GOETHE 
 
 BY 
 
 JAMES SIME 
 
 LONDON 
 WALTER SCOTT, 24 WARWICK LANE 
 
 NEW YORK : THOMAS WHITTAKER 
 
 TORONTO : W. J. GAGE & CO. 
 iSSS 
 
 {All rights reserved^)
 
 CONTENTS. 
 
 CHAPTER I. 
 
 PAGE 
 
 Goethe born, August 2S, 1749; his grandfather and grand- 
 mother ; his father, Johann Kaspar Goethe ; his mother ; 
 his sister Cornelia; a child of an imaginative temperament; 
 his grandmother's last Christmas gift ; his father's house 
 rebuilt ; his knowledge of Frankfort ; the Council-house ; 
 education; Klopstock's "Messiah"; folk-books; the Seven 
 Years' War ; Count Thorane and Goethe ; lessons inter- 
 rupted and renewed ; early religious ideas ; his first love ; 
 in 1765 leaves Frankfort to study at the university of 
 Leipsic . . • • . • . • • .H 
 
 CHAPTER II. 
 
 Goethe at Leipsic ; nominal studies at the university ; dejec- 
 tion, and recovery of his usual good spirits ; his love for 
 Annette Schonkopf ; forms many friendships ; takes lessons 
 in art from Oeser and Stock ; goes to Dresden to study 
 the picture* gallery; reads 'Dodd's "Beauties of Shakes- 
 peare " ; influenced by Wieland, Lessing, and Winckel- 
 mann ; writes "Die Laune des Verliebten" and "Die 
 Mitschuldigen" ; early lyrics; illness; partial recovery; 
 returns to Frankfort in August, 1768; renewed illness; 
 influenced by Fraulein von Klettenberg ; sees General
 
 6 CONTENTS. 
 
 PAGE 
 
 Paoli ; Annette Schonkopf married; in April, 1770, goes 
 to Strasburg to attend the university ; feels at home in 
 Strasburg; Salzmann ; Jung Stilling; sees Marie Antoin- 
 ette ; impressed by antiquities at Neiderbronn ; meets 
 Herder ; Herder's character ; the movement of thought in 
 Europe ; Herder's influence on Goethe ; Goethe and 
 Frederika Brion ; returns to Frankfort in August, 1 77 1 ; 
 his poetic genius awakened by love ..... 24 
 
 CHAPTER III. 
 Goethe takes the oath as an advocate and citizen of Frankfort ; 
 holds a Shakespeare festival ; reads the autobiography of 
 Goetz von Berlichingen ; writes the drama, " Geschichte 
 Gottfriedens von Berlichingen " ; his friendship with Merck ; 
 writes criticism for the "Frankfurter Gelehrten Anzeigen" ; 
 the "Wanderers Sturmlied " and the "Wanderer"; in 
 May, 1772, goes to practise at the imperial chamber at 
 Wetzlar ; his love for Charlotte Buff ; saves himself by 
 flight from Wetzlar ; visits Frau von Laroche ; returns to 
 Frankfort in September, 1772 ; recasts his drama about 
 Goetz von Berlichingen ; defects and great qualities of 
 "Goetz"; "Goetz" published in summer of 1773 ; enthu- 
 siastically received ; Goethe's depression, and its causes ; 
 Maximiliane Brentano ; origin of "Die Leiden des jungen 
 Werthers"; the story of "Werther"; its relation to the 
 dominant mood of the age, and to Goethe's own experi- 
 ence; character of Lotte and Albert; style of "Werther"; 
 descriptions of nature ; profound impression produced by 
 the book ; its effect on the mind of Lotte's husband ; 
 Nicolai's parody of " Werther," and Goethe's response ; 
 "Clavigo"; "Stella"; " Erwin und Elmire," and 
 "Claudine von Villa Bella"; "Gutter, Helden, and 
 Wieland " ; poetic fragments 47 
 
 CHAPTER IV. 
 
 Goethe begins to write "Faust"; the work in its earliest form; 
 
 the character of Faust ; the story of Gretchen ; Mephis- 
 
 topheles ; Goethe expresses in the original " Faust " his 
 
 own mood and one of the moods of his age ; his study of
 
 CONTENTS. 7 
 
 PAGE 
 
 Spinoza's " Ethics " ; Lavater ; Basedow ; Johanna Fahl- 
 mer ; his friendship with Frederick Jacobi ; the Counts 
 Stolberg ; Goethe's engagement with Lili Schonemann ; 
 the engagement broken off; poems occasioned by his love 
 for Lili ; meets the Hereditary Prince of Weimar ; the 
 Prince becomes Duke ; Goethe invited to Weimar ; arrives 
 there on November 7, 1775 ; a new home . . .72 
 
 CHAPTER V. 
 
 Weimar ; Goethe's relations to the Duke, the Duchess, and the 
 Duchess Dowager ; Wieland ; Herder settles at Weimar ; 
 the Duke proposes that Goethe shall enter the public 
 service ; opposition of Goethe's father ; Goethe becomes a 
 member of the Privy Council ; his friendship with Frau 
 von Stein ; Corona Schroter ; his self-discipline ; his public 
 duties ; the earnestness with which he discharges them ; 
 change of manner as well as of character ; visits Switzer- 
 land, and sees Frederika Prion and Lili on the way ; death 
 of his father in 17S2 ; is made " Geheimerath " and Presi- 
 dent of the Chamber of Finance ; ennobled ; visits the 
 Harz Mountains ; devotes himself to the study of science ; 
 discovers the intermaxillary bone in the human jaw ; his 
 doctrine of types in organic nature ; " Iphigenie" in prose ; 
 change in the methods of his art as a dramatist ; "Wilhelm 
 Meister" begun ; "Torquato Tasso " ; minor plays and 
 poems ; the literary movement in Germany ; longing for 
 Italy; starts for Italy in September, 1786; edition of his 
 collected writings . 86 
 
 CHAPTER VI. 
 Delight in Italy; the " Italienische Reise" ; journey to Rome; 
 arrives in Rome, October 29, 1786; attempts to think 
 himself back into the Rome of ancient times ; his study of 
 ancient art ; the art of the Renascence ; St. Peter's ; 
 friends in Rome ; thinks of becoming an artist ; re-writes 
 " Iphigenie " in verse ; visits Naples ; Sicily; second resi- 
 dence in Rome; completes "Egmont"; works at "Faust"; 
 leaves Rome on April 21, 1788, and arrives at Weimar on 
 June 1 8th 106
 
 8 CONTENTS. 
 
 CHAPTER VII. 
 
 TAGE 
 
 Benefit derived from his sojourn in Italy ; relieved of most of 
 his ministerial duties ; change in his relations to Frau von 
 Stein ; his informal marriage with Christiane Vulpius ; 
 character of Christiane ; relations with Frau von Stein 
 broken off; " Romische Elegien " ; his new ideal in drama- 
 tic art ; "Egmont"; "Iphigenie"; " Torquato Tasso " ; 
 " Faust : A Fragment," published in 1790; his discovery 
 of the metamorphosis of plants ; visits Venice in 1790 ; 
 his son August ; his discovery of the true constitution of 
 the skull ; his opposition to Newton's theory of colours ; 
 becomes director of the Weimar Court Theatre ; receives 
 from the Duke the house in which he spends the rest of 
 his life ; the outbreak of the French Revolution ; Goethe's 
 position with regard to it; " Gross-Cophta" ; "Die 
 Aufgeregten " ; accompanies the Duke during the campaign 
 Jn Champagne; "Reineke Fuchs"; joins the Duke before 
 Mainz; returns to Weimar . . . . . .116 
 
 CHAPTER VIII. 
 
 Schiller arrives at Weimar in 1787; his character; meets 
 Goethe for the first time ; settles as a professor at Jena ; 
 his marriage; Goethe calls upon him in 1790, and they 
 talk about Kant's philosophy ; Schiller goes to Wurtem- ' 
 berg ; on his return asks Goethe to write for the Horen ; 
 Schiller spends a fortnight in Goethe's house ; their friend- 
 ship ; what it did for Schiller; and for Goethe; the 
 " Xenien " ; " Wilhelm Meisters Lehrjahre " ; " Hermann 
 -und Dorothea"; "Alexis und Doris"; ballads; Goethe 
 as a lyrical poet; "Die Propylaen"; " Winckelmann 
 und sein Jahrhundert " ; autobiography of Benvenuto 
 Cellini; " Rameaus Neffe " ; Schiller's " Wallenstein " 
 represented at Weimar ; Schiller settles at Weimar ; great 
 period in history of Weimar ; Goethe and the philosophical 
 movement of the age ; Goethe and the Romantic School ; 
 Madame de Stael ; " Die Natiirliche Tochter " ; works at 
 "Faust"; Death of Schiller ; Goethe's grief . . . 134
 
 CONTENTS. 9 
 
 CHAPTER IX. 
 
 TAGS 
 
 The battle of Jena ; Weimar plundered by the French ; 
 Goethe's life saved through Christiane's presence of mind ; 
 his helpfulness in a time of public trial ; his formal marriage 
 with Christiane ; his son August ; Johanna Schopenhauer ; 
 Bettina von Arnim ; death of his mother in 1808; his 
 interviews with Napoleon ; new edition of Goethe's 
 writings; First Tart of "Faust" published in 1S08; change 
 in his conception of the work as a whole ; reception of the 
 First Part by the public ; " Die "Wahlverwandtschaften " ; 
 "AusMeinem Leben"; " West-Oestlicher Divan"; the 
 "War of Liberation ; Goethe's feeling about it ; the Duke 
 of Weimar is made a Grand Duke, and Goethe becomes 
 First Minister of State in 1815 ; death of his wife on June 
 6, 1S16 156 
 
 CHAPTER X. 
 
 Marriage of August Goethe with Ottilie von Pogwisch ; Goethe 
 gives up the directorate of the Weimar Theatre ; Wilhel- 
 mine Herzlieb ; Marianne von Willemer ; Ulrica von 
 Levezow ; celebration of the fiftieth anniversary of the 
 Grand Duke's accession ; and of the fiftieth anniversary of 
 Goethe's arrival at Weimar ; death of the Grand Duke, 
 1828; of the Grand Duchess, 1S30; of Goethe's son 
 August, 1830; Eckermann ; his "Conversations with 
 Goethe " ; Heine visits Goethe ; gift from English ad- 
 mirers; Goethe's feeling as to social problems ; "Wilhelm 
 Meisters Wanderjahre " ; "Kunst und Alterthum"; his 
 letters, and the character they reveal ; the Second Part of 
 "Faust"; his death, March 22, 1832; general view of 
 his work ^O 
 
 INDEX 189
 
 NOTE. 
 
 THE best sources of information about Goethe are 
 his own works and letters. It would be ungrateful, 
 however, not to acknowledge the service which has been 
 rendered to students of his character and genius by 
 various German scholars. Among the writers whose 
 researches I myself have found helpful, I may name 
 Heinrich Diintzer, Herman Grimm, Karl Biedermann, 
 
 and Erich Schmidt. 
 
 J. S.
 
 LIFE OF GOETHE. 
 
 CHAPTER I. 
 
 JOHANN WOLFGANG GOETHE was born at 
 Frankfort-on-the-Main on the 28th of August, 
 1749. 
 
 His grandfather, Frederick George Goethe, who sprang 
 from a family belonging to the working class, and was 
 himself a tailor, made his way, in the latter part of the 
 seventeenth century, from Artern on the Unstrut to 
 Frankfort. Here he settled, and, early in the eighteenth 
 century, took as his second wife a handsome widow of 
 thirty-seven, Cornelia Schejhorn, the owner of the inn, 
 " Zum Weidenhof." Frederick George is said to have 
 been a man of pleasant manners and a skilful musician. 
 His second wife was in every way worthy of him, an 
 energetic and kindly woman, with all the gracious 
 qualities evoked in generous natures by prosperous 
 circumstances. They had three children, of whom 
 Johann Kaspar, Goethe's father, born on the 27 th of 
 Jul)-, 17 10, was the youngest.
 
 12 LIFE OF 
 
 Johann Kaspar Goethe was sent to school at Coburg, 
 where he heard of the death of his father and only brother. 
 Afterwards he studied law at the Universities of Leipsic 
 and Giessen, and took the degree of Doctor of Jurispru- 
 dence. He practised for some time at the imperial 
 chamber at Wetzlar, and then travelled in Italy. 
 Finally he returned for life to Frankfort, where he lived 
 with his mother in a house she had bought in a street 
 called the Hirschgraben. His mother's fortune made it 
 unnecessary for him to accept any fixed appointment, 
 and during the reign of the Emperor Charles VII. he 
 attained a position of considerable dignity by securing 
 the title of an imperial councillor (Rath). He was 
 somewhat pedantic, capable of vehement outbursts of 
 anger, but honest to the core ; and he combined with a 
 sound knowledge of law, a real love for art and literature. 
 He had given much attention to Italian, and was an 
 ardent student of Tasso, his favourite author. 
 
 On the 20th of July, 1748, when he had reached the 
 mature age of thirty-eight, he married Catharine Elizabeth, 
 the daughter of Johann Wolfgang Textor, the chief 
 magistrate of Frankfort, grandson of an eminent jurist of 
 the same name who received the office of first syndic of 
 Frankfort in 1690. Catharine Elizabeth was only seven- 
 teen years old at the time of her marriage. She was bright 
 and pretty, fond of music and poetry, and remarkable for 
 her power of inventing the kind of tales that fascinate 
 children. Her new home was in the house of her 
 mother-in-law, with whom she was able to live on the 
 most friendly terms. Her husband loved her warmly, 
 and, although she made no profession of romantic attach-
 
 GOETHE. 13 
 
 ment to him, she responded to his feeling with sincere 
 affection and respect. 
 
 Goethe was their first-born child, and after him came 
 his sister Cornelia, who was fifteen months younger than 
 he. There were several other children, but none of them 
 lived long enough to influence Goethe. To his sister he 
 was devoted, and, as years passed on, there were few 
 things in the world so precious to him as her love and 
 sympathy. She was of a thoughtful temper, loyal and 
 affectionate, and in her brother's youth no one had half 
 so much control over his restless and fiery spirit. 
 
 Like his mother, Goethe had brown hair and dark, 
 lustrous eyes, the penetrating glance of which, from child- 
 hood to old age, never failed to impress those who met 
 him. He was a vigorous and active child, and at an 
 early age gave evidence of a highly imaginative tempera- 
 ment. His grandmother's house consisted of two old 
 houses joined in one, and the thought of its dark passages 
 and corners often filled him with dismay in the night-time, 
 and made sleep impossible. From a room in the back 
 part of the house, where the children were allowed to play 
 in the summer, there was a charming view, with wide 
 gardens in the foreground, and, beyond the city walls, a 
 fertile valley stretching towards Hochst. Goethe himself 
 has described how he used to sit at the window of this 
 room and watch thunderstorms and sunsets, and how the 
 spectacle of nature, combined with the sight of children 
 playing in the gardens and the sound of balls rolling and 
 ninepins falling, often filled him with a feeling of solitude 
 and a vague sense of longing. 
 
 The children spent much time with their old grand-
 
 14 LIFE OF 
 
 mother, who loved them dearly. On the Christmas 
 before her death she delighted them by providing a 
 puppet-show setting forth the story of David and Goliath. 
 This puppet-show made a great impression on Goethe, 
 and afterwards he was permitted to find out the secret of 
 its working and to dress up the figures for new representa- 
 tions. 
 
 When Goethe was in his sixth year, his grandmother 
 died ; and soon afterwards his father carried out a plan 
 he had long cherished, that of rebuilding the house 
 to suit the wants of his family. The work was carefully 
 superintended by the elder Goethe himself, and the house 
 was transformed to a handsome, convenient dwelling, 
 with well-lighted rooms tastefully decorated. He had an 
 excellent collection of books, and they were now properly 
 arranged in his study. His pictures, most of which were 
 by Frankfort artists, were also brought together in a 
 room fitted up for their reception, and the walls of the 
 passages were adorned with maps and engravings. He 
 had brought back with him from Italy many fine speci- 
 mens of Venetian glass, bronzes, ancient weapons, and 
 other artistic objects. In the new house these treasures 
 were put in cabinets, and no pains were spared to secure 
 that they should be effectively displayed. A room on 
 the top floor, looking out upon the street, was set apart 
 for Goethe. 
 
 During the latter part of the time when the house was 
 being rebuilt, Goethe and his sister were sent to live with 
 relatives, and it was during this period that he began to 
 have some knowledge of his native place. As the town 
 in which the Emperors were elected and crowned, Frank-
 
 GOETHE. 15 
 
 fort held a position of high honour among the free 
 imperial cities of Germany. Within its old walls and 
 gates it still retained, in its architecture and customs, 
 many traces of the troubled, picturesque life of the 
 Middle Ages. Even in childhood Goethe delighted to 
 walk about its quaint streets, and afterwards he made 
 himself familiar with every link that was known to con- 
 nect the town with the events of past times. He liked 
 to see the gilt weathercock on the bridge of the Main 
 gleam in the sunshine, and to watch the arrival of boats 
 laden with goods for the market. On market-days there 
 was always a bustling, lively crowd on the space around 
 St. Bartholomew's church, and Goethe found it a source 
 of endless amusement to push his way among the throng 
 and to note the odd humours of buyers and sellers. In 
 later years he had an especially vivid recollection of the 
 spring and autumn fairs, when the town was full of 
 visitors, and serious business was associated with all sorts 
 of noisy popular entertainments. 
 
 The council-house, then, as now, called the Romer, 
 had a strong fascination for Goethe. He never forgot 
 his first visit to the imperial hall in this famous building, 
 where the emperors dined on the occasion of the coro- 
 nation festival. Here he saw half-length portraits of 
 many of the old emperors, and what he heard about 
 them set his imagination at work to call up graphic pic- 
 tures of the great events of Germany's stirring, splendid 
 history. He examined with keen interest the Golden 
 Bull of Charles IV., and this naturally led to his visiting 
 the grave of Giinther of Schwarzburg, Charles's rival, in 
 St. Bartholomew's church. Growing up amid such
 
 16 LIFE OF 
 
 scenes and associations, Goethe naturally acquired a 
 decided taste for the study of history and antiquities. 
 
 Much thought and care were devoted by the elder 
 Goethe to the education of his children. He himself 
 took the work in hand, but for special subjects he called 
 in the aid of private tutors, from whom Goethe and his 
 sister received lessons in association with the children of 
 some neighbouring families. Goethe's father and tutors 
 were astonished at the ease and rapidity with which he 
 mastered the most difficult tasks. Nothing seemed to be 
 too hard for him. It was often, however, in childhood, 
 a relief to escape from his father's rigid discipline, and 
 to enjoy a little talk with his mother, who was always 
 ready to feed his imagination with tales of adventure in 
 fairyland. He contrived, too, to read a good many books 
 — among others, German translations of " Robinson 
 Crusoe," and Lord Anson's "Voyage Round the World." 
 Among his father's books were the works of Fleming, 
 Canitz, Haller, Hagedorn, Gellert, and other German 
 poets, and he found much in them to awaken and foster 
 his love of poetry. Klopstock's " Messiah," the first 
 three cantos of which had been published the year before 
 Goethe's birth, was not thought to be good enough for 
 a place in a select library, for Goethe's father, like many 
 another critic of the t 1 >enth century, held that rhyme 
 was essential to poeiry. Goethe and his sister were 
 delighted to receive secretly the loan of a copy from an 
 old friend of the family who regularly read it, as a pious 
 exercise, once a year in Passion Week. They learned by 
 heart some of the most striking passages, which they often 
 recited to one another. One Saturday evening, when their
 
 GOETHE. 17 
 
 father was being shaved, they sat behind the stove, and 
 repeated in whispers a wild dialogue between Satan and 
 Adramelech. Cornelia became more and more excited 
 as the dialogue went on, and at last, forgetting her father's 
 presence, she uttered in a loud voice the words, " How 
 am I crushed ! " The barber was so startled that the con- 
 tents of the lather-basin were dashed on the Herr Rath's 
 breast. Strict inquiry was made, and Klopstock's epic 
 was at once ignominiously banished from the house. 
 
 Of greater influence on Goethe than any of the more 
 formal works he read at this early stage, were the badly- 
 printed folk-books, which he bought in great numbers. 
 They suggested to him many a strange and romantic tale, 
 and it may have been one of them that introduced him 
 for the first time to the story of Faust. 
 i About the time of his seventh birthday, the civi- 
 lized world was stirred to its depths by the outbreak 
 of the Seven Years' War. Goethe's maternal grand- 
 father, Textor, sided with the Austrians. His father, on 
 the contrary, was an enthusiastic adherent of Frederick 
 the Great, and would not listen to a word against his 
 hero. This difference of opinion led to serious family 
 quarrels, and Goethe, who, of course, took his father's 
 view, was astonished to hear the language used about the 
 great Prussian king by his grand' ^ r, for whose sayings 
 he had always had unbounded r<j,eicnce. Rather more 
 than two years after the beginning of the struggle, the 
 people of Frankfort were made to realize with painful 
 vividness some of the more disagreeable aspects of war, 
 for by an act of treachery on the part of the civic 
 authorities, the French, the allies of Austria, were allowed 
 
 2
 
 18 LIFE OF 
 
 to station a body of troops in the city. To the horror of 
 Goethe's father, he was told that he would have to receive 
 into his house a French officer called Thorane, for whom 
 it was necessary to provide good quarters. In vain the 
 indignant councillor protested against this arrangement. 
 The decision was final, and he had nothing for it but to 
 give up to the intruder the rooms on his first floor, which 
 he had decorated and furnished at so great a cost, and 
 with so much care. Count Thorane was a cultivated 
 gentleman, with all the courtesy of his class ; and he was 
 anxious to cause as little annoyance as possible to his 
 host. He could not, however, prevent the coming and 
 going of many persons who had to see him on military 
 business, and the result was that the most orderly house- 
 hold in Frankfort was thrown into dire confusion. This 
 was aggravated by the fact that Thorane, who was much 
 pleased with some of Dr. Goethe's pictures, invited various 
 artists to the house to execute a large number of com- 
 missions for him, and Goethe's room had to be given up 
 to them as a studio. Frau Goethe, whose cheerfulness 
 was not easily quenched, made the best of unpleasant 
 circumstances, and tried to mitigate some of the incon- 
 veniences of her position by learning French ; but her 
 husband was irreconcilable, and became more and more 
 embittered against the French in general, and against 
 Count Thorane in particular. 
 
 Goethe, although sorry for his father, was delighted 
 on his own account by the new turn of affairs. The 
 monotony of life was broken by a great excitement, and 
 every day brought with it some fresh and unexpected 
 pleasure. His frankness, brightness, and geniality won
 
 GOETHE. 19 
 
 Thorane's heart, and they became excellent friends. 
 Goethe was especially interested in the proceedings of 
 the artists who had taken possession of his room, and 
 with their aid he began with zeal to practise drawing, in 
 which he acquired considerable skill. He learned to 
 speak French fluently, and was charmed to have an 
 opportunity of hearing French plays, many of which 
 were now acted in Frankfort. Thus, at a most impression- 
 able age, he passed under a wholly new and stimulating 
 set of influences, and it was the recollection of these 
 influences that made it impossible for him, long after- 
 wards, to join the majority of his countrymen in vague 
 and indiscriminate abuse of the great French people, to 
 whose civilization he owed some of the best impulses 
 of his life. 
 
 In 1 76 1, after more than two years of almost constant 
 irritation, Goethe's father got rid of his troublesome 
 guest, but the French did not quit Frankfort until the 
 end of the following year, when the Seven Years' War 
 was about to close. Goethe's father celebrated the con- 
 clusion of the Treaty of Hubertusburg by presenting his 
 wife with a gold snuff-box, on the lid of which, set with 
 diamonds, was an allegorical picture of Peace. Goethe 
 had often to go to the goldsmith to urge him to make 
 progress with this piece of work, and he took full advan- 
 tage of the chance of having long talks with a craftsman 
 who had much to tell him that was full of interest. 
 This was thoroughly characteristic of Goethe, who found 
 almost any subject attractive when he could get informa- 
 tion about it from some one practically familiar with its 
 ails.
 
 20 LIFE OF 
 
 Lessons had been sadly interrupted during Thorane's 
 stay in the house. After his departure they were resumed 
 with double vigour. Goethe had already a good know- 
 ledge of Latin, Italian, and French, and some knowledge 
 of Greek. To these languages he now added English., 
 and he also made considerable progress in Hebrew. 
 For the exercises he had to write for his father he often 
 chose the form of dialogue ; and one elaborate exercise 
 he designed as a series of letters, the various corre- 
 spondents writing from different parts of the world and 
 in different languages. It was in connection with these 
 letters that he began the study of Hebrew, as one of the 
 correspondents wrote in Jew-German, for a thorough 
 mastery of which a knowledge of Hebrew seemed to be 
 necessary. 
 
 In his twelfth year Goethe was confirmed. Even 
 before this time he had had, in a childlike way, many 
 a serious reflection about the supreme subjects of human 
 thought and interest. The earthquake at Lisbon in 1755 
 had led him, child as he was, to ask how such disasters 
 were to be reconciled with God's infinite love. Shortly 
 afterwards he took to his room a red lacquered music- 
 stand, which he used as an altar, piling on it various 
 objects representative of nature, and placing on the top 
 a fine porcelain dish, in which were some pastiles that 
 emitted, in burning, a sweet fragrance. These pastiles 
 he lighted by means of a burning-glass which caught the 
 rays of the rising sun ; and so he sought to express 
 reverence for aspects of the Divine essence which, he 
 thought, were not sufficiently recognized in the ordinary 
 religious services. He was a great reader of the Bible,.
 
 GOETHE. 21 
 
 and was especially attracted by the early chapters of the 
 Book of Genesis, which transported him into an ideal 
 world full of grave and strangely picturesque figures. 
 The tales of this part of the Bible acquired for him, of 
 course, fresh significance and beauty, when he was able 
 to read them in the original Hebrew. 
 
 In 1764, when Joseph II. was elected and crowned 
 King of the Romans, Goethe had an opportunity of see- 
 ing, at Frankfort, some of the splendid ceremonies con- 
 nected with a coronation. He was then in his fifteenth 
 year, and already he was passing through an experience 
 which had opened a new world of joy and longing. He 
 had fallen violently in love with a pretty girl called 
 Gretchen, who was two or three years older than himself, 
 and did not belong to his own class of society. On the 
 evening of coronation-day, when the town was brilliantly 
 illuminated, they strolled through the streets together, 
 and on parting from him at the door of her mother's 
 house she honoured him for the first and last time by 
 kissing his forehead. 
 
 Goethe had made the acquaintance of Gretchen through 
 some comrades of his, with whom he would certainly not 
 have been allowed to consort had his father known of his 
 association with them. One of them, with Goethe's aid, 
 secured employment in a public office ; and in this posi- 
 tion he was guilty of some offence which exposed him 
 to severe penalties. When the affair came to be investi- 
 gated, Goethe's name was mentioned in connection with 
 it, and to his dismay, on the morning after the coronation, 
 he had to make a clean breast of all that had been going 
 on, including the story of his love for Gretchen. This
 
 22 LIFE OF 
 
 put an end to his first romance, and for days he remained 
 in his room, overwhelmed with grief and shame. 
 
 His, however, was too elastic a spirit to be long in- 
 capable of rebound. A friend in whom he had con- 
 fidence came to his help, and with this wise counsellor 
 he turned from thoughts of love to the study of ancient 
 philosophy. The two together took long walks in the 
 surrounding country, where Goethe drew sketches of 
 scenery, which had the good fortune to please his father. 
 And so his wounded pride and affection were quickly 
 healed, although the incident had made so deep an 
 impression upon him that half a century afterwards, 
 when he wrote his autobiography, he could not recall it 
 without a certain bitterness. 
 
 By this time Goethe's father had decided that he was 
 to enter the legal profession, and had begun to prepare 
 him for future work by reading with him various law 
 books. Goethe offered no objection, but he was already 
 dimly conscious of some of the impulses which were to 
 bring him to the front rank among the great names of the 
 world ; and he resolved that during his university career 
 his energies should be devoted not to law, but to litera- 
 ture. In 1765, shortly after his sixteenth birthday, he 
 said farewell to his family, and started for Leipsic, where 
 he was to study. 
 
 He was now a handsome and vigorous youth, with 
 comparatively wide intellectual interests ; and his good 
 looks, high spirits, and lively talk made him a universal 
 favourite. His childhood and boyhood had been as 
 happy as those of any great poet have ever been, and 
 all the circumstances of his life had been favourable to
 
 GOETHE. 23 
 
 natural mental growth. He had given ample evidence 
 of quick perception, eager curiosity, and a remarkable 
 power of penetrating to the secrets of subjects that 
 interested him ; and his great creative faculty had at 
 least made preliminary efforts to reveal itself. Even in 
 early boyhood he had so large a share of his mother's gift 
 of story-telling that groups of companions delighted to 
 gather around him to hear his entrancing tales. He had 
 also written many verses, the themes chosen for two of 
 his more ambitious productions being Christ's descent 
 into hell and the story of Joseph and his brethren. Just 
 before he quitted Frankfort he almost completed " Bel- 
 shazzar," a tragedy written in imitation of Klopstock's 
 "Solomon." In composing this tragedy he was stimulated 
 by a wish for the approval of some unknown beauty, 
 whose sway over him had succeeded that of Gretchen. 
 Never, perhaps, was there a poet more susceptible than 
 Goethe to feminine influence, and the thorough com- 
 prehension of this deeply significant fact is essential 
 to any true appreciation of his genius and character.
 
 CHAPTER II. 
 
 AT Leipsic Goethe settled in two pleasant rooms in 
 a house near the university, overlooking a court 
 through which people were constantly passing to and fro. 
 He happened to arrive at the time of the autumn fair, 
 and he had an opportunity of seeing many foreigners 
 whose appearance interested him. Leipsic, which, as the 
 centre of the book trade, was relatively more important 
 then than it is now, made a most agreeable impression 
 on him, and he looked forward with delight to the years 
 he was to spend there. He was especially charmed with 
 the free and pleasant manners of the people, which pre- 
 sented a striking contrast to the somewhat formal and 
 rigid rules of social intercourse at Frankfort. 
 
 A few days after his arrival he was admitted a student 
 at the university. He was obliged to join some law 
 classes, but he also heard lectures by Ernesti on Cicero's 
 " De Oratore," and by Gellert on rhetoric and German 
 literature. At first he attended his classes with exemplary 
 diligence, but he soon made up his mind that they could 
 not be of much service to him. The professors of law 
 had little to say that he had not already learned at 
 Frankfort, or that he could not readily master without
 
 LIFE OF GOETHE. 25 
 
 their aid. Gellert's lectures seemed to him pedantic and 
 commonplace, and even Ernesti, a scholar of high dis- 
 tinction, did not help him to penetrate to the spirit, or to 
 feel more deeply the charm, of Latin literature. During 
 the whole time of his residence at Leipsic he continued, 
 of course, to attend the university, but his relation to it 
 was more nominal than real, and exercised little influence 
 on his intellectual development. 
 
 He was received in a friendly way by Bohme, the pro- 
 fessor of history, whose wife, a cultivated and pleasant 
 woman, liked to talk with him. She offended him a 
 little, however, by laughing rather too freely at some of 
 his Frankfort modes of expression, and by disparaging 
 the writings of his favourite poets. Every day he dined 
 at the house of one of the medical professors, where he 
 met chiefly students of medicine and natural science. 
 When the novelty of his position at Leipsic wore off, he 
 began to miss the pleasures to which he had been accus- 
 tomed at home, and, above all, he longed for some 
 friend to whom he might confide his inmost thoughts and 
 aspirations. Gradually he fell into a dejected and for- 
 lorn state of mind, and so keenly did he suffer that in the 
 spring of 1766 one of his Frankfort friends, Horn, who 
 came to study law at Leipsic, could not find in him 
 a trace of his old liveliness and good humour. The 
 presence of Horn, who remained for some years one 
 of his most intimate comrades, did much to revive 
 Goethe ; and soon afterwards the process was com- 
 pleted by another friend, Schlosser, who took Leipsic 
 on his way from Frankfort to Treptow, where he was 
 to act as private secretary to Duke Frederick Eugene of
 
 26 LIFE OF 
 
 Wurtemberg. Schlosser, who ultimately married Goethe's 
 sister, was a man of vigorous and independent character, 
 somewhat stern in manner, but essentially kind and sym- 
 pathetic, and he quickly succeeded in restoring Goethe 
 to all his former cheerfulness and self-confidence. 
 
 Schlosser put up at the house of a vintner called 
 Schonkopf, who, his wife having come from Frankfort, 
 always welcomed visitors from her native place. Goethe 
 was so much pleased with the company at Schonkopf s 
 table that he determined to dine and sup there daily, and 
 this resolution he acted upon during the remainder of his 
 time at Leipsic. Schonkopf had a pretty, coquettish 
 daughter, Anne Catharine, and, needless to say, she no 
 sooner saw the susceptible Goethe than she made a 
 conquest of him. Like Gretchen, she was his senior by 
 two or three years, but that, he felt, only made her the 
 more worthy to be loved. Annette, as he usually called 
 her, accepted his devotion with pleasure, and was sin- 
 cerely fond of him ; but, having a shrewd suspicion 
 that she could never be his wife, she gave him no 
 marks of favour that she was not equally ready to give 
 to other admirers. Many a time Goethe was thrown into 
 a fever of jealousy by her kindness to his rivals, but she 
 had only to smile on him to exalt him to a heaven of 
 enchantment and delight. Upon the whole, his relation 
 to Annette, which went on for years, seems to have 
 brought him more misery than happiness. It was im- 
 possible for him to claim her love as exclusively his 
 own, yet he could not bear to think of it as a treasure 
 that might pass into the possession of some one else. 
 
 He had not the good fortune to meet at Schonkopf's
 
 GOETHE. 27 
 
 any one who could be of vital intellectual service to him, 
 but he enjoyed familiar intercourse there with many 
 agreeable people — among others, Behrisch, a scholar who 
 acted as tutor to a young Count. Goethe liked him 
 as a loyal friend and intelligent critic. Gradually 
 Goethe extended the circle of his acquaintance, until he 
 had almost as many friends in Leipsic as in Frankfort. 
 It was especially pleasant for him to visit at the house of 
 Breitkopf, a printer, who had two sons about Goethe's 
 own age, one of them an admirable pianist and clever 
 composer. Goethe was often present at musical parties 
 in this hospitable house, and he himself took part in them, 
 for he could not only sing, but play the flute. Afterwards 
 he acquired some skill as a player on the cello. 
 
 By far the most eminent man with whom Goethe came 
 into direct contact at Leipsic was Oeser, the director of 
 the academy of drawing, painting, and architecture. 
 Oeser was a native of Presburg, in Hungary, and had all 
 the energy and enthusiasm so often possessed by his 
 countrymen. His own artistic achievements were not of 
 permanent importance, but he had an extraordinary 
 power of exciting interest in art, and of stimulating to 
 high effort all who came within the range of his influence. 
 Long before this time, at Dresden, he had been intimate 
 with Winckelmann, who had learned from him the 
 doctrine that the qualities which give enduring charm 
 to works of art are simplicity and calm. Goethe, who 
 had a longing to master artistic methods, became his 
 pupil, and he never forgot that he owed to this wise 
 and genial teacher the germs of his most fertile ideas 
 about art, and the first effective encouragement he had
 
 28 LIFE OF 
 
 ever received to do full justice to his own powers. At 
 Oeser's home in Leipsic, and at his house in the 
 country, he was always a welcome guest. Oeser 
 had two daughters, one of whom was married. The 
 other, Frederika, about Goethe's age, lived with her 
 father. Handsome, sprightly, and clever, she became 
 one of Goethe's best friends. 
 
 Oeser was not his only instructor in art. Stock, the 
 engraver, lived with his wife and two young daughters 
 (afterwards the wives of intimate friends of Schiller), at 
 the top of the house in which was the home of the 
 Breitkopfs. From him Goethe took lessons in etching, at 
 which he worked with great enthusiasm and perseverance. 
 He also amused himself by carving boards for book- 
 binding. There seemed to be hardly any limit to 
 Goethe's activity. Even he could not hope to excel in 
 all his many undertakings, but in everything he tried he 
 gained enough of insight to enable him to distinguish 
 sharply between good products and bad, and to appre- 
 ciate and enjoy those wrought on true and enduring 
 principles. 
 
 All good pictures accessible at Leipsic he made himself 
 familiar with, and in 1767 he took a short holiday 
 for the purpose of studying the picture gallery at 
 Dresden. He stayed at the house of a worthy, 
 humorous shoemaker, with whom he had much friendly 
 talk. At the gallery the pictures of all the great schools 
 interested him, but those of the Dutch school, from their 
 fidelity to fact, appealed to him most strongly. Day after 
 day he resumed his study of the masterpieces he loved, 
 and so deeply did they influence his mind that, when he
 
 GOETHE. 29 
 
 returned to the actual world, he could not help seeirg 
 things as if they formed part of a picture. His friend, 
 the shoemaker, seemed to him like a figure that had 
 stepped out of a canvas by Ostade. 
 
 Powerfully as Goethe was fascinated by art, literature 
 remained the real mistress of bis affections. The Latin 
 classics he read with growing pleasure, but he also con- 
 stantly felt around him for new impressions and impulses, 
 and by a kind of happy instinct he was led to the 
 writers who were best fitted to nourish his genius. At 
 Frankfort he had read Wieland's translation of Shakes- 
 peare, and now Dodd's "Beauties of Shakespeare" came in 
 his way. His study of this selection did not yet disclose 
 to him Shakespeare's real significance, but it prepared 
 him for deeper comprehension at a later stage. Wieland, 
 having left far behind him the Pietistic fervour with which 
 he began his career, was now tricking out in all sorts of 
 forms, both of verse and prose, his easy Epicurean philo- 
 sophy. Goethe read eagerly every one of his later 
 writings ; and, so far as style was concerned, he learned 
 much from Wieland, who, with all his faults, knew how to 
 present his ideas, such as they were, with lightness, 
 delicacy, and grace. In 1766 Lessing's " Laocoon" was 
 published, and Goethe has described with what delight 
 he and all the younger men of his day received this 
 masterpiece of a great and serious spirit. As if by a 
 flash of lightning, it revealed the broad lines of distinc- 
 tion that separate the arts from one another. It showed, 
 too, that it is only by keeping strictly within its natural 
 limits that each art can attain its highest objects, and 
 that of all the arts poetry is necessarily the deepest, the
 
 30 LIFE OF 
 
 most far-reaching, and the grandest. All this was new 
 to Goethe, and spurred him to think out for himself the 
 fundamental problems of critical thought. Not less 
 enthusiastically did he welcome Lessing's " Minna von 
 Barnhelm," which still remains the most exquisitely 
 finished play of its kind in the German language. It 
 impressed Goethe, because Lessing, unlike other German 
 dramatists, had selected his motives directly from the 
 life of his own time, but had conceived them with an 
 imaginative force and subtlety that made them perennially 
 interesting. In the spring of 1768 Lessing spent a 
 month at Leipsic, but unfortunately Goethe did not see 
 him. About the same time Goethe was shocked by the 
 tidings of the murder of Winckelmann, for whom he had 
 the deepest reverence, and whose writings on ancient art 
 must be counted among the most potent of the influences 
 that enriched and developed his intellectual life. 
 
 From the beginning of his residence at Leipsic Goethe 
 was a constant attendant at the play, and he sometimes 
 acted — always with considerable success in comic parts — 
 in private theatricals at Schonkopf s house. Thinking so 
 much as he did about the drama, he could not but try 
 his hand at dramatic composition ; and in the winter of 
 1767-68 he produced two plays — " Die Laune des Ver- 
 liebten "(" The Lover's Humour ") and "Die Mitschul- 
 digen " (" The Accomplices "). The former is essentially 
 a presentation of his own experiences in his relation to 
 Annette Schonkopf. The latter contains an unpleasant 
 picture of facts akin to those which were forced on 
 his attention at Frankfort in connection with the in- 
 cident that led to his separation from Gretchen. Both
 
 GOETHE. 31 
 
 are written in rhymed alexandrines, and show that 
 Goethe, like most of his contemporaries, still looked for 
 his models to the French classic drama. 
 
 At Leipsic Goethe was known as a young poet much 
 given to biting satire. In his autobiography he gives an 
 account of a visit he paid to Gottsched, who had at one 
 time been in some sort the literary dictator of Germany ; 
 and from this amusing narrative we can see with what 
 mocking humour he waited on the old pedant, who found 
 it so hard to realize that his day was past. Clodius, who 
 prided himself on his dignified style,Goethe enraged bypro- 
 ducing parodies of his pompous verses. At heart, however, 
 Goethe was too generous to care a great deal about work 
 of this sort ; what he liked infinitely better was to give 
 direct poetical expression to his own thoughts' and feel- 
 ings. This he did at Leipsic in a considerable number 
 of lyrics, some of which were set to music by the elder 
 of the two brothers Breitkopf. These lyrics lack the perfect 
 rhythm, the indefinable charm of his later work in this 
 kind, but they have vigour and a certain grace, and show 
 at least something of what ultimately became his 
 astonishing mastery of apt and picturesque diction.- 
 
 In 1767 Goethe introduced to the Schonkopfs a friend 
 of his, Kanne, a Saxon advocate. Kanne was charmed 
 with Annette, and Goethe was thrown into the depths of 
 despair by seeing that she was not disinclined to respond 
 to his advances. In vain he tried to still his agitation by 
 flying to nature for consolation, and by writing satirical 
 verses on the untrustworthiness of young maidens. He 
 became thoroughly wretched, and his unhappiness, asso- 
 ciated with various other causes, among which he himself
 
 32 LIFE OF 
 
 afterwards included some irregularities in his mode of 
 living, made him seriously ill. At last, one night in July, 
 1768, he had a severe attack of hemorrhage, and a doctor 
 had to be hastily summoned. For some time it was feared 
 that he might be suffering from disease of the lungs 
 During his illness he was tenderly cared for by his 
 friends, and when convalescent he was cheered by the 
 bright, wholesome talk of his friend Frederika Oeser, 
 who, when he visited her in the country, laughed at the 
 ridiculous notion of a young fellow thinking of dying of 
 consumption. The process of recovery, however, was 
 slow, and finally he decided to return to Frankfort, and 
 to set off on his birthday, a day which he regarded as a 
 lucky one for the beginning of important undertakings. 
 On the 26th of August he called at the Schonkopfs, and 
 bade adieu to Annette, who agreed to let him write to her 
 once a month. It filled him with sadness to think that 
 this might be their last parting, and on the following 
 evening — he was to leave next day — he could not resist 
 the impulse to go once more to her home. He saw the 
 lamps burning, and hovered about the door-steps, but had 
 not courage to enter. 
 
 At Frankfort the invalid was received with infinite 
 sympathy by his mother and sister ; and his father, see- 
 ing him pale and thin, concealed the bitterness he felt 
 at the disappointment of the hopes that had been so 
 warmly cherished. Goethe was happy to be at home 
 again, amused himself by drawing and etching, sent 
 little gifts to Annette, and wrote in good spirits to Oeser 
 and some of his other Leipsic friends. But before the 
 end of the year he was again prostrated, suffering this time
 
 GOETHE. 33 
 
 from a different malady. His agonies were frightful, and 
 his mother, driven to despair, took the Bible, and resolved 
 to be guided by the first words on which her eyes should 
 happen to light. Fortunately she came upon the words of 
 Jeremiah, "Thou shalt yet plant vines upon the mountains 
 of Samaria." She was at once relieved, and ever after- 
 wards this was her favourite " promise." Goethe quickly 
 recovered, but early in 1769 he had another illness, by 
 which he was confined to his room for a month. It 
 became evident that his constitution had been rudely 
 shaken, and that only time and vigilance could restore 
 him to full strength. 
 
 Among his mother's most intimate friends was a certain 
 Fraulein von Klettenberg, who belonged to the church of 
 the Moravian Brethren. With a noble purity and dignity 
 of character she combined a deep mystic piety. During 
 Goethe's illness Fraulein von Klettenberg, who showed 
 him great kindness, gained a strong influence over his 
 mind ; and there are many indications that at this time 
 he thought often and most earnestly on the profoundest 
 questions relating to human life and destiny. He even 
 worked out for himself an elaborate theological system, 
 in which a place was found for the Trinity, Lucifer, the 
 Elohim, Man, and for the Fall and Redemption. These 
 speculations were connected with the study of alchemy, 
 to which he was led by his doctor, who, like Fraulein von 
 Klettenberg, was one of the Moravian Brethren. Goethe 
 not only made many experiments in accordance with the 
 rules of alchemy, but read all the old books on this sub- 
 ject on which he could lay his hands. 
 
 In the autumn of 1769 he received from Leipsic a 
 
 3
 
 34 LIFE OF 
 
 volume consisting of some of his lyrics, with the melodies 
 to which they had been set by Breitkopf. The volume 
 gave him little pleasure, for he was now occupied with 
 other interests. He was more deeply stirred by a glimpse 
 he had of General Paoli, who passed through Frankfort 
 on his way to England. Paoli's noble and romantic 
 career had kindled Goethe's enthusiasm, as it had 
 kindled that of Boswell, and, mainly through Boswell, 
 that of Johnson and all the other members of the 
 brilliant literary set with whom the Corsican hero was 
 soon to be on pleasant terms in London. 
 
 Meanwhile, Goethe had learned that Annette had been 
 betrothed to his friend Kanne. He was struck with dis- 
 may by this intelligence, and could not help hoping that 
 something might at the last moment prevent their union, 
 and that he himself might be able to take his friend's 
 place. Annette, however, did not share his wishes, and 
 by and by both the joy and the torment that had so often 
 been evoked by his love for her were for ever dispelled 
 by her marriage. 
 
 Goethe's father was most anxious that his study of law 
 should as soon as possible be resumed. Accordingly, in 
 April, 1770, having spent about a year and a half at 
 home, he started for Strasburg, where, for various 
 reasons, it had been decided that he should take his 
 degree. He was now in his twenty-first year. He had 
 not been restored to perfect health, but he was strong 
 enough for the work that lay before him, and he had no 
 longer any fear that he had been stricken by a mortal 
 malady. 
 
 Alsace, although a province of the French monarchy,
 
 GOETHE. 35 
 
 was still essentially German. Not until the time of the 
 Revolution did the people cease to think of themselves 
 as Germans, and begin to be proud of their connection 
 with France. In entering Strasburg, therefore, Goethe 
 had no feeling that he had come to a foreign town. It 
 contained, indeed, a strong French element, but the mass 
 of the inhabitants spoke his own language, and retained 
 the manners and customs of their Teutonic forefathers. 
 As in Frankfort, so in Strasburg, there were many sur- 
 vivals of former ages, and these at once attracted Goethe's 
 attention. He was of course especially impressed by the 
 minster, by far the most splendid building he had yet 
 seen. He studied it closely within and without, and 
 became an enthusiastic admirer of Gothic architecture, 
 which he had always heard decried. Often, especially at 
 sunset, be mounted the tower to enjoy the wide and varied 
 prospect visible from the top. 
 
 He had pleasant rooms in the old Fish-market, and 
 dined at a table where he met many students whom he 
 liked. At the head of this table sat Salzmann, a middle- 
 aged actuary, a man of fine taste and cultivated intellect. 
 He took to Goethe at once, discussed philosophy with 
 him, and was able to give him useful hints as to the 
 studies for his degree. Among the men whose acquain- 
 tance Goethe made at this table was Jung Stilling, who, 
 at the age of thirty, trusting in Providence for the means 
 of living, came to Strasburg to study medicine. Stilling 
 always retained a vivid recollection of the first occasion 
 on which he saw Goethe. He and his friend, Heir 
 Troost, took their seats at the table before any one else 
 had arrived. By and by the guests came in, and among
 
 8C LIFE OF 
 
 them one who entered briskly, a young man "with large 
 bright eyes, splendid forehead, and handsome figure." 
 This was Goethe. "That must be an excellent man," 
 whispered Stilling's companion. Stilling was of the same 
 opinion, but thought he might give them some trouble, 
 as he seemed "a wild young fellow" — an impression which 
 was afterwards found to be mistaken. On a later occasion 
 one of the guests tried to raise a laugh at Stilling's expense. 
 He was sternly rebuked by Goethe, who now sought 
 Stilling's friendship, and became warmly attached to him. 
 
 Introduced by Salzmann, Goethe was welcomed at 
 many houses in Strasburg. He was still to some extent 
 under the influence of the mystical ideas which had taken 
 so strong a hold of him during his illness, but they did not 
 prevent him from enjoying to the full the social pleasures 
 within his reach. Of dancing he never could have enough, 
 for it had all the charm of novelty, dancing-parties being 
 at that time unknown in Frankfort and Leipsic. 
 
 He had the pleasure of seeing the young princess, 
 Marie Antoinette, as she passed through Strasburg on 
 her way to Paris ; and in June he enjoyed with a fellow- 
 student, Weyland, a ride across the Vosges mountains to 
 Saarbriick. On the way back, at Niederbronn, he was 
 surprised and delighted to find fragments of ancient 
 pillars, sculptured altars with inscriptions, and other 
 Roman remains. These objects, lying about in farm- 
 yards, called up before his active imagination a vivid 
 picture of the widespread civilization of Rome. 
 
 Goethe had not forgotten that he had come to Stras- 
 burg to take a degree, and soon after his twenty-first 
 birthday, having attended the proper courses of lectures
 
 GOETHE. 37 
 
 at the university, he passed the necessary examinations. 
 He then began to prepare his dissertation, choosing as 
 his subject the doctrine that it is the duty of the State to 
 establish a form of religion to which all citizens shall be 
 obliged to conform. During the remainder of his stay 
 he gave attention at the university chiefly to chemistry, 
 anatomy, and other sciences. He also devoted a good 
 deal of time to the study of the antiquities of Alsace, his 
 interest in which had been thoroughly aroused by the 
 treasures at Niederbronn. 
 
 One day in September, 1770, Goethe accidentally met 
 a young clergyman on the steps at the entrance to the 
 inn, " Zum Geist." He knew that Herder had just 
 arrived at Strasburg, and could not doubt that this was 
 he. Goethe greeted him respectfully, and Herder, 
 attracted, like every one else, by the young student's 
 manly bearing and frank expression, responded pleasantly, 
 and entered into conversation with him. This led to an 
 intimate friendship, and the consequences were of the 
 highest importance for Goethe. Herder was at this time 
 only twenty-six years of age — that is, five years older 
 than Goethe — but his character had been matured by 
 hard discipline, and he had already made a good reputa- 
 tion as the author of two collections of essays full of 
 energy and fresh thought. He was not one of the great 
 creative spirits of the world, but he had an intellect of 
 restless activity, endowed with an extraordinary faculty 
 for the apprehension of far-reaching ideas. He had 
 enthusiasm, too, and a noble, inspiring conception of the 
 part that properly belongs to the individual mind in its 
 relations to the world at large.
 
 38 LIFE OF 
 
 Having given up his work as preacher and school- 
 master at Riga, he had spent some time in France ; 
 and he had lately accepted the office of tutor to the 
 young Prince of Holstein-Eutin, whom he had accom- 
 panied to Strasburg. This appointment he now resigned, 
 having received a promise (which was soon fulfilled) of 
 the chief pastorate at Biickeburg, where he proposed to 
 marry Caroline Flachsland, to whom he had become 
 engaged at Darmstadt. He remained, however, rather 
 more than six months at Strasburg, mainly that he might 
 be cured of an affection of the eyes, by which he was 
 much troubled. A painful operation was performed, and 
 recovery was less rapid than he expected. Goethe was 
 one of his most constant visitors, and missed no oppor- 
 tunity of serving him. Even when his health was good, 
 it was rather difficult for Herder's friends to hit it off with 
 him, for with all his excellent qualities he was irritable, 
 and apt to be somewhat arrogant ; and his temper was 
 not improved by his sufferings. But Goethe, who recog- 
 nized the essential greatness of his character, was not 
 discouraged by his occasional rudeness, and was well 
 rewarded for the fidelity with which he waited upon his 
 new friend. 
 
 At this time the serious thought of Europe was passing 
 through one of the most momentous revolutions the 
 world has ever seen. Beyond all question the foremost 
 figure in the movement was Rousseau. As a man of 
 Utters Rousseau was far inferior to Voltaire, and his 
 knowledge was neither so wide nor so exact as that of 
 Diderot. But his ideas corresponded to the deepest 
 needs of the age, and he had the enthusiasm, the pro-
 
 GOETHE. 39 
 
 phetic ardour that commanded for them the attention 
 of mankind. The civilization of France he had shaken 
 to its centre, and in Germany the impression he had 
 produced had been hardly less profound. Everywhere 
 generous minds were filled with discontent with the 
 world as it actually existed. Everywhere they were re- 
 volting against forms and conventions, and crying out for 
 a return to " nature," for the free growth and expression 
 of the innate qualities of humanity — qualities which, 
 when not corrupted by unjust institutions, were, accord- 
 ing to Rousseau, always pure and noble. 
 
 Herder, who had studied Rousseau closely, had appro- 
 priated all that was most vital in his teaching, and had 
 applied his doctrines, not only in the criticism of life, but 
 in his judgments of literature ; and now he made Goethe 
 a sharer of the intellectual wealth he had himself ac- 
 quired. Goethe had already been a reader of Rousseau, 
 but from this time, as we know from the characteristics 
 of his early writings, his mind was deeply penetrated by 
 the spirit of " La Nouvelle Heloi'se " and " Emile." Of 
 still greater importance was the help he obtained in the 
 comprehension of the full splendour of Shakespeare's 
 genius. Of all poets, Shakespeare, as Herder taught, 
 was the one in whom nature had found her truest in- 
 terpreter; and, returning in earnest to the study of his 
 dramas, Goethe was impressed, as he had never been 
 impressed before, by their power and beauty, and felt 
 more and more strongly that it would be impossible 
 for him ever to exhaust their meaning. Herder had 
 also much to say about Swift, Richardson, Fielding, 
 Sterne, and Goldsmith ; and to a circle of friends, of
 
 40 LIFE OF 
 
 whom Goethe was one, he read " The Vicar of Wake- 
 field," the humour, pathos, and idyllic charm of which 
 filled them with delight. Through Herder's influence 
 Goethe began the serious study of Homer ; and even 
 from "Hamlet" he did not receive a deeper inspiration 
 than from the " Iliad " and the " Odyssey." Macpher- 
 son's rendering of Ossian had touched the imagination 
 of Herder, and he communicated his enthusiasm for it 
 to Goethe, who perceived in " Fingal" and "The Songs 
 of Selma " many a trace of a great and entrancing 
 primitive literature. From Herder, too, who was familiar 
 with Percy's " Reliques," Goethe first learned that some 
 of the finest manifestations of the poetic impulse are to 
 be found in popular songs and ballads. This revelation 
 gave him exquisite pleasure, and it led to his collecting 
 folk-songs, the directness, freshness, and simplicity of 
 which, but with a new and subtle delicacy, were repro- 
 duced in his own lyrics. 
 
 Thanks to the influences under which he was brought 
 by Herder, Goethe, during his residence at Strasburg, 
 experienced a great intellectual awakening. He did not 
 accept any body of doctrines as a complete and final ex- 
 pression of truth. On the contrary, the supreme service 
 done to him by Herder was that in regard to things of 
 the mind he was delivered from subservience to external 
 authority. He now began to look out upon the world 
 with his own eyes, and to test opinions by the free exer- 
 cise of his own judgment. He had met Herder at the 
 very moment when he needed, and w r as capable of 
 responding to, the stimulus of an original mind at a 
 stage of development more advanced than his own
 
 GOETHE. 41 
 
 When he parted from his teacher, it was no longer 
 necessary for him to sit at the feet of a master. He 
 had learned that great achievements were possible only 
 if, like the poets into whose secrets he was penetrating, 
 he brought himself into direct contact with the facts of 
 the world, and trusted absolutely to the inherent im- 
 pulses and laws of his own intellectual and imaginative 
 powers. 
 
 During the period in which he was deriving fresh ideal 
 impulses from Herder, Goethe was drinking deep 
 draughts of the sweetest joys of the actual world. In 
 the autumn of 1770 he rode with his friend Weyland to 
 the pretty Alsatian village, Sesenheim, where Weyland 
 wished to visit Pastor Brion, whose wife was related by 
 marriage to one of his half-sisters. As they approached 
 the quaint old parsonage, standing with its quiet garden 
 in a well-wooded country, Goethe's restless spirit could 
 not but feel the soothing influence of a scene at once 
 so beautiful and so peaceful. Pastor Brion, a most amiable 
 and hospitable clergyman, had four daughters, one of 
 whom was married, while three lived with their parents. 
 There was also a son about eight years old. A simpler, 
 happier family did not exist, and we cannot wonder that 
 Goethe (not, as he afterwards thought, on his first visit, 
 for he then knew nothing of Goldsmith) sometimes com- 
 pared it to the family of the Vicar of Wakefield. Some 
 whim made him present himself in disguise, but he soon 
 appeared in his real character ; and as he was pleasantly 
 received, he at once felt at home. The youngest 
 daughter was not old enough to interest Goethe. The 
 others were Salomea, who was about his own age, and
 
 42 LIFE OF 
 
 Frederika, who was in her nineteenth or twentieth year. 
 Frederika had a slender, graceful figure, with rich masses 
 of fair hair, dark-blue eyes, and finely modelled features. 
 She was rather delicate, but had a fresh appearance, due 
 to the sweet, wholesome air of the country. Behind her 
 coy and maidenly manner were hidden possibilities of 
 deep and passionate devotion, and her charm was made 
 all the more alluring by the contrast she presented to her 
 robust and outspoken elder sister. 
 
 In his autobiography Goethe gives a matchless descrip- 
 tion of his relation to this lovely girl. It is impossible 
 to trust the details of the picture, some of which are 
 known to be inaccurate ; but there is no reason to doubt 
 that in its main outlines it reproduces faithfully what 
 actually happened. At any rate it is certain that he loved 
 Frederika with all his heart ; not as he had loved 
 Gretchen and Annette, for their influence had never 
 gone far below the surface ; but with a love full of 
 romance, with a passion that glowed and flamed with 
 ever-increasing intensity. And Frederika — -how was it 
 possible for her to resist the young poet's wooing ? He 
 had come to her suddenly, like some radiant being 
 out of an unknown world, and in response to his fer- 
 vour her heart throbbed with love, and pride, and joy. 
 
 Immediately after his first visit he wrote to her to say 
 that never had Strasburg seemed to him so empty. 
 Many other letters followed, but unfortunately they were 
 afterwards burned by Frederika's sister. He repeatedly 
 visited Sesenheim, and shortly after Easter, 1 77 1, 
 Frederika came to Strasburg with her mother and sister. 
 While she remained, Goethe and she had some happy
 
 GOETHE. 43 
 
 hours together; yet somehow she did not seem quite 
 herself in a town ; he felt that they were in perfect sym- 
 pathy only in the country, where they could be all in all 
 to one another, with nature around them reflecting their 
 happiness. 
 
 At Whitsuntide he went again to her home, intending 
 to return to his studies after a short visit. But she was 
 not very well, and day after day, week after week passed, 
 and he was still at Sesenheim. During this visit he 
 made himself highly popular in the village, and occupied 
 himself in all sorts of ways, learning how to make 
 basket work, painting the pastor's carriage, and planning 
 the reconstruction of the parsonage. He went on, too, 
 with his study of Homer, and read to Frederika a 
 translation he had made of "The Soncrs of Selma." 
 
 O 
 
 And all the time the passion of the lovers grew and 
 struck its roots deeper in their hearts. 
 
 At last, when June was far advanced, he was forced to 
 drag himself away, for it was time that he should proceed 
 to his degree, the taking of which had been too long 
 delayed. The university authorities were scandalized by 
 some of the opinions advanced in his dissertation, but 
 admitted his ability, and directed him to take part in a 
 public disputation. The order was obeyed, and he after- 
 wards received a licentiate's degree. 
 
 In company with some friends, Goethe now enjoyed a 
 short tour in Upper Alsace. On his return he paid 
 a farewell visit to Sesenheim, and in August he was once 
 more at home in Frankfort. 
 
 In the last interview with Frederika nothing was said 
 to indicate that the parting was final. Nevertheless,
 
 44 LIFE OF 
 
 Goethe knew that it was so ; and eight years passed 
 
 before they saw one another again, and then they met 
 
 simply as old friends. Frederika had never doubted that 
 
 he proposed to make her his wife, and this had also been 
 
 assumed by her family. At first the idea of marriage did 
 
 not occur to Goethe. He thought only of the rapture 
 
 he felt in her presence, of her sweetness, her grace, and 
 
 her beauty. When at last he could not avoid reflecting 
 
 on the consequences of having won a maiden's affections, 
 
 a prolonged and bitter struggle went on in his mind. 
 
 That Frederika, if he had been prepared to marry, 
 
 would have made him truly happy, he loved her too well 
 
 to question ; and he can hardly have supposed that it 
 
 would have been very difficult to induce his father to 
 
 welcome her as a daughter-in-law. But the thought 
 
 of marriage was repugnant to him. What ! bind himself 
 
 for life at the very time when he was becoming conscious 
 
 of his destiny — when it was essential to the unfolding of 
 
 his genius that his individuality should have free play ! 
 
 Deeply as he loved Frederika, strongly as he felt the duty 
 
 he owed her, this consideration gained the day. He 
 
 must have freedom, let it cost what it might. 
 
 Goethe never sought to justify his treatment of Frede- 
 rika. For many a day he suffered the pang of a 
 wounded conscience. His ultimate decision was right, 
 for he had not reached a stage at which a happy marriage 
 would have been possible ; but he well knew that in a 
 matter of such vast importance he ought not to have 
 created an expectation that, from the nature of the case, 
 was doomed to be disappointed. It can only be said that 
 to a poet of his ardent temperament the power which had
 
 GOETHE. 45 
 
 cast its spell over him was all but irresistible. Frederika 
 herself, although she seemed to lose all in losing her 
 lover, did not permanently resent the severance of the 
 bond that connected them. She seems to have felt that 
 deep causes had led to their separation. All her life she 
 had a vivid remembrance of the beautiful romantic world 
 in which they had for a while wandered together ; and 
 when attempts were made by new wooers to win her 
 hand, her answer is said to have been, " The heart that 
 Goethe has loved cannot belong to another." 
 
 His love for Frederika exercised as powerful an in- 
 fluence over him in one direction as contact with Herder 
 had exercised in another. In his meeting with her, and 
 in his parting from her, he had sounded some of the 
 profoundest depths of joy and suffering ; and he had 
 passed through a conflict in which his strongest feelings 
 had been arrayed against one another. And in response 
 to the touch of love his genius had sprung into free 
 activity. He had written various lyrics giving utterance 
 to his passion, and to this period also belongs " Heiden- 
 roslein," in which he presented in a new form an old 
 popular song. These perfect lyrics, slight as they are, 
 are the earliest of his achievements in which we find the 
 really characteristic qualities of his poetry. They do 
 not, like his first efforts, bear the stamp of traditional 
 rules, but are the direct expression of his own inward 
 life. For five centuries — from the time when, at mediaeval 
 courts, Walther von der Vogelweide had sung his splendid 
 verses — no poetic note of such mingled power and sweet- 
 ness had been struck in Germany. In these early poems 
 we feel the stirring of the forces of a new spring-time.
 
 46 LIFE OF GOETHE. 
 
 They are full of a passionate delight in the beauty of the 
 earth and the sky ; in every line breathing of love they 
 have the accent of sincerity ; and they produce the im- 
 pression of having flowed without effort from a mind 
 which found the most natural outlet for its feelings in 
 stanzas of noble and flawless melody.
 
 CHAPTER III. 
 
 ON his twenty-second birthday (August 28, 1 77 1), 
 the day after his arrival at home, Goethe applied 
 to be admitted as one of the advocates of Frankfort. A 
 few days afterwards he took the oath as an advocate and 
 citizen ; and he soon received his first case — an extra- 
 ordinary one, in which he had to defend a son against 
 a father. Judgment was given in favour of Goethe's 
 client, but both he and the advocate on the other side 
 were rebuked for the bitterness with which they had pre- 
 sented their arguments. In the course of the winter 
 Goethe had only one other case. Law had little interest 
 for him, and he accepted professional work merely to 
 please his father, who was bent on seeing him an eminent 
 pleader. 
 
 Of all the studies carried on at this time the one that 
 moved him most profoundly was the study of Shake- 
 speare, and at last he felt that he must find some means 
 of expressing the thoughts and feelings kindled within 
 him by the poet whom he adored. Accordingly he 
 decided that on the 14th of October a Shakespeare 
 festival should be held in his father's house ; and it was 
 arranged that there should be a like festival at the same
 
 48 LIFE OF 
 
 time in Strasburg. The plan was carried out, and 
 Goethe, in language of glowing enthusiasm, poured forth 
 his admiration of the dramas in which, as he said, " the 
 history of the world sweeps on before our eyes on the 
 invisible thread of time." 
 
 At Strasburg he had lighted upon the autobio- 
 graphy of Goetz von Berlichingen, the knight with 
 the iron hand, who had played so great a part in the 
 Peasants' War in the sixteenth century. Goetz (born in 
 14S0) was one of the manliest of the warriors who, in the 
 age which formed the border-line between the mediaeval 
 and the modern world, fought valiantly for the causes 
 they conceived to be those of justice and freedom. His 
 autobiography is a frank and simple record of his adven- 
 tures, written with a view to prevent his descendants 
 from misunderstanding him. As Goethe read it, it seems 
 to have flashed upon him that, notwithstanding external 
 differences, there was much inward resemblance between 
 the influences with which Goetz contended and those 
 which in his own day choked up the springs of 
 thought and natural feeling. Goetz had not allowed his 
 spirit to be broken by the tyrannical forces of his period; 
 he had asserted his individuality, and had been loyal to 
 his own loftiest aims. Here, then, was a figure which 
 might be made the medium for the expression of Goethe's 
 own aspirations ; and he forthwith decided that Goetz 
 should be the hero of his first drama. 
 
 The execution of the scheme was somewhat delayed ; 
 but, stimulated by his sister Cornelia, to whom all his 
 thoughts and wishes were confided, he set to work early 
 in the winter of 177 1, and before the end of the year the
 
 GOETHE. 4:9 
 
 drama in its original form was completed. Its title in this 
 form was " Geschichte Gottfriedens von Berlichingen mit 
 der eisernen Hand, dramatisirt " ("History of Gottfried of 
 Berlichingen with the iron hand, dramatised"). While it 
 was being written, he read in the evening to his sister the 
 work done during the day, and he was greatly encouraged 
 by her warm sympathy. Copies of the play, in manu- 
 script, were despatched to Salzmann and Herder. Salz- 
 mann lost no time in congratulating his friend, but Her- 
 der's response, to which Goethe looked forward anxiously, 
 was long postponed. 
 
 About this time Goethe made the acquaintance of a 
 man by whose friendship he laid great store. This was 
 Merck, paymaster of the forces of Darmstadt, who was 
 about eight years older than Goethe. He was a tall, 
 meagre, rather awkward-looking man, somewhat cynical, 
 but an ardent student of literature, and thoroughly loyal 
 to his friends. Towards the close of 1 771, a bookseller 
 at Frankfort, asked Merck to edit the " Frankfurter 
 Gelehrten Anzeigen" (" The Frankfort Learned Notices," 
 or "The Frankfort Review," as we might say), a new 
 literary periodical which was to appear at the beginning 
 of 1772. Merck accepted the offer, and went to Frank- 
 fort to make arrangements with contributors. During 
 this visit Goethe met him, and they at once became 
 friends. Goethe joined the staff of the " Gelehrten 
 Anzeigen," and during the next two years wrote for it a 
 good many reviews of all kinds of books. The opinions 
 expressed in these reviews give evidence of a free and 
 vigorous judgment, and they are set forth in a fresh, 
 incisive, and picturesque style. It may be safely said 
 
 4
 
 50 LIFE OF 
 
 that all great poets are great critics, and in his first 
 efforts at criticism Goethe gave sufficiently clear indica- 
 tions that in the maturity of his powers he would be no 
 exception to the general rule. 
 
 He visited Merck several times at Darmstadt, where he 
 
 became an intimate friend of Herder's betrothed, who 
 
 often wrote about him to her lover at Biickeburg. On 
 
 one occasion, when walking to Darmstadt from Frankfort, 
 
 he was overtaken by a tempest, and had to take refuge 
 
 in a hut. Here he recited aloud, exactly as the words 
 
 occurred to him, the " Wanderers Sturmlied " (the 
 
 "Wanderer's Storm-song"), a series of wild, irregular 
 
 verses, in which he celebrates the power of Jupiter Plu- 
 
 vius, and apostrophises the Genius that makes the poet's 
 
 spirit independent of the accidents of time and place. 
 
 To this period, also, belongs " The Wanderer," a fine 
 
 poem — suggested, no doubt, by his experiences at Nieder- 
 
 bronn — in which a poet converses with a simple young 
 
 mother in a hut built of stones taken from the ruins of 
 
 an ancient temple. 
 
 It had always been intended that Goethe, as his father 
 had done before him, and as it was the custom of many 
 young advocates still to do, should perfect himself in his 
 profession by practising for some time in connection with 
 the imperial chamber at Wetzlar. Accordingly, he took 
 rooms at Wetzlar, in May, 1772. The work of each 
 advocate at the imperial chamber was exactly what the 
 advocate himself chose to make it, and Goethe chose to 
 make his a mere form. Wetzlar, a little town on the left 
 bank of the Lahn, is situated in a charming country, and 
 he did not feel disposed to burrow among musty law-
 
 GOETHE. 51 
 
 books when, in bright summer weather, he had a chance 
 of wandering in secluded valleys, and filling his sketch- 
 book with studies of landscape. He also spent a good 
 deal of time in reading Greek poets, taking especial delight 
 in Pindar. 
 
 But even the pleasure he found in Pindar and in nature 
 was by and by thrust into the background by a more 
 absorbing passion. The thought of Frederika had often 
 troubled him, but he had so far recovered from the shock 
 of his separation from her that it had become possible for 
 him to be subdued by a new fascination. And the pos- 
 sibility was soon transformed into reality. He had rela- 
 tives at Wetzlar, and having started with some of them 
 one evening for a ball which was to come off at a neigh- 
 bouring village, he stopped the carriage to take up a friend 
 of theirs who was to accompany them. This friend was 
 Charlotte Buff, the daughter of a public official at 
 "Wetzlar. She was the second of a family of twelve 
 children, and on her, after the recent death of her mother, 
 had devolved the principal duties of the household. She 
 was nineteen years of age, a beautiful girl with fair hair 
 and blue eyes, remarkable for quick intelligence, and 
 always bright and cheerful in the performance of the most 
 troublesome tasks. Goethe loved her at once, and, with 
 his usual impetuosity, could not help showing how 
 passionately he was devoted to her. Every day he 
 visited her in the afternoon, and delighted to lie at her 
 feet on the grass while the children played around them ; 
 and in the evening he was often at the house again, 
 drawn thither by an attraction he was powerless to 
 resist. Charlotte — or Lotte, as she was called — was,
 
 52 LIFE OF 
 
 of course, interested in a man who was so different 
 from all the men she had ever met, and she gave him as 
 warm and true an affection as a woman can give to one 
 who is no more than a friend. Love she could not 
 give him, nor did he ask for it, for she had already 
 virtually pledged her troth. Her lover was Kestner, the 
 secretary of the Brunswick Legation. Kestner, who was 
 about eight years older than Goethe, was a man of solid 
 qualities, able and steadfast, devoted to his professional 
 duties, but with a keen and intelligent interest in litera- 
 ture. Goethe, before his first meeting with Lotte, had 
 known him slightly, and soon became sincerely attached 
 to him, thoroughly appreciating his manly and generous 
 character. Kestner saw, of course, the tumult that had 
 been excited in Goethe's breast, but never either by word 
 or by look gave the faintest sign of jealousy or of a wish 
 to hamper Lotte's freedom. 
 
 The relation was a most difficult one, and made Goethe 
 restless and unhappy. At last the strain became 
 intolerable, and he resolved to save himself by flight. 
 On the ioth of September, having dined with Kestner in a 
 public garden, Goethe spent the evening with the lovers 
 in Lotte's home ; and, as it happened, the talk became 
 unusually sombre, Lotte herself giving it a serious turn 
 by a reference to the invisible world. On returning to 
 his rooms he wrote farewell letters, adding next morning 
 a line for Lotte alone. "Be ever of cheerful mood, dear 
 Lotte," he wrote, — " you are happier than a hundred — 
 only not indifferent ! And I, dear Lotte, am happy that 
 I read in your eyes that you believe I shall never 
 change. Adieu, a thousand times adieu ! "
 
 GOETHE. 53 
 
 On the same morning he quitted Wetzlar, haunted by 
 the thought of her, but with the feeling that he was 
 escaping from a grave and imminent peril. At Darm- 
 stadt Goethe had met Frau von Laroche, who had made 
 some reputation as the author of a recently-published 
 romance, " Die Geschichte des Fraulein von Sternheim." 
 She was the wife of a high official at the Electoral Court 
 of Trier, and her home was on the outskirts of a beauti- 
 ful village that nestled at the foot of Ehrenbreitstein. 
 In response, no doubt, to an invitation to visit her, 
 Goethe now made his way slowly down the Lahn 
 towards the Rhine, finding in communion with nature 
 some relief from the depression that had succeeded the 
 excitement of the previous weeks. 
 
 During his stay at the house of Frau von Laroche 
 several guests arrived — among them, Merck with his wife 
 and little boy. Goethe thoroughly enjoyed his visit, 
 opening his heart and imagination to all the impressions 
 produced on him by free, joyous intercourse with friends, 
 and by the lovely scenery of the Rhine country. Frau 
 von Laroche, by whom he had not been strongly attracted 
 at Darmstadt, won his confidence and affection ; and he 
 had many a pleasant talk with the eldest of her two 
 daughters, Maximiliane, a girl of about seventeen, whose 
 fine dark eyes and frank, pretty ways might have created 
 for him a new danger but for the power that had so 
 completely subdued him at Wetzlar. 
 
 Before the end of September he was back at Frank- 
 fort, and in the course of a few weeks he was again 
 engaged in professional business, to which he continued 
 to give some attention during the whole of the remaining
 
 54 LIFE OF 
 
 time spent in his father's house. But he was firmly 
 resolved that his real work should be literature, and now 
 so much had happened to deepen his feeling and quicken 
 his imagination that the difficulty was, not how to find 
 something to say, but how to give expression to even a 
 small proportion of the thoughts that pressed upon him 
 for utterance. 
 
 At Wetzlar Goethe had received Herder's anxiously 
 expected reply with regard to the "Geschichte Gott- 
 friedens von Berlichingen." It was anything but flattering 
 to the young writer's vanity. Herder had hardly a good 
 word to say for the play, and expressed the opinion that 
 it had been spoiled by his slavish adherence to the 
 manner of Shakespeare. In his answer Goethe acknow- 
 ledged the justice of the strictures of his extremely candid 
 friend, and announced his intention of completely re- 
 casting the work. At Wetzlar, however, he was in no 
 mood to undertake so strenuous a labour, and after his 
 return to Frankfort he was for some time too much 
 occupied otherwise to think of carrying out his purpose. 
 But Merck, who heartily admired the play, urged him to 
 give it its final form ; and early in 1773 Goethe at last 
 took the task in hand. Shutting himself up in his room 
 at the top of the house, he worked at it day after day, 
 becoming more and more absorbed in it as he went on ; 
 and before the winter was fairly over, he finished it. In 
 its new shape the play received the title, " Goetz von 
 Berlichingen mit der eisernen Hand. Ein Schauspiel." 
 (" Goetz von Berlichingen with the Iron Hand. A 
 drama.") It is impossible to compare it with the work 
 as originally written without admiring the high conception
 
 GOETHE. 55 
 
 of art by which Goethe was controlled in transforming 
 what he had done. In the minutest details he sought for 
 perfection, and entire scenes, in themselves powerful and 
 interesting, were struck out because they did not seem to 
 accord with the scheme as a whole. Long afterwards 
 he taught that it is in " limitation " {Besehrankung) that 
 the master reveals himself; and already he had some 
 perception of the vital importance of this great truth. 
 
 In working out his conception Goethe did not con- 
 sider it necessary to adhere strictly to the facts of history. 
 He makes Goetz die immediately after the Peasants' War,, 
 whereas in reality he lived nearly forty years afterwards, 
 and distinguished himself in Charles V.'s wars with the 
 French and the Turks. This, however, need not disturb 
 any one in the enjoyment of the play, which is to be 
 judged as a work of art without reference to the actual 
 events which it in part reproduces. 
 
 " Goetz " is as far as possible from being a faultless 
 play. Goethe tried to conceive it in the spirit of Shake- 
 speare's historical dramas, but at this early period he had 
 not sufficient mastery of his intellectual resources to be 
 able to give, as Shakespeare gives, unity of design to the 
 representation of a complicated series of incidents. The 
 forces called into exercise have in some instances only an 
 accidental connection with one another ; they are not 
 combined so as to produce the impression of a complete 
 and harmonious process of development. Nevertheless, 
 the work is unmistakably a creation of genius. It brings 
 before us in grandly sweeping outlines, and in bold, vivid 
 colours all the leading elements of the national life of 
 Germany in the early part of the sixteenth century. The
 
 56 LIFE OF 
 
 characters live and breathe, and their language — fresh, 
 vigorous, and animated — is that which we should expect to 
 hear from them in real life. Goetz himself is an admirable 
 type of a just and fearless warrior. He has not, indeed, 
 any large conception of the issues towards which his age 
 is moving, but in the midst of debasing influences he 
 knows how to maintain the purity of his own impulses, 
 and how to strike boldly and strongly in defence of ideas 
 of which he makes himself a champion. Rough in 
 manner, and a lover of plain speech, he is at heart tender 
 and humane ; and in the most difficult circumstances, 
 when a character less simple and direct might be liable 
 to gross misconstruction, there can be no doubt as to the 
 honesty and dignity of his motives. Men of this noble 
 mould — frank, unconventional, and true — were never 
 more needed than in Goethe's own day, and one of the 
 objects of the play was to suggest that if they were 
 possible in the sixteenth, they could not be impossible in 
 the eighteenth century. 
 
 A love-story is interwoven with the presentation of 
 Goetz's activity; and from the point of view of art this 
 is perhaps the best part of the drama. Weislingen, a 
 young and brilliant statesman at the corrupt court of 
 the Bishop of Bamberg, is taken prisoner by Goetz. He 
 falls in love with the knight's sister, Maria, and his love 
 is returned. When, however, he goes back to the 
 Bishop's court, pledged to support no undertaking 
 against Goetz or his friends, he is overcome by the wiles 
 of Adelheid, a subtle, cruel, and fascinating woman, who 
 understands thoroughly the essential weakness of his 
 character. She professes to love him, and becomes his
 
 GOETHE. 57 
 
 ■wife, and in the end he is poisoned by his servant, who 
 acts as her agent. Weislingen and Adelheid are 
 genuinely dramatic figures, and the character of Maria, 
 simple, affectionate, and loyal, is not less finely conceived. 
 It was Frederika Brion he was thinking of when he 
 depicted Weislingen's love for, and desertion of, Maria. 
 When the play was published, he sent a copy to Salz- 
 mann, with a request that it should be forwarded to 
 Sesenheim. " Poor Frederika," he wrote, " will be to 
 some extent consoled when the unfaithful one is 
 poisoned." 
 
 The play was printed by Merck, who had started a 
 printing establishment of his own ; and in the summer of 
 1773 it was published. The enthusiasm it awakened 
 far surpassed Goethe's anticipations. Hitherto the 
 unities of the French classic drama had been rigidly 
 respected in the drama of Germany. Lessing had 
 fought hard to show that they are not essential to a great 
 work of art, but in his own plays he had not cared to 
 violate them. The author of " Goetz " had wholly 
 ignored them, daring to think rather of the vitality of 
 his characters than of the conditions of a well-rounded 
 scheme. To some critics of the older generation the 
 play seemed almost grotesquely extravagant, but the 
 younger men hailed it as a glorious symptom of the 
 uprising of a new and adventurous spirit of liberty. A 
 man of genius, putting aside conventions and artifi- 
 cialities, had gone straight to reality for inspiration, and 
 had uttered a word that delivered them, as they thought, 
 from the necessity of submitting not only to the unities, 
 but to any kind of artistic law. A school of writers
 
 58 LIFE OF 
 
 was formed, all of whom looked to Goethe as their chief 
 Prominent among them was Klinger, a native of Frank- 
 fort, the title of one of whose plays, " Sturm und Drang," 
 was afterwards accepted as the name of the period in 
 which it was produced. Lenz, whom Goethe had known 
 at Strasburg, and who, after Goethe's departure, had tried 
 to win the affections of Frederika Brion, was another 
 member of the group. These young writers had plenty 
 of ambition and vigour, but they mistook eccentricity 
 for originality, sentimentalism for passion, noisy decla- 
 mation for poetry, and not a shred of interest now 
 attaches to their productions, except as documents which 
 throw light on a curious phase of literary history. 
 
 After the publication of his play, Goethe became one 
 of the " lions " of Frankfort, and had to endure the 
 visits of innumerable strangers who wished to make his 
 acquaintance. He acquired confidence in his own 
 genius, and did not doubt that he would be able to 
 justify the highest expectations formed as to his future 
 work. He was universally liked, for he had all the good 
 qualities with which he had endowed Goetz, and his 
 friends found that there was always something exhila- 
 rating in his frank and brilliant talk. Yet at this time he 
 was passing through a period of deep depression. It 
 was not connected with any particular misfortune, nor 
 was it due to love for Lotte, for Kestner and she were 
 now husband and wife, and Goethe thought of her only 
 as a friend. His unhappiness sprang wholly from, 
 spiritual causes. He had longings which the actual world 
 seemed to be incapable of satisfying, and the more he 
 reflected on life, and sought to comprehend its meaning,.
 
 GOETHE. 5& 
 
 the more he was oppressed by the old, old mysteries that 
 have baffled and saddened so many a noble mind. 
 Sometimes the idea of suicide suggested itself, and in his 
 autobiography he has described how he laid a dagger 
 by his bed-side, and before putting out the light tried 
 whether he could not pierce his breast. 
 
 In the autumn of 1773, the marriage of Cornelia and 
 Schlosser took place, and they quitted Frankfort, ulti- 
 mately settling in Emmendingen. This was a severe 
 blow to Goethe, for communion with his sister had been 
 to him a constant source of consolation, and in her 
 absence he was driven in, more than ever, upon himself. 
 A little later in the year he heard with pleasure that 
 he would soon have frequent opportunities of seeing 
 Maximiliane Laroche, who, although still only a young 
 girl, was about to be married to a Frankfort merchant, an 
 Italian called Brentano. The marriage was not a happy 
 one, and proved to be for Goethe a new cause of trouble. 
 Feeling for Maximiliane, both for her own sake and for 
 her mother's (whom he always addressed as " Mamma "), 
 a sincere brotherly affection, he often called upon her, 
 and did what he could to make her life in Frankfort 
 tolerable. Brentano was of a furiously jealous dispo- 
 sition, and, misunderstanding these visits, one day grossly 
 insulted Goethe. Violently agitated, Goethe declined to 
 enter the house again, and, for a long time, saw Maxi- 
 miliane only when he met her at the play or elsewhere 
 accidentally. 
 
 It was always Goethe's habit, when burdened by any 
 feeling, to liberate himself by means of some imaginative 
 effort j and now he felt that the time had come for this
 
 €0 LIFE OF 
 
 mode of relief. He had not to choose a subject, for the 
 plan of a romance had already taken firm possession of 
 his mind. Towards the end of 1772 he had heard of 
 the suicide of Jerusalem, a young secretary of legation 
 at Wetzlar, with whom he had had a slight acquaintance 
 both there and at Leipsic. Jerusalem had loved a 
 married woman, and in a moment of despair had shot 
 himself with a pistol borrowed from Kestner. Goethe, 
 after the first shock of the tidings was past, decided to 
 give an imaginative presentation of the tale, but in 
 the early part to substitute for Jerusalem's experiences, 
 about which he had only general information, the story 
 of his own love for Lotte. From time to time the 
 execution of the scheme was put off, but when driven by 
 an imperious impulse to give form to the conceptions by 
 which he was haunted, he accomplished his task with 
 almost feverish haste. The work was ended about the 
 beginning of March, 1774, and the greater part of it 
 was written during the preceding month. The figures 
 of the romance stood out before him in sharply-cut 
 outlines, and their story flowed freely from his pen, 
 because in reality it was the story of his own inmost life. 
 He called it "Die Leiden des jungen Werthers" ("The 
 Sufferings of Young Werther"). 
 
 The work consists of a series of letters written by 
 Werther, and some explanatory statements made by the 
 editor. In his conception of the tale, and in his choice 
 of form, Goethe was deeply indebted both to Richardson 
 and to Rousseau, but especially to Rousseau, the spirit 
 of whose " La Nouvelle Heloise" breathes in every line of 
 "Werther." " La Nouvelle Heloise," however, is a book
 
 GOETHE. 61 
 
 of the past, interesting only to students of literature and 
 of the history of ideas, whereas " Werther " is still alive, 
 and can never wholly lose its freshness. 
 
 Werther has many qualities that excite interest and 
 sympathy. He has a deep vein of poetry ; Nature 
 appeals to him strongly ; he is an enthusiast for the best 
 literature ; and he is always generous to the poor and the 
 distressed. But he is incapable of manly decision, and 
 on the slightest provocation he sheds floods of tears, 
 secretly proud of his sensibility as a mark of a superior 
 type of character. When the story opens, he is in a little 
 provincial town, whither he has gone to see about a 
 legacy left to his mother. He is not discontented, for in 
 Homer and Ossian he has the kind of companionship he 
 loves, and in the surrounding country there are exquisite 
 views which he is never tired of admiring and sketching. 
 Suddenly he meets Lotte, and his whole being is trans- 
 formed. In her are realized all the dreams he has ever 
 had of womanly loveliness and charm. She does not 
 glide into his affections ; the moment he sees her — with 
 the children, for whom she cuts the " Abendbrod," 
 clamouring around her — she becomes the supreme object 
 of his devotion. To be in her presence is ecstasy. It is 
 of her that all things in Nature speak to him, and he has 
 no thought, no wish but to serve her. She is already 
 betrothed, but her lover is from home, and as long as he 
 is absent Werther thinks little about him, and lives in a 
 world all glowing with the light reflected from his own 
 happiness. 
 
 By and by Albert, the accepted lover, returns, and now 
 for the first time Werther realizes that Lotte is beyond
 
 62 LIFE OF 
 
 his reach. He suffers unspeakable tortures, and knows 
 not where to turn for relief. Deep in his heart, before 
 he ever saw Lotte, the seeds of morbid growths had been 
 implanted, and in his wretchedness they spring up in 
 rank luxuriance. All life becomes hateful to him. No- 
 where can he find anything that does not seem to bear 
 the mark of some primaeval curse. Even Nature, in 
 communion with which he has so often felt bounding de- 
 light, takes on the aspect of a devouring monster. Her 
 forces are pitiless ; and he himself, full of tender com- 
 passion, cannot move without crushing some helpless 
 creature under his feet. Against the very essence of 
 things he rises in revolt. Thinking of what life may 
 mean, he feels that he is standing on the edge of an 
 abyss, and he looks with horror into its black depths. 
 
 At last, yielding to the entreaties of the friend to 
 whom his letters are addressed, he flies from the scene of 
 his misery, and, accepting a diplomatic appointment at a 
 German court, hopes to regain peace of mind by taking 
 part in the world's work. But he is slighted iri an 
 assembly of people with whom, as a man of the 
 middle class, he is not thought fit to associate ; and the 
 insult so rankles in his mind that he sends in his resig- 
 nation, and after some months of brooding he cannot 
 resist the temptation to go back to Lotte. By this time 
 she is married ; nevertheless, his passion burns more 
 fiercely than ever, and anguish rends his heart when he 
 sees her in Albert's possession. She has always had a 
 warm regard for Werther. Now his sufferings arouse her 
 pity, and in the end she cannot conceal from herself that 
 she loves him. But she expostulates with him, and begs
 
 GOETHE. 63 
 
 him to leave her, to marry some one who can honourably 
 give herself to him, and to return as a friend. Albert 
 becomes jealous and watchful, and utter shipwreck seems 
 to be the destiny of the newly-formed household. 
 Werther, sick at heart, loathing existence, resolves to 
 bring his agony to a violent end, and after a wild scene, 
 in which Lotte almost loses control of herself, the tragedy 
 closes with his death. The pistol with which he shoots 
 himself he borrows from Albert on the plea that he is 
 about to start on a journey. Lotte takes it from its place, 
 and, having wiped the dust from it, hands it to the 
 messenger with a sad foreboding that some terrible 
 disaster is at hand. 
 
 " Werther " is a story of a " mind diseased " ; and, 
 judged from this point of view, it stands supreme among 
 the prose writings of the eighteenth century. Goethe 
 himself never wrote, in prose, anything more powerful. 
 Werther's malady was not the malady of an individual 
 only, but of an age. Thoughtful men had outlived their 
 beliefs, their institutions, their customs ; all around them 
 was a world touched by the finger of decay. They 
 sought to shake themselves free from the intolerable yoke 
 of the past, but as yet nothing had appeared that could 
 take the place of the old ideas ; there was no influence to 
 awaken disinterested enthusiasm, to lead to combined 
 and settled effort for worthy ends. So even the best 
 minds — and perhaps they more than others — felt them- 
 selves isolated, and, in the absence of nobler interests, 
 were forced to think much about their own moods, about 
 the ebb and flow of the tides of purely personal feeling. 
 Hence a morbid sensitiveness, an extravagant senti-
 
 64 LIFE OF 
 
 mentalism ; hence, too, a disposition to read the facts of 
 existence in the light of individual experience — a tendency 
 to conclude that, because the hungry "I" was unhappy, 
 therefore the universe was a gigantic blunder and impos- 
 ture. In " Werther " Goethe probes this disease to its 
 roots. It is a profound error to suppose that he intended 
 the hero of the tale to be taken as a complete represen- 
 tation of his own character. Werther wholly lacked 
 many of the qualities that made Goethe great— his 
 original impulse, his creative energy, his strength of will. 
 But Werther's mood had for a while been Goethe's mood, 
 and it is for this reason that as we read the solitary 
 sentimentalist's letters he seems to start into life, and we 
 learn to know him, back into the inmost recesses of his 
 spirit, more intimately than if he stood before us in actual 
 flesh and blood. It was a phase — a passing but most 
 striking phase — of his own many-sided nature that 
 Goethe was disclosing, and he could not but write of it 
 in words of searching power. And yet all was not put 
 down exactly as it came into his mind. With fine, 
 instinctive art he selected those elements of the tale, and 
 those only, that were fitted to reveal his essential pur- 
 pose, and to prepare the way for the ultimate issue. 
 When we close the book, and look back, we feel that no 
 other issue was possible. Were Werther a man of good 
 sense and resolute will, he could easily, no doubt, dis- 
 entangle himself, but with his character, and in his circum- 
 stances, ruin is inevitable. 
 
 Lotte, as she is presented in the first part of "Werther," 
 is one of the most exquisite of Goethe's creations. Her 
 youth and beauty, the frankness of her manner, the joyous
 
 GOETHE. 65 
 
 spirit in which she devotes herself to others, and the 
 warm poetic feeling combined in her nature with a sound 
 and ready judgment, are brought out with so delicate a 
 grace, yet in such clear outlines, that we do not wonder 
 at the influence she exerts over all who know her, and 
 especially over a sensitive mind like Werther's. It is 
 hard to realize that the Lotte of the second part is also the 
 Lotte of the first, and it may be that here there is a flaw 
 in Goethe's idea of the character. The maelstrom of 
 passion within whose sweep she is caught is so powerfully 
 depicted that at the moment of reading we are not per- 
 mitted to raise any question as to the consistency of the 
 conception ; but when all is over, we cannot help sus- 
 pecting that we have been introduced to two Lottes 
 rather than to one. The Lotte who afterwards lives in 
 the imagination is certainly the Lotte of the first part, a 
 sane and wholesome figure, contrasting strongly with the 
 shrill and despairing Werther. Albert stands out less 
 prominently than Werther and Lotte, but he also has 
 living qualities, and if anything could make the final 
 scenes, so far as Lotte is concerned, intelligible, it would 
 be his pompous self-esteem and exasperating respectability. 
 One of the secrets of the charm of " Werther" lies in 
 its style. It is a style peculiar to Goethe himself, yet 
 without a trace of eccentricity. Strong, lucid, and pic- 
 turesque, it adapts itself with perfect suppleness to every 
 mood the writer wishes to express ; and it is so absolutely 
 unaffected that, as we read, we think of what is said 
 rather than of the artist's way of saying it. " Werther " 
 is also remarkable as the first modern German book in 
 which we find descriptions of nature that are still full of 
 
 5
 
 66 LIFE OF 
 
 charm. It was Rousseau who had opened men's eyes to 
 the splendour and loveliness of the outward world. 
 Goethe had learned all that Rousseau could teach as to 
 the art of suggesting natural scenery to the imagination 
 through written speech, and in " Werther " he went far 
 beyond the highest achievements of his instructor. His 
 descriptions are often merely rapid sketches, but they are 
 sketches drawn with so sure a touch that they never fail 
 to call up a vision having all the freshness of reality. 
 And they intensify interest in the tale, for nature is 
 brought in less for its own sake than for the sake of its 
 relation to feeling. It is With Werther's eyes that we see 
 the scenes he reproduces, and he finds in them always a 
 power that responds to his own happiness or gloom. 
 
 Few books have ever produced so strong a sensation. 
 Almost everywhere in Germany " Werther " was received 
 with mingled astonishment and delight. It had come 
 straight from the writer's heart, and went as straight to 
 the hearts of those who read it. They found in the tale 
 a voice that gave utterance to much that they themselves 
 had been feeling, and many of them not only shed hot 
 tears for Werther's fate, but affected his modes of ex- 
 pression, and even dressed as he had dressed — in blue 
 coat, yellow vest, yellow hose, and top-boots. By and 
 by the book was translated into almost every European 
 language, and in far Cathay AVerther and Lotte were 
 painted on glass by native artists. 
 
 At first there was one discordant note in the general 
 chorus of praise. Kestner was gravely offended by what he 
 took to be a misrepresentation of the relations between 
 Goethe, Lotte, and himself. In reality there was no
 
 GOETHE. 67 
 
 misrepresentation, for Goethe had dealt freely with the 
 experiences through which he had passed, using only those 
 of them that were adapted to his scheme, and adding 
 scenes in which there was no element of fact. The Lotte of 
 the first part, notwithstanding her black eyes, is Charlotte 
 Buff, perhaps slightly idealized ; but in the second part 
 she is wholly a figure of the imagination. As for Albert, 
 Goethe, if he thought of any one in particular in con- 
 ceiving the character, thought of Brentano, not of Kest- 
 ner. In the end Kestner had a better understanding of 
 what had been intended, and was not a little proud of 
 the part his wife had unconsciously played in the creation 
 of so famous a romance. 
 
 Goethe himself says that when he finished "Werther" he 
 felt as one feels after a general confession. The load that 
 had weighed so heavily on his spirit was for the moment 
 removed, and, once more free and happy, he looked for- 
 ward hopefully to new activity. By and by he could even 
 jest about the characters whose woes had moved him so 
 deeply. Nicolai, the Berlin bookseller and man of 
 letters, who had done better work in his time, wrote a 
 parody of the book, showing how in reality Werther and 
 Lotte became husband and wife, and lived happily ever 
 after ; the pistol with which Werther had tried to shoot 
 himself having been loaded with chicken's blood. Some 
 verses written by Goethe show that he took offence at 
 this indignity ; but afterwards he wrote an amusing little 
 dialogue, in which Werther and Lotte complain of 
 Nicolai's misconceptions. The chicken's blood has 
 blinded Werther, and Lotte, while pitying him, is any- 
 thing but enchanted by the change this has made in his
 
 68 LIFE OF 
 
 appearance. His eyebrows, she says, will never be so 
 beautiful as they were before. In " Dichtung und 
 Wahrheit " Goethe speaks of this dialogue with some 
 pride, and it certainly shows how completely, at the time 
 when he wrote it, he felt himself emancipated from the 
 influences from which " Werther " had sprung. 
 
 He had not yet, however, brought his powers under 
 strict control. Many conflicting ideas struggled in his 
 mind for mastery, and his moods varied from day to day, 
 one giving way to another without any apparent reason 
 and with startling rapidity. Goethe's nature was too 
 complicated, touched to too many fine issues, to attain 
 suddenly, or soon, to inward repose. 
 
 Two complete prose dramas were written in Frankfort 
 after he finished " Werther "— " Clavigo " and "Stella." 
 " Clavigo " is a dramatic rendering of incidents recorded 
 in the " Memoirs " of Beaumarchais. These " Memoirs "" 
 appeared in Paris in the spring of 1774, and in the 
 summer of the same year Goethe's play was published. 
 In imaginative energy, and in range and depth of feeling, 
 "Clavigo" is farinferior to "Goetz,"butit displays a striking 
 advance in the power of construction. The formerly 
 despised unities are here observed, and the interest, such 
 as it is, steadily grows until it culminates in the catas- 
 trophe. The chief defect of the play is that Clavigo, on 
 whose action everything depends, is too feeble a character 
 to excite much interest. His cynical friend, Don Carlos, 
 has, however, marked individuality, and the part played 
 by him is still found by German actors to repay careful 
 study. Maria, the heroine, dies of a broken heart, and 
 in describing Clavigo's desertion of her, as in describing
 
 GOETHE. 69 
 
 Weislingen's desertion of the Maria of " Goetz," Goethe 
 did a kind of penance for his treatment of Frederika 
 Brion. 
 
 "Stella," which was written in 1775, seems to have 
 been suggested by Swift's relations to Stella and Vanessa. 
 In this play also Goethe respects the unities, and much 
 technical skill is shown in the development of the story. 
 The play in its original form, however, could not now be 
 acted without exciting ridicule. The hero, Ferdinand, 
 having married Cecilia, whom he loves, feels after a 
 while that his freedom is unduly limited by a wife and 
 daughter; and accordingly he leaves them. Then he 
 falls in love with Stella, but her also he ultimately deserts. 
 When the play opens, he has returned in the hope of being 
 re-united to Stella. He finds her, but at the same time 
 finds his wife and daughter, the latter having become 
 Stella's companion. There is now a vehement conflict 
 of motives. Which of the two women shall he select ? 
 Cecilia suggests that it may be possible for him to live 
 with both, and this solution, with Stella's hearty consent, 
 he joyfully accepts. Such was the passion for " nature " at 
 the time that the public do not seem to have been in any 
 way offended or perplexed by this strange conclusion ; 
 but thirty years afterwards Goethe changed the last act, 
 bringing the play to an end with the suicide of Ferdinand 
 and Stella. A tragic issue, however, could not be made 
 to appear the natural result of conditions which were in 
 the first instance planned for a wholly different scheme. 
 
 To this period belong two short plays with songs — 
 " Erwin and Elmire," and " Claudine von Villa Bella." 
 Both are brightly written, but — except in the charm of
 
 70 LIFE OF 
 
 their songs — they have no qualities that mark them off 
 sharply from work of a like kind done by other dramatists 
 of the time. The idea of the first of these two plays is 
 the idea of Goldsmith's ballad, " Edwin and Angelina." 
 At this time Goethe sometimes amused himself by 
 writing humorous and satirical sketches, in all of which 
 there is a free and lively play of fancy. The most famous 
 of them is " Gotter, Helden, und Wieland " (" Gods,, 
 Heroes, and Wieland "), which Goethe (with a bottle of 
 Burgundy on the table) dashed off one Sunday afternoon. 
 Lenz, to whom it was sent, printed it without having 
 received Goethe's permission. In this prose "farce" 
 Goethe very wittily makes fun of Wieland's misrepre- 
 sentations of Greek mythology. 
 
 So many ideas crowded into Goethe's mind that it was 
 impossible for him to realize all his plans. For some 
 time he thought of taking the career of Mahomet as the 
 subject of a poetical drama, and if we may judge from the 
 beginning he actually made, the theme as he conceived 
 it would have given full scope to his highest creative 
 faculties. He also intended to write a poem on the 
 Wandering Jew, bringing out the contrast between the 
 loftiest idealism, as represented in Christ, and vulgar 
 worldly intelligence, as represented in Ahasuerus, who 
 was to have expostulated with Christ for uselessly ex- 
 posing Himself to danger by the proclamation of un- 
 popular truths. Of this poem he completed only a few 
 passages, written in couplets like those of Hans Sachs — 
 a poet whom Goethe warmly admired. Another of his 
 poetical fragments is " Prometheus," one of the finest of 
 his early writings. The Moravian Brethren, with whom
 
 GOETHE. 71 
 
 he still occasionally associated, impressed upon him that 
 man, of himself, can do nothing well, and that his aim 
 should be to wait passively for supernatural influences. 
 This doctrine was ill fitted for a young poet who by a law 
 of his nature was impelled to ceaseless effort; and in 
 " Prometheus " he proposed to develop an exalted con- 
 ception of the power of the free individual mind. The 
 defiant address of Prometheus to Zeus, with which the 
 fragment closes, ranks among the most splendid of his 
 shorter poems.
 
 CHAPTER IV. 
 
 YET another great conception stirred Goethe's imagi- 
 nation at Frankfort — the conception of " Faust." 
 With the Faust legend he had long been familiar, and in 
 " Die Mitschuldigen " he had made one of the characters 
 compare himself with Dr. Faust. During his residence at 
 Leipsic, however, he was too inexperienced to have even 
 a faint conception of the deep meanings that lay hid 
 beneath the surface of the story. It was at Strasburg that 
 he began to realize the vast possibilities of the subject. 
 There he thought of it often and profoundly, and it con- 
 tinued to fascinate him after his return to Frankfort. In 
 1774 — or perhaps 1 773 — he began to write the drama 
 with which, of all his works, his name is most intimately 
 associated. He worked at it, at intervals, until he quitted 
 Frankfort; he made several references to it in his letters; 
 and to some of his friends he read passages in which he 
 thought they might be interested. 
 
 The original " Faust " — the " Faust " written at Frank- 
 fort — contains all that is most essential in the First Part 
 as ultimately published. 1 The Faust legend served only 
 
 1 A lady at the court of Weimar — Fraulein von Gochhausen — 
 wrote for her own use a copy of the original " Faust." This copy
 
 LIFE OF GOETHE. 73 
 
 as a suggestion for Goethe's drama. From being little 
 more than a tale of magical wonders, it became, in passing 
 through the alembic of his imagination, a conception 
 pregnant with thought and passion — a conception in 
 which were embodied all the most vital elements of the 
 intellectual life of his century. Faust, as Goethe pre- 
 sents him, is a man of magnificent intellect, endowed 
 originally with the purest and loftiest aspirations of 
 humanity. When the drama opens, he has devoted many 
 a year to study ; but, sitting alone in his Gothic chamber 
 at midnight, he feels sadly and bitterly that his labour 
 has been in vain. Dry, abstract knowledge he has in 
 abundance, but it does not satisfy him ; it seems to him 
 but a mockery of the knowledge for which he has always 
 yearned. He pants for something infinitely grander than 
 his books can tell him of. A Titan of the spirit, he would 
 mount the very heavens, and snatch from the universe 
 its inmost secrets. And so, despairing of finding truth 
 by ordinary means, he has recourse to supernatural 
 methods. Opening his book of magic, he sees the symbol 
 of the Macrocosmos ; and at once the scales fall from his 
 eyes; he is confronted directly by the secret forces of 
 nature working together in glorious harmony. At last, 
 for a moment, joy wells up in his heart ; he asks himself 
 whether he has not become a god. But suddenly it 
 flashes upon him that he is but a spectator, and he longs 
 
 was recovered in 1887, and is printed in the edition of Goethe's 
 works now being published by order of the Grand Duchess Sophia 
 of Saxony. It has also been printed separately — " Goethes Faust, 
 in urspriinglicher Gestalt, nach der Gochhausenschen Abschrift, 
 herausgegeben von Erich Schmidt (Weimar: Hermann Bohlau, 
 1887)."
 
 74 LIFE OF 
 
 for so much more than can come to him by mere vision ! 
 To drink at the infinite sources of existence, to feel his 
 soul quickened by contact with the very essence of life — 
 nothing short of this can give him a rapture correspond- 
 ing to his needs. Looking again into his book, he finds 
 the symbol of the earth-spirit ; and through all his being, 
 thrills a consciousness of energy and courage. There is 
 no achievement of which he does not feel himself capable; 
 he has an impulse to go out into the world, to experience 
 all its delights and woes, and even in the crash of ship- 
 wreck to exult in his strength and freedom. The earth- 
 spirit itself he must see, and it responds to his summons. 
 But it scoffs at his claim of equality, and, as it disappears, 
 leaves him once more in despair. 
 
 Baffled in his ideal aspirations, Faust gives himself up 
 to the enjoyment of such pleasures as may be accessible 
 through the senses. After the first monologue, and 
 before the introduction of Gretchen, we find in the 
 original " Faust " only Faust's first dialogue with Wagner ; 
 the scene, afterwards considerably modified, in which 
 Mephistopheles mystifies the ingenuous student ; a draft, 
 chiefly in prose, of the scene in Auerbach's cellar ; and a 
 few lines, ultimately struck out, indicating the perplexity 
 of Mephistopheles as he passes a cross by the wayside. 
 Goethe was apparently in haste to reach the tale of love 
 and sorrow, in which the destiny of Faust was to be 
 interwoven with that of Gretchen, and the full meaning 
 of his repudiation of the law of his spiritual being was 
 to be disclosed in its tragic consequences. 
 
 After the accidental meeting of Faust and Gretchen in 
 the street — when, struck by her beauty, he offers her his-
 
 GOETHE. 75 
 
 arm, and she escapes from him — there are wanting "Wald 
 und Hohle " and " Walpurgisnacht ; " the part to be 
 played by Gretchen's brother, Valentin, is only indicated; 
 immediately before " Triiber Tag " there is a dialogue 
 between Faust and Mephistopheles which was afterwards 
 omitted ; and the last scene of all, the scene in the prison, 
 is in prose. In other respects this part of the drama 
 received at Frankfort what was essentially its final form. 
 When the work was to be published, some lines and 
 expressions were altered ; but these changes did not 
 vitally affect the conception as it had originally taken 
 shape in Goethe's mind. 
 
 Of all the products of Goethe's genius, his presentation 
 of the story of Gretchen is the finest ; and, if we exclude 
 Shakespeare, it would be hard to find anywhere in modern 
 dramatic literature an equally noble achievement. The 
 original of Gretchen, as a fresh, simple, happy maiden, 
 with a heart overflowing with love and confidence, was 
 Frederika Brion ; and it may be that in depicting the 
 early scenes in which she talks with Faust Goethe was 
 recalling what had actually happened at Sesenheim. 
 Frederika, for instance, must often have been astonished 
 and rather dismayed by strange opinions expressed by 
 her lover, and it is likely enough that she questioned him 
 about religion, and that his answer was in spirit akin to 
 the matchless lines in which Faust makes confession of 
 his faith. But Goethe never seeks in his poetry simply 
 to reproduce his personal experience. He transports us 
 into an ideal world in which all that he has to show us 
 stands out clearly, stripped of the accidental qualities 
 which in actual life so often obscure our vision and
 
 76 LIFE OF 
 
 disturb our judgment. Gretchen is not merely Frederika ; 
 she is the living representative of an enduring type ot 
 character and feeling. 
 
 Unlike Frederika, Gretchen is tempted to stain the purity 
 of her spirit, and is brought within the sweep of forces 
 that work her destruction ; but she is never allowed to 
 pass beyond the range of our sympathies, and in the end 
 we are made to feel that in a deeper sense than that of 
 theological dogmas she is "saved." The last scene, as 
 afterwards rendered in verse, has a more ideal character 
 than it possesses in the original prose, yet in the process of 
 transformation it lost some elements of tragic depth and 
 force. In this great scene Goethe concentrates, with 
 absolute truth to nature, all that is saddest and most 
 terrible in human destiny. 
 
 Faust, as Goethe conceives the character, retains our 
 interest through all the phases of his development ; for 
 we are often reminded that his was originally a noble 
 nature, and that at the bottom of his heart there are still 
 many survivals of humane and generous impulse. He is 
 never a merely vulgar sensualist ; he is an idealist who, 
 having demanded of the universe more than it is capable 
 of yielding, has given way to a mood of bitter and reck- 
 less spiritual despair. Mephistopheles is a creation not 
 less remarkable in his own way than Faust, and upon the 
 stage he is by far the more effective of the two, the out- 
 lines of his character being more distinct than those of 
 his restless, wavering, unhappy comrade. In the Second 
 Part, written long afterwards, his name is little more than 
 a symbol for an abstract principle ; but in the First Part, 
 and especially in the scenes conceived at Frankfort,
 
 GOETHE. 77 
 
 Mephistopheles has all the freshness and vigour of 
 thorough individuality. It would be impossible to 
 imagine a more striking contrast to the struggle inces- 
 santly going on in Faust's mind than the settled purpose,, 
 the frank cynicism, and the grim humour of Mephisto- 
 pheles. The character was suggested to Goethe by some 
 qualities of his friend Merck. Merck, although honour- 
 able and good, had moods in which he took anything but 
 an amiable or cheerful view of life ; and his scoffs and 
 sneers (as we may see from the description of him in 
 "Dichtung und Wahrheit ") produced a more lasting 
 impression on Goethe than his better characteristics. 
 Although suggested by Merck's cynical outbursts, 
 Mephistopheles is not the less, of course, to be regarded 
 as in the main a free creation of the imagination. 
 
 In "Faust" Goethe's art reached the highest level 
 it was capable of attaining during the early part of his 
 career ; and from a biographical point of view it is even 
 more deeply interesting than " Goetz von Berlichingen '' 
 and " Die Leiden des jungen Werthers." Goetz and 
 Werther each represented a particular phase of his 
 character in the course of its development. Faust 
 represented his character as a whole just as it was 
 about to enter upon a new stage of its growth. Goethe 
 had not, indeed, allowed his will to be subdued by 
 passion ; but he had all the vehement cravings, all the 
 restless aspirations, the disappointment of which is the 
 secret cause of Faust's gnawing misery. Goethe at this 
 time enjoyed many a hearty laugh with his friends, and 
 wrote many a bright and genial letter; but beneath the 
 surface he suffered from a profound agitation of spirit,.
 
 78 LIFE OF 
 
 often longing for he knew not what, and feeling that there 
 was no anodyne for the pain of a yearning that the world, 
 as he conceived it, could not still. In this respect also 
 Goethe may be taken as a representative of his period. 
 For the men of the "Sturm und Drang" nothing in the 
 actual universe seemed to be good enough. Not institu- 
 tions, not social conventions only, but the very conditions 
 of life itself appeared to them to be unjust and injurious 
 limitations of free individuality ; and with all their might 
 they kicked against the pricks, and cried out angrily 
 against the tyrannous order that would not bend or break 
 at their bidding. It was inevitable that Goethe should 
 feel the full power of the dominant influences of his epoch, 
 and to the fact that he felt it, was due, in the springtime 
 of his life, the splendid efflorescence of his genius. 
 
 It so happened that at the time when Goethe was 
 striving to relieve his overburdened spirit in "Werther" 
 and "Faust," the "Ethics" of Spinoza came into his 
 hands. This was an event of great importance in his 
 life, for Spinoza introduced him to a higher order of 
 thought than he had yet known. He never accepted 
 Spinoza's system of doctrine as a whole, yet the "Ethics" 
 exercised a powerful influence over him, and for many 
 years he returned to it again and again, always finding in 
 it something that came home to him, and that he could 
 make his own. Indeed, Spinoza was the only purely 
 philosophical writer by whose teaching he ever largely 
 and permanently benefited. 
 
 Apart altogether from the particular truths he learned 
 from Spinoza, it was almost inevitable that in his restless 
 and unhappy mood the " Ethics " should have for him a
 
 GOETHE. 79 
 
 strong fascination. He, whose poetic temperament led 
 him always to think with feeling and through the imagina- 
 tion, could not but be impressed by the calm and stately 
 progress of an argument presented in passionless, ab- 
 stract terms, and by means of an unswerving logical 
 method. Again, it consoled Goethe to find that the 
 philosopher who, of all others, had most completely 
 stripped his mind of prejudice, could look at life steadily, 
 and yet think of it, not in a spirit of resignation merely, 
 but with hope, cheerfulness, and courage. Most earnestly, 
 too, did he respond to the idea that while the ultimate 
 powers of the universe reveal themselves in a vast and 
 inexorable order, the individual mind can bring itself into 
 harmony with that order only by remaining for ever true 
 to the laws of its own being. The noble generosity of 
 Spinoza's temper also, as Goethe himself explains, was 
 one of the sources of his charm. " Whoso rightly loves 
 God must not ask that God shall love him in return." 
 That was a saying after Goethe's own heart. Did not 
 he himself afterwards write, " If I love you, how does 
 that concern you ? " 
 
 During his residence at Frankfort Goethe did not 
 attain, or nearly attain, to a position at which he could 
 say that he was reconciled to himself and to the world. 
 But Spinoza's teaching was to him like cool water to 
 parched lips. Communion with this serene and lofty 
 spirit put him on the track that was to lead to inward 
 self-control and to the harmonious devolopment of his 
 powers. 
 
 While Goethe was working with inexhaustible energy, 
 he did not neglect his friends, and he had many oppor-
 
 80 LIFE OF 
 
 tunities of adding to their number. Lavater, who was 
 making active preparations for his much-talked-of book 
 on Physiognomy, wrote to Goethe from Zurich, and in 
 1774 spent a week as a guest in his father's house. Years 
 afterwards, Lavater, although always one of the most 
 popular clergymen of his time, repelled many of those 
 who had known him intimately by mingled fanaticism 
 and vanity ; but now Goethe was strongly attracted by 
 his enthusiasm, and took an extraordinary interest 
 in his notions as to the possibility of understanding 
 the mind through its expression in the body, and 
 especially in the face. With Lavater's friend Basedow,, 
 the ardent upholder of Rousseau's ideas on education, 
 Goethe was also on friendly terms. He was often, 
 however, irritated by Basedow's boorish talk ; for, 
 notwithstanding his zeal for "nature" in social inter- 
 course, Goethe detested rude and arrogant assumption. 
 He himself was the brightest and pleasantest of com- 
 panions, with a manner made all the more attractive 
 by a touch of lively Bohemianism. It may be worth 
 noting that there was no trace of Bohemianism in his 
 appearance. He dressed well — so well, indeed, that it 
 was often hard for him (his father being by no means 
 generous) to pay his tailor's bills. 
 
 Another of his intimate friends was Johanna Fahlmer, 
 the aunt of the brothers Jacobi, both of whom were begin- 
 ning to make a mark in literature. She settled at Frank- 
 fort with her mother in 1772, and Goethe, who made her 
 acquaintance soon after his return from Wetzlar, valued 
 few of his friends so highly as the young, genial, and clever 
 "Aunt Fahlmer." She was anxious that he should
 
 GOETHE. 81 
 
 enter into close relations with her nephews, but their 
 writings did not quite please him, and for a long time he 
 made no attempt to approach them. In 1 7 74, however, 
 he felt that it might be pleasant for him to know them, 
 and in the summer, having spent some weeks with Lava- 
 ter and Basedow at Ems, he made his way with these 
 friends up the Rhine to Cologne — "a prophet to the 
 right, a prophet to the left, the child of the world in the 
 midst," as he wrote in a humorous little poem describing 
 their dinner at Coblenz. At Cologne the party broke 
 up, and Goethe went on to Diisseldorf, where the Jacobis 
 lived. As it happened, they were at Elberfeld, and thither 
 Goethe followed them. The younger of the two brothers, 
 Frederick Jacobi, who was Goethe's senior by about six 
 years, made a most agreeable impression on him, and at 
 Pempelfort, Jacobi's country house near Diisseldorf, they 
 became fast friends. They visited Cologne together, and 
 had so happy a day there that at night, when each had 
 retired to his room in the inn, Goethe could not resist 
 the impulse to renew their talk. So he went to Jacobi's 
 room, and sitting at the open window, looking out on the 
 moonlit Rhine, they enjoyed an hour of unalloyed happi- 
 ness in the free communion of mind with mind and heart 
 with heart. Goethe had never before given to a friend 
 so deep a love, and the attraction was mutual. Jacobi, 
 who was a man of high intellectual power and fine cha- 
 racter, knew well the real nature of the treasure he had 
 won in winning Goethe's friendship. One of the most 
 absorbing subjects of discussion between them was the 
 philosophy of Spinoza, with which Jacobi also had been 
 making himself familiar. Their opinions on the subject 
 
 6
 
 82 LIFE OF 
 
 did not agree, but that in no way lessened the cordiality 
 or the pleasure of their intercourse. 
 
 In 1775 Goethe had pleasant intercourse with the 
 Counts Stolberg, who afterwards achieved distinction in 
 literature. They were about his own age. During 
 their stay at Frankfort they often dined with Goethe, 
 whom they intensely admired; and one day, when the 
 wine had circulated, there was much poetic talk about an 
 unquenchable thirst for tyrants' blood. Goethe's father 
 shook his head and smiled, but Frau Aja, as they called 
 his mother, knew nothing of tyrants, and was dismayed 
 by the ferocious outcries of the young poets. Going to 
 her wine-cellar, she brought up a bottle of her oldest and 
 best wine. "There ! " she said, " that is the true tyrants' 
 blood. Delight yourselves with that, and let there be an 
 end of murderous thoughts." 
 
 In the history of Goethe's last year at Frankfort, 1775^ 
 the central name is that of Lili Schonemann. Lili (Anna 
 Elizabeth) and her two brothers lived with their mother, 
 the widow of a wealthy banker. They belonged to what 
 was considered the highest rank of Frankfort society, and 
 every evening kept open house for their friends. Early 
 in the year, probably in the evening of New Year's Day, 
 Goethe was present at one of their parties, and saw Lili 
 for the first time. She was then in her seventeenth year, 
 a beautiful fair-haired girl with blue eyes, graceful in all 
 her movements, and with the ease and self-possession 
 that came of constant association with people of her own 
 class. She was as different as possible from Frederika 
 Brion and Charlotte Buff, but Goethe was fascinated by 
 her beauty, and she in her turn could not resist the
 
 GOETHE. 83 
 
 handsome young poet, whose work had made his name 
 familiar to all educated Germans. After some misunder- 
 standings they became engaged, and Lili gave Goethe a 
 little golden heart which was fastened round his neck 
 with a ribbon. 
 
 Notwithstanding his love for Lili, the engagement 
 brought with it no happiness to Goethe. Her relatives, 
 whom he disliked, thought he was not socially her equal, 
 and he, to whom free expression was so essential, could 
 not bear the restraints imposed upon him at Frau Schone- 
 mann's fashionable parties. It embittered him, too, to 
 see the readiness with which Lili responded to the cour- 
 tesies of men who would gladly have supplanted him. 
 He had a suspicion that she could never belong to him 
 absolutely, and that if they became husband and wife her 
 ideas would go on diverging more and more widely from 
 his own. 
 
 Torn by conflicting motives, Goethe felt at last that he 
 must shake himself free for a while from the circumstances 
 that caused him so much perplexity; and in the middle 
 of May he started with the Counts Stolberg for Strasburg 
 — all three, by the way, dressed in YVerther's style. 
 From Strasburg he visited his sister at Emmendin^en, 
 who urged him to break off an engagement that seemed 
 to her wholly unsuitable. He then travelled to Zurich, 
 where he was cordially welcomed by Lavater ; and after- 
 wards he went southwards, thinking that he might per- 
 haps go on to Italy. But, now that he was far away from 
 Lili, she became dearer to him than ever. On her seven- 
 teenth birthday he was at the Pass of St. Gotthard, and, 
 as he kissed the golden heart she had given him, he was
 
 84 LIFE OF 
 
 seized by so ardent a longing to be with her again that he 
 immediately turned back and began his homeward 
 journey. 
 
 On his return all the old difficulties presented them- 
 selves, and in the end, to the relief of Lili's mother and 
 Goethe's parents, and not much apparently to the regret 
 of the lovers themselves, the engagement was allowed to 
 lapse. His relation to Lili had not moved him as he 
 had been moved by his relation to Frederika and Lotte; 
 nor did it become a source of inspiration in his later 
 work. But to his love for her we owe two exquisite 
 lyrics, " Neue Liebe, Neues Leben" (" New Love, New 
 Life"), and "An Belinden " ("To Belinda"), and the 
 finely humorous poem, " Lili's Park." 
 
 The time had now almost come when Frankfort, on 
 which Goethe had shed so much lustre, was to lose him, 
 and he was to surround himself with an entirely new set 
 of conditions. Towards the end of 1 7 74 he was presented 
 at Frankfort to the Hereditary Prince of Weimar, who 
 was then seventeen years of age, and to his younger 
 brother, Prince Constantine. The meeting gave the 
 Hereditary Prince so much pleasure that Goethe had to 
 visit him at Mainz — a visit made memorable by the fact 
 that during Goethe's absence from Frankfort, Fraulein von 
 Klettenberg, for whom he had all his old affection and 
 reverence, died. In the autumn of 1775 the Hereditary 
 Prince became Duke of Weimar ; and shortly afterwards, 
 on his way to Stuttgart, where he was to be married, he 
 begged that when he returned with his bride Goethe 
 would visit them at Weimar. Goethe gladly accepted 
 the invitation, and in October, when the young Duke and
 
 GOETHE. 85 
 
 Duchess came to Frankfort, it was arranged that within a 
 few days he should follow them. 
 
 Geheimerath Kalb, the official with whom he was to 
 travel, had been left behind at Stuttgart, and his coming 
 was so long delayed that Goethe finally became impatient, 
 gave up the idea of visiting Weimar, and set off for Italy. 
 At Heidelberg he was aroused during the night by a 
 messenger, who arrived with a letter announcing that 
 Kalb was awaiting him at Frankfort. He hurried back, 
 and on November 7, 1775, entered Weimar. He thought 
 he was merely about to pay a short visit to a friendly 
 prince ; in reality he had come to a new home, and had 
 formed relations which were to alter the whole complexion 
 of his life.
 
 CHAPTER V. 
 
 WEIMAR, pleasantly situated in the valley of the 
 Um, is now known by name to all the world, 
 thanks mainly to Goethe's association with it. At the 
 time when he arrived there, it was an obscure little place, 
 about which most people even in Germany had only the 
 vaguest information. It was still a walled town, but had 
 few picturesque or otherwise interesting buildings. The 
 old Schloss had been burned down in 1774, and the 
 Court was established in a temporary residence which 
 was not well adapted for the purpose. 
 
 Goethe was received with enthusiasm by the young 
 Duke, and all sorts of entertainments were got up for his 
 benefit. These entertainments gave rise to much gossip, 
 and soon it was whispered in many places in Germany 
 that Goethe was leading a shamefully dissolute life at 
 Weimar, and exercising on the Duke a most deplorable 
 influence. By and by Klopstock, hearing a rumour of 
 what was supposed to be going on, took it upon himself 
 to write to his fellow poet a letter of reproof and expos- 
 tulation. Goethe had the highest respect for Klopstock, 
 and, when he had passed through Frankfort, had taken
 
 LIFE OF GOETHE. 87 
 
 occasion to show him due honour. But now it was 
 necessary to prove that there were limits beyond which 
 even the author of " The Messiah," in his intercourse with 
 younger men, had no right to pass. Accordingly Klop- 
 stock received a cool little letter in which it was 
 indirectly and delicately intimated that he had inter- 
 fered in matters which did not concern him, and about 
 which he was inadequately instructed. 
 
 The worst that could be said about the lively pro- 
 ceedings that went on at Weimar after Goethe's arrival 
 was that they took up a great deal of time, and wasted 
 much good energy. As for the notion that the Duke was 
 in any way misled by Goethe, nothing could be further 
 from the truth. The Duke had in his blood the fiery 
 impulses of many a wild ancestor, and even now it was 
 Goethe's aim to restrain rather than to stimulate his passion 
 for pleasure and excitement. Goethe knew him too well 
 to think of troubling him with formal advice, but none 
 the less he sought to suggest to the young prince that as 
 a ruler he had obligations which honour required him to 
 take seriously. Afterwards Goethe kept this object 
 steadily before himself, and the result was that, notwith- 
 standing occasional outbreaks of irregular passion, the 
 1 Hike became one of the best of the minor German 
 sovereigns, for, of all men, Goethe had the strongest hold 
 over his imagination and feelings. 
 
 At first Goethe found some difficulty in arriving at a 
 satisfactory relation with the young Duchess. For a time 
 she also was disposed to think that he led her husband 
 astray. She was, however, too frank and sincere not to 
 see things in the end as they really were. She became
 
 83 LIFE OF 
 
 Goethe's true friend ; and he often had opportunities of 
 showing how worthy he was of her confidence by acting 
 as a mediator for the removal of domestic misunderstand- 
 ings. With the Duchess Dowager Amalia he never had 
 the slightest trouble. Although the mother of a reigning 
 prince, she was only thirty-six years of age at the time 
 of Goethe's arrival in Weimar. She was a woman of 
 masculine intelligence, and during her son's minority 
 had discharged firmly and discreetly her duties as 
 regent. Handsome, amiable, endowed with delicate 
 tact, and taking a sincere interest in art and literature, 
 she could not but attract Goethe ; and he in his turn 
 at once gained her good opinion. She saw clearly how 
 wisely he was likely to guide the Duke, and was most 
 eager that he should, if possible, be persuaded to settle 
 in Weimar. 
 
 Among the residents of the little capital a high place 
 was by universal consent conceded to Wieland, who had 
 accepted, in 1772, an invitation sent to him by the 
 Duchess Amalia, to come to Weimar as the tutor of her 
 sons. Wieland was now forty-two years of age, and one 
 of the most prominent writers in Germany. He had 
 been grievously offended by the " Farce " written at 
 his expense, but Goethe had by letter made some 
 amends for the injury done to him, which, after all, was 
 not very serious ; and Wieland had magnanimously 
 let the matter slip from his mind. Now, when he 
 met Goethe, he thought he had never seen any one 
 who was more to his likiner. He wrote to a friend 
 
 O" 
 
 that he was "as full of Goethe as a dewdrop of the 
 
 morninsr sun." And the two poets continued to be on
 
 GOETHE. 89 
 
 pleasant terms with one another. When Wieland wrote 
 " Oberon," incomparably the finest of his poems, he was 
 enchanted by Goethe's warm appreciation of its merits. 
 It was natural for Goethe to praise lavishly anything that 
 pleased him. There was no room in his generous spirit 
 for even a touch of petty jealousy. 
 
 While living at Frankfort, he had for some time 
 had much reason to complain of the conduct of Herder, 
 who for no good cause had conceived a violent prejudice 
 against him. Happily, this had been dispelled ; and at 
 Weimar Goethe was able to be of splendid service to his 
 friend. The office of Court preacher and general super- 
 intendent of matters ecclesiastical was vacant, and the 
 Duke asked Goethe whether he knew of any one to 
 whom it might be offered. He at once suggested 
 Herder, who was thoroughly tired of his position at 
 Piickeburg, and thinking of accepting a professorship 
 at Gottingen. The majority of the clergy of the duchy 
 were by no means delighted with the proposal, for 
 Herder had the reputation of being a heretic ; but 
 Goethe never grudged labour undertaken for a friend, 
 and worked so hard, and with so much tact, in Herder's 
 interest, that all difficulties were overcome. Herder 
 came to Weimar in 1776, and soon made a great mark, 
 not only as a preacher, but as an earnest promoter of 
 every scheme for the public welfare. At Weimar he 
 wrote his " Ideen zur Philosophic der Geschichte der 
 Menschhcit " ("Ideas towards the Philosophy of the His- 
 tory of Humanity "), which, although only a fragment, 
 displays so wide a knowledge, so firm a grasp of great 
 principles, and so deep an appreciation of all that makes
 
 90 LIFE OF 
 
 for the highest ideals, that it can never lose its place as 
 one of the treasures of German literature. For many 
 years Goethe and Herder had much pleasant intercourse 
 in Weimar, and encouraged each other in work by 
 mutual sympathy. 
 
 The Duke became so attached to Goethe that he was 
 resolved they should never part, and accordingly he 
 expressed to the high officials of his Government his 
 wish that his friend should be admitted into the public 
 service. The proposal met with vehement opposition, 
 for grave old councillors found it impossible to believe 
 that a poet could be capable of attending to business. 
 The Duke, however, warmly supported by his mother, 
 insisted on having his own way. 
 
 The elder Goethe strongly disliked the idea of his son 
 entering the service of a prince. Brought up in a free 
 imperial city, he had a decidedly Republican feeling, 
 subject, of course, to loyalty to the Emperor, which was 
 rather a nominal that a real obligation. Moreover, he 
 had always hoped that his son would become an eminent 
 Frankfort lawyer, and that he himself and his wife would 
 have the pleasure of welcoming to their home a daughter- 
 in-law whom they could love. Goethe, however, felt 
 that it would be impossible for him to go back to Frank- 
 fort. He had not been happy there ; he still disliked 
 the work of an advocate ; he longed to be independent ; 
 and he knew that he would receive every consideration 
 from the Duke, the Duchess, and the Duchess Dowager, 
 for all of whom he had a sincere regard. On the other 
 hand, he did not wish to bind himself absolutely to re- 
 main in Weimar. It was necessary that he should be at
 
 GOETHE. 91 
 
 liberty to leave it at any time when he might desire to go. 
 This he stated to the Duke, and so the matter was arranged. 
 
 In the spring of 1776, Goethe was formally appointed a 
 member of the Privy Council, with the title of " Geheimer 
 Legationsrath," Privy Councillor of Legation. His salary, 
 which was gradually increased, was at first 1,200 thalers 
 (;£i8o). The Duke, as a special mark of favour, provided 
 for him a house overlooking the Ilm, and surrounded by 
 a pleasant garden. It was in the Park beyond the town, 
 so that Goethe was able to have perfect quiet, and to en- 
 joy to his heart's content solitary strolls along the banks of 
 the stream flowing past his dwelling. Here he lived for 
 some years, his household consisting of his valet Seidel, 
 whom he had brought with him from Frankfort ; a man 
 servant ; and an elderly woman who acted as cook. After- 
 wards he took a house in Weimar, and spent only the 
 summer months in his garden-house. 
 
 By the time he definitely took up his abode in Weimar, 
 he had formed a relation which was to exercise a power- 
 ful influence over him during the following ten years — 
 his relation to Charlotte von Stein. In Frankfort he had 
 seen her silhouette, which was to appear in Lavater's book 
 on Physiognomy. Under it he wrote, " It would be 
 splendid to see how the world reflects itself in this 
 soul. She sees the world as it is, yet through the 
 medium of love. Mildness is, therefore, the general im- 
 pression." So vividly did the face appear before him 
 that it kept him awake during three successive nights. 
 On the other hand, Frau von Stein was familiar with, 
 and strongly admired, Goethe's writings. They were thus 
 prepared to think well of one another.
 
 92 LIFE OF 
 
 When Goethe arrived in Weimar, she was at her 
 estate, Kochberg; but she soon returned, and he was 
 introduced to her at court by the Duke. She was six 
 years older than Goethe, had been married eleven 
 years, and was the mother of seven children ; and she 
 had no very remarkable intellectual gifts. She had, 
 however, delicate grace and beauty, fine tact, and 
 warm sympathy with all that seemed to her best and 
 greatest in life and literature ; and these qualities drew 
 Goethe towards her with an irresistible attraction. At 
 first his expressions of regard and admiration — after the 
 fashion of the time — w r ere so ardent that she was rather 
 alarmed, and took care that he should not see her too 
 often ; but by and by he showed the most tender respect 
 for her wishes, and so there grew up between them a true, 
 pure, and noble friendship. There were few days when 
 they did not meet. When either was from home, he sent 
 her long letters telling her everything that happened ; 
 and even when both were in Weimar, little notes con- 
 taining kindly greetings constantly passed between them. 
 Goethe confided to her all his cares and anxieties, and 
 she never failed to strengthen him, and give him fresh 
 courage, by her sympathy. His thoughts, studies, and 
 plans of work he also spoke of, and she sought not only 
 to understand them and to share the pleasure they gave 
 him, but to encourage him in all his high undertakings. 
 If sometimes there were misunderstandings, they soon 
 vanished, and Goethe could write to her that the tor- 
 ment due to such experiences was " the sunlit rain 
 (Sonnen-Regen) of love." 
 
 With Frau von Stein's husband, who held the office
 
 GOETHE. 93 
 
 of master of the horse, Goethe was on the best of 
 terms. He was a sensible, practical person, who did not 
 interfere with his wife's friendships ; and the idea that 
 there was any reason why he should be jealous of Goethe 
 seems never to have entered his mind. Goethe's letters 
 to her were often enclosed in letters to her husband. Her 
 children always welcomed Goethe with cries of delight. In 
 this respect they were not different from other children ; 
 it was one of his characteristics that young people 
 invariably felt, by a kind of instinct, that he was their 
 friend. 
 
 While attending the University of Leipsic, he had 
 been much impressed by the singing of a young public 
 singer called Corona Schroter, and during a short visit to 
 Leipsic in 1776, all his old enthusiasm for her was re- 
 vived. The result was that she was asked to come to 
 Weimar as a singer in the chamber concerts of the 
 Duchess Dowager. She accepted the invitation, and 
 spent at Weimar the greater part of the rest of her life. 
 She was very handsome, and not only a good singer, but 
 an admirable actress. Goethe was thrown much into her 
 society, and liked her so well that she necessarily has a 
 place in his biography. She was not, however, one of the 
 women who left their mark deeply on his inward life and 
 on his poetry. 
 
 A profound change passed over Goethe's character 
 during the early years of his residence at Weimar. This 
 change was partly a natural evolution, partly the result 
 of deliberate and long-continued effort. He became 
 painfully conscious of the fact that in the past he had 
 allowed himself to be swayed too much by momentary
 
 94 LIFE OF 
 
 impulses, that he had cherished wild desires which had 
 no real relation to the facts of existence, that his happi- 
 ness had been at the mercy of passing moods, some of 
 the darkest of which had sprung from too intense a 
 concentration of thought on his own feelings. It became 
 his fixed purpose that all this should come to an end, 
 that he should acquire firm control over himself, and 
 that his powers should be disciplined to work steadily for 
 lofty but clearly-defined and attainable ends. "A calm 
 glance back on my past life," he wrote in his diary on 
 the 7th of August, 1779, "on the confusion, restlessness, 
 lust after knowledge, of youth, how it roams about 
 everywhere to find something satisfying. How, especi- 
 ally, I found delight in mysteries — '.n dark, imaginary 
 relations. How, when occupied with anything scientific, 
 I only half attacked it, and soon let it pass ; how a sort 
 of humble self-complacency goes through all I then 
 wrote. With how little insight I moved round and round 
 in human and divine things. How there was as little of 
 action as of thought and poetry directed to an aim ; 
 how many days were wasted in time-destroying sentiment 
 and shadow-passions ; how little good came to me 
 therefrom ; and how, now that the half of life is past, 
 there is no way back, but I simply stand here as one 
 who has saved himself from the water, and whom the 
 sun begins beneficently to dry. The time I have spent 
 in the rush of the world, since October, '75, I do not 
 yet trust myself to review. God help further and give 
 lights, so that we may not stand so much in our own 
 way ; cause us to do from morning to night what is 
 fitting ; and give us clear ideas of the consequences of
 
 GOETHE. 95 
 
 things, so that one may not be like men who complain 
 ail day of headache and dose themselves for headache, 
 and every evening take too much wine ! May the idea of 
 purity, extending itself even to the morsel I take into my 
 mouth, become ever more luminous in me ! " On the 
 13th of May, 1780, he wrote : " In my present surround- 
 ings, I have little, hardly any, hindrance outside of myself. 
 In myself there is still much. Human frailties are 
 thorough tapeworms; one tears away a piece, but the 
 stock remains where it was. I will yet, however, be 
 master. No one save he who wholly renounces self is 
 worthy to rule, or can rule." 
 
 How sternly he disciplined himself, and with what 
 magnificent success, we may see from the manner in 
 which he discharged his duties at Weimar. It must 
 have been hard for a poet of quick sensibilities to grapple 
 with the difficulties of business, yet he shrank from no 
 obligation, however severe the demands it might make 
 on his temper and patience. The sittings of the Privy 
 Council he attended with strict regularity, and he 
 made a point of mastering every important document- 
 submitted to it, so that his judgment might be of real 
 service to the State. He devoted especial attention to 
 questions connected with finance, and so wisely did he 
 deal with them, seeking to secure at once economy and 
 efficiency, that he excited the astonishment and admira- 
 tion of those who had doubted the fitness of a poet for 
 the practical work of life. 
 
 It was not only in the Council that Goethe had to do 
 difficult service. He was intrusted by the Duke with 
 many special duties, all of which he fulfilled with scrupu-
 
 96 LIFE OF 
 
 lous care. He had frequently, for instance, to carry on 
 negotiations with the Estates of the two duchies, Weimar 
 and Eisenach, both of which were subject to the Duke ; 
 and in the exercise of this delicate function he displayed 
 unfailing firmness and tact. It was the Duke's desire 
 that the disused mines of Ilmenau should be reopened, 
 and in connection with this scheme Goethe worked 
 earnestly, studying the principles of mining, consulting 
 with men who had a right to an opinion on the subject, 
 and finally seeing that the undertaking was organized in 
 accordance with the most advanced methods. He was 
 made responsible for public works, and in this position 
 had much to say as to the plans for the new Schloss and 
 for the laying out of the Park in which his garden-house 
 was situated. The University of Jena, which was the 
 common property of the Saxon Duchies, he missed no 
 opportunity of benefiting ; and he did what he could for 
 popular education in Weimar. The small military force 
 of the duchy, consisting of six hundred men, was put 
 under his care, so far as administration was concerned ; 
 and he not only brought it to a high state of efficiency, 
 but made it less burdensome to the people by reforming 
 the system according to which the troops were levied. He 
 insisted that the soldiers should be treated by their officers 
 with more consideration than was in those days thought 
 to be safe or proper, and for soldiers' daughters he estab- 
 lished a school of spinning and embroidery, which he 
 placed under the charge of Seidel, whom he knew he could 
 trust. As he had to ride about a great deal in attending to 
 military matters, it was considered that no one could so 
 well manage everything connected with public highways ;
 
 GOETHE. 97 
 
 and this duty also he readily undertook. It became his 
 business, too, to look after the demesne lands, and here 
 one is glad to think he had the aid of a thoroughly com- 
 petent Englishman, George Batty, for whose energy, skill, 
 and good sense Goethe had profound respect. This part 
 of his work was congenial to his tastes, but we find him 
 on one occasion complaining bitterly that those in high 
 places consumed in a day more than could be pro- 
 duced in the same time by the labours of all the toilers 
 on the estates under his charge. 
 
 In discharging the various duties imposed upon him, 
 Goethe became the soul of the entire administrative 
 system, and diffused through all its branches much of his 
 own vigour and thoroughness. As he did his own work 
 honestly, he would take no dishonest work from others ; 
 and this came to be well understood by every one who 
 had to carry out his orders. For a long time he was not 
 unhappy in his labours. "The pressure of affairs," he 
 wrote in 1779, " is very good for the mind; when it has 
 disburdened itself, it plays more freely and enjoys life. 
 There is nothing more miserable than a comfortable man 
 without work." Again : " Many a time I feel as if I 
 ought, like Polycrates, to throw my most precious jewel 
 into the water. In everything I undertake I have luck." 
 
 During these years Goethe disciplined the body not 
 less strictly than the mind. He slept on a straw mattrass, 
 and drank only half the quantity of wine to which he 
 had formerly accustomed himself. Riding, walking, 
 fencing, and other forms of physical exercise he delighted 
 in ; and — what must then have been thought an extra- 
 ordinary eccentricity — he took cold baths regularly in 
 
 7
 
 98 LIFE OF 
 
 winter as well as in summer. The result of all this was 
 that he enjoyed better health than at any previous period 
 of his life. 
 
 His manner necessarily changed to some extent in 
 accordance with the change in his character. He was 
 still occasionally capable of the frank and genial out- 
 bursts of feeling that had so often delighted his com- 
 rades in the days of " Sturm und Drang," but, upon the 
 whole, he became more calm, sedate, and reserved. This 
 did not mean that there was any diminution of the kindly 
 impulses of his character. Every one who knew him 
 well was aware that the fine spirit of humanity that had 
 welled up so freely in his nature in the early part of his 
 life never, as years went on, lost its original depth and 
 freshness. In the winter of 1777 he went to the Harz 
 mountains, and one of his objects in undertaking the 
 journey was to see whether he could not help a young 
 man who, although a perfect stranger to him, had ven- 
 tured to tell him, by letter, of troubles that made life 
 intolerable. An unfortunate man who, although also a 
 stranger, appealed to Goethe, received an appointment 
 at Ilmenau, where Goethe not only gave him material 
 aid, but with constant kindness and sympathy encouraged 
 him to maintain his own self-respect by doing valuable 
 work. " Goethe," wrote Merck, while visiting his old 
 friend, " directs everything, and every one is pleased with 
 him, for he serves many and hurts none. Who can resist 
 the unselfishness of the man ? " 
 
 In 1778 Goethe spent some days with the Duke in 
 Berlin, and in the autumn of the following year they went 
 together to Switzerland. On the way to Switzerland
 
 GOETHE. 99 
 
 Goethe rode out from Strasburg to Sesenheim, and 
 spent a night in the parsonage. He was touched 
 by the frank and kindly way in which Frederika Brion 
 received him, and, as he said good-bye, felt with relief 
 that in future he might think of her with an ^easier mind. 
 In Strasburg he visited Frau von Turckheim, who was 
 no other than Lili, now the wife of a rich banker, and 
 a mother. At Emmendingen he stood by the grave 
 of his sister, who, to his great sorrow, had died in 1777. 
 " Aunt Fahlmer " had become Schlosser's wife, and it 
 made a strange impression on Goethe to see her in his 
 sister's place. At Frankfort the party were hospitably 
 received by his mother. His father, now an old 
 man, was less genial, for he had never quite recovered 
 from the disappointment caused by Goethe's choice of a 
 career at Weimar. Goethe did not again see his father, 
 who died in 1782. 
 
 A few days before he started for Switzerland Goethe 
 had been made a " Geheimerath," and in 1782 he 
 became President of the Chamber of Finance. In the 
 same year he received a patent of nobility, so that 
 he was from this time Johann Wolfgang von Goethe. 
 Any pleasure he may have derived from this honour 
 was due to the fact that it did away with some incon- 
 veniences arising from the etiquette of the petty German 
 Courts. 
 
 In 1783, being jaded by overwork, he restored himself 
 to fresh vigour by a second visit to the Harz moun- 
 tains. This tour was made doubly pleasant by the fact 
 that he had with him Frau von Stein's son Fritz, a clever 
 boy for whom he had a warm affection. With Frau von
 
 100 LIFE OF 
 
 Stein's sanction, Goethe had taken Fritz to live with him, 
 and it was a constant delight to him to have the boy's 
 companionship, to direct his education, and to watch the 
 gradual unfolding of his mind and character. 
 
 During this period Goethe entered upon the scientific 
 investigations which were to occupy many of the best hours 
 of his life. Almost from boyhood he had had a strong 
 inclination for the study of science. At Leipsic he ' 
 attended lectures on physics and medicine, and at 
 Strasburg, as we have seen, he gave some attention to 
 various branches of biology. Now he devoted himself to 
 science with an enthusiasm not less fervent than that 
 with which he had devoted himself to literature. He 
 began with mineralogy, to which he was led by his 
 labours in connection with the Ilmenau mines, and 
 mineralogy soon made it necessary for him to turn his 
 thoughts to geology. Afterwards he occupied himself 
 chiefly with osteology and botany. For his investigations 
 in all these subjects he had considerable advantages. 
 The collections at the University of Jena were of course 
 at his disposal, and the scientific professors were only too 
 glad to have a chance of giving him what aid they could. 
 In botany he was able to carry on long series of 
 researches in his garden, and in the forests of the duchy, 
 which he had frequently to visit as an administrator. He 
 took up the study of science in a serious spirit, and, as 
 the results proved, he had a high capacity for it. He 
 was a careful and most exact observer, and his imagina- 
 tion, so far from standing in his way, was the power to 
 which he owed the greatest and most fertile of his ideas. 
 
 It was in osteology that he made his first important
 
 GOETHE. 101 
 
 discovery. In the study of this branch of anatomy he 
 was interested mainly in the points of comparison 
 between the human skeleton and the skeletons of other 
 vertebrates. It was generally held that the intermaxillary 
 bone, which is found in the upper jaw of some 
 animals, is wanting in man, and this was regarded as 
 a proof of the doctrine that the physical nature of 
 * man is vitally distinguished from that of other living 
 creatures. On March 27, 1784, while examining various 
 bones with his friend Professor Loder, of the University 
 of Jena, Goethe was greatly surprised to discover 
 what he believed to be the intermaxillary bone in a 
 human jaw. He lost no time in comparing it with the 
 various forms assumed by the bone in different species 
 of animals, and the more widely the comparison was 
 extended the more sure he became that he was right. 
 The results of his researches he set forth in an essay, 
 illustrated by drawings. This essay, which is a model of 
 lucid statement, was translated into Latin, and submitted 
 to several men, of science. It was not, however, pub- 
 lished until about thirty years afterwards. 
 
 Goethe's discovery of the intermaxillary bone in a 
 human jaw finally disposed of the notion that it is 
 possible to draw a sharp line of distinction between the 
 physical nature of man and that of other vertebrates. And 
 it led Goethe to the theory that all organic beings of the 
 same class are formed in accordance with ideal types or 
 patterns, which Nature modifies indefinitely to suit 
 varying conditions. This conception marked an epoch 
 in the history of scientific thought, for by fastening 
 attention on the fact that organic beings of the same
 
 102 LIFE OF 
 
 class, however widely their organs may seem to differ 
 from one another, have a fundamental agreement in 
 structure, it directly prepared the way for the discovery 
 of the law of evolution, in which this fact is taken up 
 and explained. 
 
 It was impossible for Goethe, while occupied so much 
 with science and public affairs, to devote his best energies 
 to imaginative creation. He did not, however, wholly 
 neglect literature. In 1776 he planned a great prose 
 drama, " Iphigenie," and in 1779 it was written to his 
 dictation. The play was represented with brilliant 
 success at the Weimar Court, Corona Schroter taking 
 the part of the heroine, and Goethe himself that 
 of Orestes. It is wholly different, both in conception 
 and execution, from his earlier dramas. It contains no 
 violent outbursts of passionate feeling; the diction is 
 measured and dignified ; and the utmost pains are taken 
 to secure that the various parts shall each have the place 
 that properly belongs to them in the general scheme. It 
 has often been said that the change in Goethe's method, 
 from the frank, glowing style of the works by which he 
 established his fame, to the consciously artistic style of 
 his mature writings, was wholly due to the impressions 
 derived during his visit to Italy. In reality, as the prose 
 "Iphigenie" shows, it began long before he went to Italy; 
 and no doubt we must to some extent associate it with 
 the change which passed over his character as a whole. 
 Goethe's aim was, above all things, to master himself, 
 to have every element of his nature under control ; and 
 it was inevitable that the strenuous efforts he made to 
 attain this object should leave their mark on his art as 
 well as on his practical life.
 
 GOETHE. 103 
 
 In 1777 Goethe began "Wilhelm Meister ; " and, 
 stimulated by Frau von Stein, whom the work greatly 
 interested, he returned to it again and again during the 
 following eight years. He also wrote a part of a prose 
 play, " Torquato Tasso," and various minor prose 
 dramatic pieces, intended for the amusement of the 
 Court, before which they were represented. To this 
 period, too, belong various powerful poems, one of the 
 most remarkable of which is the "Harzreise im Winter" 
 ("The Harz Journey in Winter"), presenting his 
 thoughts and feelings on the day when he climbed to the 
 top of the Brocken in the winter of 1777. In another 
 poem of this time, " Ilmenau," written in 1783 as a 
 birthday-gift for the Duke, Goethe showed how high and 
 sacred, as he conceived them, were the duties owed by a 
 ruler to his subjects. A third poem, " Die Geheimnisse " 
 ("The Secrets "), begun in 1784, is unfortunately only a 
 splendid fragment. If completed, it would have given 
 form to all that Goethe had thought about the relations 
 of the great religious movements of the world to man's 
 deepest spiritual needs. 
 
 While he was slowly working out a new ideal, both in 
 his character and in his art, the intellectual movement 
 in Germany, of which he had been considered the chief 
 representative, retained all its original characteristics. In 
 1 78 1 Schiller began his career with his wild play, "The 
 Robbers ; " and other young writers, with little of his 
 power, found it easy to imitate his extravagance. To 
 Goethe the prevailing tone of the literature of the time — 
 although he himself was in some degree responsible for it 
 > — became deeply repugnant, and he turned from it with
 
 104 LIFE OF 
 
 more and more dislike, finding refuge in the calmer realms 
 of philosophy and science. Even his friend Jacobi 
 contrived to displease him. Jacobi's " Woldemar ' 
 appeared in 1779, an< ^ i ts sentimentalism — reproducing 
 the sentimentalism of " Werther " — seemed to Goethe so 
 ridiculous that one day, in the Park at the Duchess Dowa- 
 ger's residence at Ettersburg, he climbed a tree and nailed 
 the book to a branch as a warning to literary evil-doers. 
 Unfortunately Jacobi heard of this mad prank, and took 
 serious offence. After some time, however, Goethe 
 wrote to him in a tone of such sincere, although indirect, 
 apology that Jacobi understood at once that less had 
 been intended than he had thought. In 1784 he came 
 to see Goethe at Weimar, and their friendship was never 
 again interrupted. 
 
 When Goethe had been about ten years at Weimar, 
 he began to feel that some change of life was absolutely 
 essential. He had worked hard, steadily, and loyally in 
 the fulfilment of difficult duties, and longed for a time 
 of relief, during which his mind might expand freely and 
 be enriched by fresh impressions. From early boyhood 
 he had often wished to visit Italy, and this yearning was 
 now revived with almost painful intensity. At last he 
 decided that, at whatever cost, his desire should be 
 gratified. Late in July, 1786, he went, as he had 
 repeatedly gone in previous summers, to Carlsbad, where 
 he met Frau von Stein, Herder and his wife, and the 
 Duke ; and a little more than a month afterwards he 
 started on his travels. He had accompanied Frau von 
 Stein a part of the way back to Weimar, but even to 
 her he had said nothing about his approaching journey.
 
 GOETHE. 105 
 
 Nor, in writing to the Duke for leave of absence, did 
 he speak of his destination. He had a kind of super- 
 stitious feeling that if the secret were let out his scheme 
 might be thwarted. 
 
 Simultaneously with the return of his desire for Italy 
 Goethe was conscious of a reawakening of his poetic 
 genius. He began to think seriously of his unfinished 
 plans, and to dream of new achievements. Finally he 
 arranged with Goschen, a Leipsic bookseller (the grand- 
 father of Mr. Goschen, the English statesmen), for the 
 publication of a collected edition of his writings in eight 
 volumes. The contents of four of these volumes he 
 prepared for the press before quitting Carlsbad.
 
 CHAPTER VI. 
 
 HARDLY. had Goethe set foot on Italian ground 
 when he began to feel something of the joy and 
 elasticity of temper for which he had been longing. He 
 was absolutely his own master again, and all around him 
 was the sunny land which he greeted as, in some sense, 
 the true home of his spirit. The people, too, with their 
 natural grace and courtesy, delighted him, and their 
 speech fell softly and pleasantly on his ears. He had 
 never had keener pleasure than he felt in looking 
 forward to the happy days and weeks that were before 
 him. 
 
 During his visit to Italy he wrote a large number 
 of letters, most of which were addressed to Frau von 
 Stein. Long afterwards he issued some of them, care- 
 fully edited, as one of the supplements of his auto- 
 biography, giving them the general title, " Italienische 
 Reise " (" Italian Journey "). These letters have all the 
 freshness of immediate impressions, yet we find in them 
 only so much detail as is necessary to give brightness 
 and animation to his pictures of the central elements of 
 interest that meet him on his way. In every letter we
 
 LIFE OF GOETHE. 107 
 
 feel the influence of a deep enthusiasm, but it is an 
 enthusiasm that never distorts his vision or injures the 
 noble simplicity and purity of his style. 
 
 He entered Italy from the Tyrol, and the first im- 
 portant town at which he stopped was Verona. From 
 Verona he went to Vicenza, and so, through Padua, 
 to Venice. At Venice he remained three weeks, allow- 
 ing its splendours to impress themselves deeply on 
 his 'imagination. He then went to Bologna, which he 
 ever afterwards associated with the charm of Raphael's 
 St. Agatha. In his thoughts about Italy it had always 
 been Rome of which he had chiefly dreamed, and now 
 his longing to be there became so overwhelming that 
 he hurried over what remained of the journey, staying 
 only three hours at Florence. In view of the joy that 
 was to come he was scarcely conscious of the incon- 
 veniences of travel. "If I am dragged to Rome on 
 Ixion's wheel," he wrote, " I will not complain." 
 
 On October 29, 17S6, he drove into Rome through 
 the Porta del Popolo. " Yes," he wrote a day or two 
 afterwards, " I have at last arrived at the capital of the 
 world ! . . . All the dreams of my youth are now 
 realized. The first engravings I remember — my father 
 had hung the views of Rome in an entrance-hall — I 
 see now in reality, and all the things I have long known 
 from paintings and drawings, from copper-plates and 
 wood-cuts, from plaster casts and cork models, stand 
 together before me. Wherever I go, I find an acquaint- 
 ance in a new world ; it is all as I had conceived it, 
 and all new. The like I may say of my observations, 
 of my ideas. I have had no new thoughts, have found
 
 108 LIFE OF 
 
 nothing quite strange, but the old thoughts have been 
 so defined, they have become so thoroughly alive, they 
 have been brought into such harmonious relation to 
 one another, that they may pass for new. When Pyg- 
 malion's Elise, whom he had formed absolutely in 
 accordance with his wishes, and to whom he had given 
 as much truth and reality as were within the scope of 
 art, at last came to him, and said, ' It is I,' how different 
 was the living woman from the sculptured stone ! " 
 
 While at Rome, Goethe realized with new vividness all 
 that the mighty city had been to the world in the remote 
 ages when on her had been imposed the task of guiding 
 it to higher destinies. And he worked hard to think 
 himself back into the Rome of ancient times. This, he 
 confesses in one of his letters, was no easy task. " It is 
 a sour and sad undertaking," he writes, "to pick out the 
 old Rome from the new. . . . One comes upon traces of 
 a splendour and of a destruction, both of which go beyond 
 our conceptions. What the barbarians allowed to stand, 
 the architects of modern Rome have laid waste." Grad- 
 ually, however, a living idea of the ancient city was formed 
 in his mind. " Roman antiquities," he wrote about two 
 months after his arrival, " begin to delight me. History, 
 inscriptions, medals, of which I might otherwise have 
 known nothing, all crowd in on me. As it happened to 
 me in natural history, so it happens here; for in this 
 place the entire history of the world centres, and I count 
 as a second birthday, the day of a real new birth, that on 
 which I entered Rome." With regard to the significance 
 of the remains of ancient art in Rcme, Winckelmann had 
 introduced a wholly new order of ideas, and Goethe
 
 GOETHE. 109 
 
 owed much to him in the appreciation of the Apollo 
 Belvedere and all the other masterpieces of sculpture he 
 had now an opportunity of studying. He was astonished 
 to find how little he had learned from plaster casts. The 
 breath of life, it seemed, to him, was to be felt only in the 
 original marble figures. The fascination exerted by 
 ancient statues led him to renew, but in a higher way, 
 the studies of the human body which he had formerly 
 carried on through anatomy. " In our medico-surgical 
 anatomy," he says, "all that is aimed at is a knowledge 
 of the part, and for this a wretched muscle is enough. 
 Eut in Rome the parts are worth nothing if they do not 
 at the same time present a noble, beautiful form." 
 
 The art of the Renascence, as represented in Rome, 
 stirred in Goethe an interest not less profound than that 
 awakened by ancient sculpture. Long before, when as a 
 young student he visited Dresden, the pictures which had 
 appealed to him most strongly were those of the Dutch 
 school. Now he felt the power of the ideal art of 
 Italy in her great period. He was fascinated by the 
 Loggie of Raphael, at the Vatican, but even they seemed 
 of slight importance in comparison with the masterpieces 
 of Michael Angelo in the Sixtine Chapel. " I could," 
 he says, writing of these sublime conceptions, " only gaze 
 and stand amazed. The inward sureness and manliness 
 of the master, his greatness, go beyond all expression." 
 
 He did not fail, of course, to make pilgrimages to the 
 great churches, and in one of his letters he describes how, 
 after a visit to the Sixtine Chapel, he went with his friend 
 Tischbein to St. Peter's, " which received the most 
 beautiful light from the cheerful sky, and appeared in all
 
 110 LIFE OF 
 
 its parts bright' and clear." " As men who had come to 
 enjoy what we were to see, we delighted in its greatness 
 and splendour, without allowing ourselves, this time, to be 
 misled by a taste too fastidious and intelligent. We sup- 
 pressed every unfavourable judgment, and delighted in 
 what was delightful." 
 
 Anxious that nothing should stand in the way of his 
 full enjoyment of "the capital of the world," Goethe 
 avoided as far as possible all association with " the 
 great." He had, however, several friends with whom he 
 had pleasant intercourse. The most intimate of them 
 was Tischbein, a good German artist, whom he had 
 known for several years. Go2the occupied two rooms 
 in Tischbein's house, and obtained from him much 
 help in the study both of ancient and of modern art. 
 Another of his friends at Rome was Meyer, a Swiss 
 artist, who delighted him as much by the charm of his 
 personal character as by his artistic skill and knowledge. 
 Goethe was also greatly attracted by Moritz, a writer who 
 had made some reputation as the author of a book of 
 travels in England, and was now collecting materials for a 
 like book on Italy. Angelica Kaufmann, who had settled 
 in Rome after her departure from London, welcomed 
 Goethe cordially to her home, and he soon held her in 
 high esteem. With these and other friends he spent 
 many happy hours, and his delight in the new world 
 opened to him in Rome was, if possible, deepened and 
 intensified by their sympathy. 
 
 From the time when Goethe had taken lessons in 
 drawing from Oeser at Leipsic he had never lost the wish 
 to become a skilful artist ; and at Weimar he had dis-
 
 GOETHE. Ill 
 
 played considerable aptitude for portraiture. Now, when 
 he had so many opportunities of indulging his taste, he 
 took great pains to improve himself in drawing, painting, 
 and modelling. For some time he even debated with 
 himself whether he ought not to become an artist by 
 profession. He did not long, however, remain in doubt. 
 Although, with Tischbein's help, he made good progress, 
 he was obliged to admit that nature had denied to him 
 the capacity of achieving, in art, work that in any way 
 corresponded to his lofty ideal of what such work should 
 be. 
 
 He had brought with him from Weimar many writings 
 which he proposed either to complete or to re-cast for the 
 new edition of his works. The first task undertaken was 
 the transformation of "Iphigenie" from a prose to a 
 poetical drama, and he had worked at it more or less 
 steadily at all the places at which he had stopped before 
 reaching Rome. It had also frequently occupied his 
 thoughts while he travelled from one point of his journey 
 to another. At Bologna, while he stood before Raphael's 
 St Agatha, his conception of the character of Iphigenie 
 assumed a new and higher form. " I remarked the 
 figure well," he afterwards wrote ; " in mind I shall read 
 my ' Iphigenie ' to her, and my heroine shall say nothing 
 that the saint might not utter." In Rome the writing of 
 " Iphigenie " formed from day to day, until the work 
 was completed, the central interest around which all his 
 other occupations grouped themselves. On the 12th of 
 December the drama received its last touches, and it was 
 soon afterwards read to a group of his friends. They 
 had expected that the play would resemble " Goetz von
 
 112 LIFE OF 
 
 Berlichingen," and Goethe saw only too plainly that it 
 disappointed them. Angelica Kaufmann alone had 
 something like an adequate idea of its importance. 
 
 About this time Goethe received a friendly letter from 
 the Duke of Weimar extending his leave of absence 
 indefinitely. He resolved to profit to the utmost by the 
 opportunity thus provided for him, and on the 22nd of 
 February, 1787, he started with Tischbein for Naples. 
 As they approached the city, he was powerfully impressed 
 by the view of Vesuvius, from which great masses of 
 smoke were issuing. The liveliness and good humour of 
 the people of Naples enchanted him, and he found in- 
 exhaustible sources of delight in the beauty of the town 
 itself, in the bright southern sky, and in all the splendours 
 of nature that constantly presented themselves in new 
 aspects both on land and sea. Twice he climbed 
 Vesuvius, and on both occasions he described his ex- 
 periences in letters that bring the scene before us almost 
 with the vividness of reality. As in Rome, so in Naples 
 he made himself familiar with every treasure of ancient 
 and modern art that was accessible to him, and his con- 
 ception of the old Roman world was at once enlarged 
 and made more definite by visits to Pompeii, Hercula- 
 neum, and Psestum. " I have seen much and thought 
 still more," he wrote on the 17th of March ; " the world 
 opens itself more and more ; even the things I have 
 long known become now for the first time my own." 
 In the same letter, however, he says : " Many a time I 
 think of Rousseau and his hypochondriacal misery, and 
 yet it becomes intelligible to me how so fine an organiza- 
 tion might be thrown off its balance. Did I not take such
 
 GOETHE. 113 
 
 an interest in natural things, and did I not see that in the 
 apparent confusion a hundred observations are capable 
 of being compared and classified, as a land surveyor 
 corrects many single measurements by one line drawn 
 through them, I should often consider myself mad." 
 
 On the 29th of March, 1787, accompanied by Kniep, 
 a German artist settled at Naples, Goethe embarked for 
 Sicily. Sixteen days he remained at Palermo, where art 
 and nature combined to give him a happiness that seems 
 to have been absolutely unalloyed. He then made for 
 Alcamo and Segesta, visited Girgenti and Catania, 
 climbed a part of Mount Etna, and finally arrived at 
 Messina, whence he returned by sea to Naples. His 
 letters, written for Frau von Stein, in the form of a 
 diary, reproduce with astonishing power, yet with perfect 
 simplicity, the impressions produced upon him during 
 his visit to Sicily. He studied closely the remains of 
 Greek architecture, and at the same time carried on his 
 scientific investigations, which had occupied him at every 
 favourable opportunity from the day of his arrival in 
 Italy. These investigations had become more attractive 
 to him than ever, for he had now a clear conception 
 of the main outlines of his great discovery of the meta- 
 morphosis of plants. 
 
 On the 6th of June he was once more in Rome. It 
 was his intention to return to Weimar soon, but Rome 
 exercised so irresistible a power over him that nearly a 
 year passed before he could bring himself to leave it. 
 All that he had seen before his departure for Naples 
 he studied again and again, and almost daily he found 
 objects of interest that had been overlooked. During 
 
 S
 
 114 LIFE OF 
 
 this time his idea of Rome and of its greatest possessions- 
 became so full, accurate, and vivid that it was never in the 
 faintest degree blurred by the events of his later life. 
 
 He looked forward with the deepest interest to the 
 great ceremonies of the Roman Church during Passion 
 Week, and they seem to have given him a wholly new 
 conception of the service art may be made to render to 
 religion. Writing of a Mass in the Sixtine Chapel, at- 
 tended by the Pope and the Cardinals, he says he does 
 not wonder that strangers are often unable to contain 
 themselves in the presence of a spectacle at once so- 
 great and so simple. The ceremonies in the Sixtine 
 Chapel on the morning of Easter Day filled him with 
 admiration, and appeared to him a striking proof of the 
 fact that at Rome the Church had penetrated deeply into- 
 the spirit of " the Christian traditions." 
 
 In his literary work his progress was less rapid than he 
 had expected. He was able, however, to achieve some 
 important results. Among his papers was an unfinished 
 prose drama, " Egmont," which dated from about the 
 time when he had written " Stella." He had often 
 thought of completing it at Weimar, but had never 
 accomplished his purpose. Now he gave the play its 
 final form, partly re-casting it ; but re-writing it, as 
 originally planned, in prose. He also improved the less 
 important works, "Erwin and Elmire" and "Claudine 
 von Villa Bella." 
 
 Another of his papers, frayed at the edges and grey 
 with age, was " Faust," in the form in which he had 
 taken it from Frankfort to Weimar. It was hard for 
 him, after so long an interval, to take up this work at the
 
 GOETHE. 115 
 
 point at which he had left it. On the ist of March, 
 1788, however, he wrote that he had " found the thread 
 again," and that "the plan for 'Faust' was made." At 
 Rome he wrote "Die Hexenkiiche" ("The Witches' 
 Kitchen "), one of the most striking scenes in " Faust," 
 a scene at which, no doubt, his imagination worked all 
 the more freely from the strange contrast it presented 
 to the actual world in the midst of which it was con- 
 ceived. In this scene there is one slight indication of 
 the difficulty he must have experienced in carrying on 
 the work in the spirit in which it had been begun. Faust 
 in the first monologue says he has had pupils for ten 
 years. This means that he cannot be much more than 
 thirty years old. In the "Hexenkiiche " he is presented 
 as a man over fifty, for he speaks of the possibility of his 
 youth being renewed by thirty years being struck out of 
 his life. Goethe never detected this curious contradiction. 
 At last it became necessary for him to drag himself 
 away from the city he now knew and loved so well. On 
 the evening of the 21st of April, iySS', he strolled with 
 some friends along the Corso in the moonlight, and 
 visited for the last time the Capitol and the Colosseum. 
 Next day he was travelling towards the North. On the 
 way he spent some time at Florence and Milan, and on 
 the 1 8th of June he re-entered Weimar.
 
 CHAPTER VII. 
 
 GOETHE was in his thirty-ninth year when he 
 returned to the little capital from which he was 
 never again to be so long absent. His visit to Italy had 
 done for him all, and more than all, he had hoped for. 
 It had stilled a great longing; it had enriched his mental 
 life by bringing him into contact with nature in some of 
 her most alluring aspects and with many of the loftiest 
 creations of human genius j it had renewed his con- 
 sciousness of strength as a poet, and filled him with an 
 ardent desire to exercise it in the achievement of higher 
 results than any to which he had yet attained. 
 
 He knew well that if he allowed himself again to be 
 absorbed by business he would necessarily be turned 
 aside from his true destiny. This he had, in effect, com- 
 municated to the Duke in letters from Italy ; and as the 
 Duke not only had a sincere love for Goethe, but felt 
 that he himself was now fitted to undertake, in reality as 
 well as in name, the supreme control of affairs, he was 
 willing to assent to any arrangement his friend might 
 propose. It was therefore decided that Goethe should 
 be relieved of most of the duties he had discharged
 
 LIFE OF GOETHE. 117 
 
 before going to Italy. He retained, however, the position 
 of a Minister of State, and continued for some years to 
 take an active part in the direction of the Ilmenau mines, 
 a work in which he was genuinely interested. To him 
 was also intrusted the authority which belonged to the 
 Duchy of Weimar in the government of the University 
 of Jena. 
 
 Goethe had returned with the full intention of main- 
 taining his friendship with Frau von Stein. It was, 
 however, impossible that their old relations should be 
 renewed. Her sympathy could not now be to him what 
 it had been, for during nearly two years he had accus- 
 tomed himself to live without the relief that had formerly 
 come from confidential talk with her about his inmost 
 thoughts and cares. Moreover, while he had come back 
 with a world of new ideas in his mind, she had no in- 
 terests with which he had not long been familiar ; and as 
 she was now a delicate woman of forty-four, it was im- 
 probable that she would be accessible to fresh influences. 
 With a woman's instinct, Frau von Stein at once detected 
 the change in Goethe, of which he himself was only half 
 conscious ; and she could not help showing that she 
 resented it. He, on the other hand, was repelled by 
 her coldness. Thus misunderstandings at once sprang 
 up, and both knew that they could never be wholly 
 removed. 
 
 A few weeks after his arrival at Weimar, Goethe was 
 walking one day in the Park when he was approached by 
 a girl of about twenty-three, of a humble position in life. 
 Her name was Christiane Vulpius. She had brought 
 with her a petition from her brother, who, after
 
 118 LIFE OF 
 
 studying at Jena, had betaken himself to literature, 
 and thought that Goethe might be willing to help him. 
 Goethe read the paper, but was far more interested in 
 the messenger than in the message. Christiane, although 
 not tall, had a good figure and a fresh pretty face, with 
 an honest, frank, lively expression in her fine blue eyes. 
 Goethe was charmed with her, and the result was that 
 she became his wife. At this stage their hands were not 
 formally joined in a church, but from the beginning 
 he never thought of their union as other than a true 
 marriage. Much idle gossip has been printed to Chris- 
 tiane's disadvantage — for the most part an echo of the 
 tittle-tattle of the Weimar Court, the ladies of which 
 could not bear to think of Goethe as the husband of a 
 woman who did not belong to their own class. In reality 
 she was a good and most loyal wife, and retained to the 
 last the warm love of her husband, who was never 
 happier than in her presence. When he was from home 
 he sent her long letters, all of which she kept as her 
 most sacred possessions. He talked to her freely about 
 his great botanical discovery, and did not find that the 
 subject was beyond her intelligence; and when he in- 
 trusted her with important private business, she dis- 
 played, in attending to it, decision, good sense, and 
 good feeling. She ruled his household, too, as he 
 liked it to be ruled, firmly, yet with kindness and 
 discretion. His mother received Christiane cordially 
 as her "dear daughter." 
 
 For some time Goethe and Christiane lived in seclusion 
 in his house in the Park, but their union could not long 
 be kept secret. When it became known, Frau von
 
 GOETHE. 119 
 
 Stein was furious. She was about to visit the Rhenish 
 baths, and before starting she addressed to him a letter 
 so bitter in its tone that he could not answer it for some 
 weeks. For the time the break between them was com- 
 plete. Afterwards they became good friends again, but 
 never, of course, on the old intimate terms. Frau von 
 Stein had the sympathy of all the Court ladies, with, 
 however, one notable exception, the Duchess, who 
 understood Goethe too well to speak of him harshly or 
 uncharitably. 
 
 No longer harassed by incessant business, and enjoy- 
 ing to the full his life with Christiane, Goethe had 
 resumed his literary work with enthusiasm. Its first- 
 fruits were his " Romische Elegien " (" Roman Elegies "), 
 in which he gave utterance to the delight he had ex- 
 perienced at Rome. Side by side with the poet stands a 
 beautiful girl, his love for whom is intimately connected 
 with all the other influences under which his heart expands 
 in the great city. In sketching this figure, Goethe was no 
 doubt thinking chiefly of Christiane, whom in imagina- 
 tion he transported to the land where life had seemed to 
 him so full of glory. In these poems there is an occa- 
 sional warmth of expression that has sometimes given 
 offence, but, judged simply as works of art, they are as 
 near perfection as anything Goethe ever wrote. The 
 passion expressed in them is deep and ardent, yet the 
 forms and scenes with which it is associated stand out 
 as clearly as a landscape under the bright Italian sky. 
 The " Elegies " would have taken an enduring place in 
 literature if they had had nothing to commend them but 
 the splendour of their diction and melody.
 
 120 LIFE OF 
 
 While working at the " Elegies," Goethe strove to 
 complete his drama, " Torquato Tasso," a part of which 
 had been written long before in prose. In Italy he 
 had hoped to be able, before returning to Weimar, to 
 clothe the conception of this play in fitting verse. 
 The task, however, was too hard to be accomplished 
 quickly, and even at Weimar he did not bring it to an 
 end until the summer of 1789. "Tasso "was the last 
 of the series of plays either wholly or in part trans- 
 formed in Italy. 
 
 We have seen that even before Goethe went to Italy 
 his conception of the true aim and method of dramatic 
 art had begun to undergo a profound change. In Italy 
 this process of development was completed, partly by the 
 influence of classical literature, but mainly by that of 
 ancient sculpture. Here, following the track marked out 
 by Winckelmann, he had found that the supreme aim of 
 ancient artists was ideal beauty, and that they had sought 
 to attain it by the harmonious combination of parts in a 
 whole, so that the figures created by them should convey 
 in action an impression of noble simplicity, dignity, and 
 calm. This was the ideal he kept steadily before 
 himself in most of the work begun or completed in 
 Rome. 
 
 In " Egmont " this new conception could not find 
 full expression, for the outlines of the scheme had been 
 drawn at a time when Goethe worked under wholly dif- 
 ferent influences. Even in " Egmont," however, in the 
 form in which he gave it to the world, his new method 
 predominates. Goethe's Egmont, who differs in many 
 particulars from the Egmont of history, is a man of most
 
 GOETHE. 121 
 
 genial temper. He is sincerely devoted to the cause of 
 freedom, and makes troops of friends by his frankness, 
 his courage, his inexhaustible generosity. But he lacks 
 the power to read the signs of hostile intention in others, 
 and this defect, which necessarily springs from some of 
 his best qualities, exposes him to deadly peril, and leads 
 ultimately to his ruin. Interwoven with the history of 
 his relations to the public movements of his age is the 
 story of his love for Clarchen. Such a love at such a 
 time would seem wholly unnatural if Egmont were a 
 prudent statesman, conscious of the actual circumstances 
 in which he and his country are placed ; but he has no 
 doubt as to the triumph of his cause, for he trusts abso- 
 lutely the King of Spain and his counsellors, believing 
 their objects to be as honourable as his own. There is no 
 incongruity, therefore, between Egmont's patriotism and 
 his love, and in such a nature as his, were the conditions 
 favourable, each feeling would purify and ennoble the 
 other. Clarchen is in every respect worthy of him. She 
 is one of the finest of the many fine feminine characters 
 conceived by Goethe. She is capable of heroic action as 
 well as of the tenderest love, and she obeys an irresistible 
 impulse when, having heard of Egmont's imprisonment, 
 she appeals with passionate fervour to the people for his 
 deliverance. The concluding scene, in which Freedom 
 in the form of Clarchen appears to Egmont in a dream as 
 he lies in prison awaiting execution, produces exactly the 
 impression that Goethe meant it to produce. It softens 
 the effect of the tragic conflicts which have led to Cliir- 
 chen's death, and are about to lead to her lover's, and we 
 are reminded that there are in the world forces for good,
 
 122 LIFE OF 
 
 the victory of which may be delayed, but cannot in the end 
 be prevented, by individual defeat and sorrow. 
 
 Although less interesting than the two central figures, 
 the other characters in this great drama are most vividly 
 presented. William of Orange, the resolute patriot who 
 never allows himself to be diverted from his path by 
 mistaking appearance for reality, contrasts strongly with 
 the heedless Egmont ; and Alva, cold, cruel, and 
 treacherous, is a fitting representative of a crushing 
 and inhuman tyranny. The crowds which from time 
 to time give voice to popular feeling play an essen- 
 tial part in the evolution of the tragedy, and are 
 brought before us with extraordinary animation and truth 
 to nature. 
 
 In composing the poetical drama, "Iphigenie," Goethe 
 did not depart very widely from the substance of the 
 original prose version. He gave to the entire conception, 
 however, new dignity and beauty. The central interest 
 attaches to the heroine, than whom there is not in all 
 modern literature a nobler type of womanhood. Hers 
 is a spirit of spotless purity, associated with a high 
 serenity springing from the inward harmony of all the 
 elements of her character. She has infinite tenderness 
 and humanity, with an inflexible will, and a passion for 
 truth and honour. Those who come into contact with 
 her are overcome by a mingled feeling of love and 
 reverence, and all that is best in their spiritual life is 
 evoked by her presence. Iphigenie is only nominally a 
 Greek priestess ; in reality, she would have been im- 
 possible in a society in which women were supposed to 
 be subordinate to men. In her aims, sympathies, aspira-
 
 GOETHE. 123 
 
 tions, she is wholly modern, and it may be that some 
 features of her character were reproduced from the 
 character of Frau von Stein, as it revealed itself to 
 Goethe in the happiest moments of their friendship. 
 Orestes, Pylades, Thoas, are not less dominated by 
 essentially modern motives. It is a striking proof of 
 the power and subtlety of Goethe's art that there is no 
 conflict between the modern substance and the antique 
 form of this splendid drama. He rigidly excludes every 
 thought and feeling that might conflict with his chosen 
 method. There is no austerity of sentiment, but all 
 is measured and stately, and capable, therefore, of being 
 brought within the scope of a severely restricted scheme. 
 
 The development of the tale is not less admirable 
 than the truth of the characters. As in the ancient 
 statues which Goethe so warmly admired, each of the 
 individual parts is in its proper place, and contributes 
 what is demanded of it, and no more, to the idea as 
 .a whole. The diction and metre of the drama, always 
 noble and harmonious, accord perfectly with its pre- 
 dominant spirit, and they may be said to have revealed 
 for the first time the high capabilities of the German 
 language as an instrument of dramatic expression. We 
 cannot wonder that " Iphigenie " disappointed readers 
 who expected to find in it volcanic explosions like those 
 of his early writings. It belongs to a different period of 
 Goethe's development, and must be estimated by alto- 
 gether different standards. 
 
 Goethe found it hard to complete " Torquato Tasso," 
 and the explanation probably is that the subject did not 
 lend itself so readily as the subject of " Iphigenie " to
 
 124 LIFE OF 
 
 classic treatment. Here he had to -present a strange, 
 abnormal type of character, with agitated feelings, the 
 expression of which continually tended to press beyond 
 the limits within which Goethe's scheme required him to 
 retain it. Tasso, as Goethe presents the character, is a 
 kind of Werther, of a highly excitable temperament, 
 and morbidly sensitive to praise and blame. He re- 
 minds us, too, of Rousseau, and it is possible that in 
 working out the conception Goethe may have taken 
 some hints from Rousseau's " Confessions," for, as we 
 have seen, he often thought, while in Italy, of "Rousseau 
 and his hypochondriacal misery." When the play opens, 
 Tasso is living as an honoured guest of the Duke of 
 Ferrara, at the Castle of Belriguardo. He has just 
 finished " La Gerusalemme Liberata," and in the garden 
 of the castle presents the poem to the duke in the 
 presence of the duke's sister, the Princess Leonore, and 
 of her foster-sister, Leonore, the Countess of Scandiano. 
 The gift is received with many expressions of delight, 
 and, at a sign from the duke, the princess takes a wreath 
 from a bust of Virgil and crowns the poet with it. He 
 is enchanted, and cannot find words strong enough to 
 utter his gratitude. The conversation is interrupted by 
 the arrival of the duke's chief minister, Antonio, who 
 has returned from an important mission. He is held in 
 great respect, and is cordially received. After some 
 talk about the work he has accomplished, reference is 
 made to Tasso's wreath, and Antonio, who is not given 
 to vehement applause, addresses Tasso rather coldly, but 
 takes an opportunity of praising Ariosto. Something 
 in Antonio's character jars on Tasso's feeling, and he is
 
 GOETHE. 125 
 
 bitterly jealous of the high place occupied by the wise 
 and successful statesman. In conversation with the 
 princess, for whom he cherishes a secret passion, he 
 pours forth his discontent. She strives to pacify him, 
 and her efforts are seconded by the duke and Leonore. 
 Tasso, trying to master himself, seeks out Antonio, and 
 offers to become his friend. The offer being received 
 in an ungenial spirit, Tasso feels insulted, speaks to 
 Antonio angrily, and finally draws his sword, demand- 
 ing that their quarrel shall at once be fought out. At 
 this point the duke comes ; and Tasso, who has exposed 
 himself to severe penalties, is ordered, but not harshly, 
 to confine himself to his room. Antonio feels that he 
 has not acted with sufficient consideration, and is eager 
 to do what he can to make amends. The duke, too, 
 and the princess, and Leonore, are all most anxious that 
 Tasso shall be reconciled to Antonio and to himself. 
 Now, however, the young poet is violently excited ; he 
 becomes bitterly suspicious, feels sure that he is sur- 
 rounded by enemies, and that every one is plotting 
 against him. All that is done to restore him to good 
 humour he resents, attributing it to a wish to injure him. 
 In the princess alone he has confidence, and her he 
 shocks, when she is encouraging him to collect himself, 
 by suddenly throwing his arms around her and pressing 
 her to his breast. In the final scene, while the duke, 
 the princess, and Leonore drive away from the castle, 
 Antonio, who now fully realizes that the poet is a man 
 of morbid temper who needs to be tenderly and patiently 
 dealt with, comes to him and addresses him kindly. 
 Tasso indulges in a furious outburst against all the world,
 
 126 LIFE OF 
 
 by which he is misunderstood, but at the last moment 
 takes Antonio's hand, and clings to him as a shipwrecked 
 sailor to a rock. 
 
 In none of Goethe's plays does he display finer or 
 more penetrating observation of character. The Tasso 
 of the drama is in some respects very unlike the real 
 Tasso, but that does not prevent him from being a most 
 striking representative of minds which, making self the 
 centre of their thoughts, are thereby led to have a wholly 
 distorted conception of life, and to poison what might 
 be, and ought to be, perennial sources of happiness. 
 The prince, the princess, Leonore, and Antonio resemble 
 one another in being healthy natures, and in acting with 
 an air of distinction ; but otherwise each is marked off 
 from the rest by special characteristics, indicated clearly, 
 but with infinite delicacy.. As usual in his plays, it is to 
 the feminine characters that Goethe attributes the highest 
 qualities. The princess is one of his greatest creations, 
 combining, as she does, deep feeling with exquisite tact 
 and a noble appreciation of the conditions of inward 
 growth and peace. 
 
 The tale in itself is not one of absorbing interest, and 
 the conclusion is hardly satisfactory, since no difficulty 
 is really solved by it. But the scheme is developed with 
 such perfect art that it exercises a strong fascination, 
 which increases from scene to scene. The theme, even 
 when Tasso becomes most vehement, is not once allowed 
 to pass beyond control. With a light but sure touch 
 Goethe moulds every part, securing that there shall not 
 be even a minute detail without an organic relation to 
 the whole. The scene of the action is not forced on
 
 GOETHE. 127 
 
 our attention, but incidental allusions constantly remind 
 us that all around the castle of Belriguardo are lovely 
 sunny landscapes. The grace and purity of the style 
 are unmatched in German dramatic literature, yet so 
 easily do the lines flow into one another that we are 
 almost tempted to think of them as utterances of nature 
 herself; and in almost every scene there are individual 
 lines or groups of lines concentrating the essence of 
 Goethe's thought about life. In no other work by 
 Goethe are there so many pregnant sayings fitted at once 
 to guide and console those who are accessible to his in- 
 fluence. 
 
 The edition of his works in which these dramas were 
 printed includes also " Faust : A Fragment." It ap- 
 peared in the seventh volume, which was published in 
 1790. This " Fragment " did not contain all the scenes 
 that Goethe had written at Frankfort ; it concluded 
 with the scene in the cathedral, where Gretchen is over- 
 come with grief and remorse. On the other hand, it 
 took in a part of Faust's second dialogue with 
 Mephistopheles (beginning with the line, " Und was 
 der ganzen Menschheit zugetheilt ist "), the short mono- 
 logue in which Mephistopheles speaks of the inevitable 
 ruin of a mind which despises reason and science, the 
 " Hexenkiiche " (written in Rome], and " Wald und 
 Hohle." The dialogue between Mephistopheles and the 
 scholar was much altered, and the whole of the scene in 
 Auerbach's cellar was presented in verse. The work, 
 therefore, without being vitally changed, was consider- 
 ably developed, and in the new passages as well as in 
 those re-written there is ample evidence of the advance
 
 128 LIFE OF 
 
 Goethe had made in the mastery of poetic forms. 
 Moreover, Faust's dialogue with Mephistopheles, and 
 the monologue of Mephistopheles, show that Goethe 
 had now a deeper appreciation of all that was involved 
 in the conception of Faust turning from his high ideal 
 aims to seek for satisfaction in the pleasures of the senses. 
 Another, and very different, work was published in this 
 edition — "Die Metamorphose der Pflanzen" ("The Meta- 
 morphosis of Plants "). In this famous essay Goethe 
 expounds the theory that the foliar organs of flowering 
 plants are all to be regarded as various forms of the leaf. 
 To this discovery he had been led by prolonged and 
 delicate observation. The idea seems to have dawned 
 upon him before he went to Italy, but it was in Italy, 
 where he had many opportunities of studying plants he 
 had not formerly known, that he became conscious of 
 its full significance. The doctrine has long been 
 accepted by botanists, and it acquired fresh import- 
 ance when it came to be associated, as it is now asso- 
 ciated, with the general law of evolution. Goethe 
 delighted in the conception, not only for its own sake, 
 but because it seemed to him a most striking illustration 
 of the principle that in organic nature all things are 
 created in accordance with enduring types. The doctrine 
 of the metamorphosis of plants had been set forth, thirty 
 years before Goethe's treatise was written, by K. F. Wolff. 
 Goethe afterwards learned this, and was in no way dis- 
 turbed by the fact that he had been anticipated. That 
 the theory had suggested itself to two minds working 
 independently gave him hearty pleasure as welcome 
 evidence of its truth.
 
 GOETHE. 129 
 
 Early in 1790 Goethe was summoned to Venice to 
 meet the Duchess Dowager, who, having travelled for 
 some time in Italy, was now about to return to Weimar. 
 Her coming was long delayed, and, being restless and 
 impatient, he occupied himself in writing a series of rather 
 bitter epigrams. After six weeks' absence he was 
 delighted to find himself again in Weimar, for now his 
 home was doubly dear to him, a son having been born 
 on Christmas Day of the previous year. The child was 
 baptized by Herder, and received the name Julius 
 August Walther. Afterwards three children were born 
 dead, and a fourth died in infancy. On each of these 
 occasions Goethe suffered poignant grief, and wholly lost 
 his self-control. 
 
 His second visit to Venice was made memorable 
 by an important scientific discovery. He was standing 
 with his valet Seidel in the Jews' cemetery, when Seidel 
 lifted a piece of a sheep's skull, and handed it to Goethe, 
 pretending that it was the skull of a Jew. As Goethe 
 looked at it, it suddenly occurred to him that the bones 
 of which the skull is composed are not essentially diffe- 
 rent from vertebra?, but are, in fact, vertebrae transformed. 
 The idea corresponds exactly with his conception of the 
 foliar organs of flowering plants as transformed leaves. 
 Goethe did not mean that in the course of long ages ver- 
 tebrae had been developed into the bones of the skull, 
 but simply that Nature, in creating these bones, modifies 
 vertebra? to suit special needs. Like his earlier dis- 
 coveries, however, this theory — which is only another 
 application of his general doctrine of types — becomes 
 thoroughly intelligible only when the facts to which it 
 
 9
 
 130 LIFE OF 
 
 relates are explained by the law of evolution. It is the 
 supreme merit of Goethe's contributions to biology that 
 they all pointed in the direction of evolution, and were 
 among the influences that made the recognition of it, 
 sooner or later, inevitable. 
 
 About this time Goethe interested himself in the study 
 of Newton's theory of colours, and, that he might under- 
 stand it more fully, borrowed some prisms. When the 
 owner asked that they should be returned, he thought 
 he would like to try one of them again before sending 
 them back. The result was that he began to suspect 
 that Newton's doctrine was not true, and in this suspicion 
 he was confirmed by further research. This subject had 
 an extraordinary fascination for Goethe, and almost to 
 the end of his life he worked at it at intervals, firmly con- 
 vinced, not only that Newton was wrong, but that he 
 himself had discovered the true scientific significance of 
 colours ; and he attributed vast importance to his own 
 doctrine. In old age he even told Eckermann one day 
 that he did not at all pride himself on his poetry, but 
 that his theory of colours did seem to him something to 
 be proud of. Unfortunately, Goethe here dealt with 
 problems for the solution of which he had not been ade- 
 quately prepared. The subject appeared to him less 
 complicated than it really is, and his conclusions have 
 been unanimously rejected by men of science. His 
 writings about it, however, have a certain interest, not 
 merely because of their lucid style, but because he brings 
 together much curious information relating to the history 
 of opinion on the question, and also because it is hardly 
 less instructive to understand the intellectual influences
 
 GOETHE. 131 
 
 by which a great man is misled than to understand those 
 by which he is guided to truth. 
 
 In 1 79 1 the Duke established a Court Theatre in 
 Weimar, and asked Goethe to undertake the direction of 
 it. Goethe consented, and for many years this was one 
 of the duties to which he devoted most attention. His 
 aim was to provide representations that should appeal 
 to, and delight, a really cultivated taste, and he was 
 almost as anxious that the acting should be maintained 
 at a high level as that the dramas acted should be good. 
 He took immense pains to realize his ideal, and under 
 his control the Weimar Theatre ultimately became 
 famous. All over Germany it was recognized as the 
 theatre in which most was done for the development of a 
 great school of dramatic art. 
 
 The Duke, anxious to find some fitting way of ex- 
 pressing to Goethe his gratitude for the services he had 
 rendered, presented him, in 1792, with the house in 
 which he spent the rest of his life. Goethe changed it 
 to suit his own ideas, and made it the handsomest and 
 pleasantest private dwelling in Weimar. In altering it he 
 received much help from his friend Meyer, the Swiss 
 artist whose acquaintance he had made in Rome. Meyer 
 had come to Weimar at Goethe's urgent request, and 
 for several years lived as a guest in his house. He 
 painted for Goethe a portrait of Christiane with her 
 little boy in her arms in the position of the " Madonna 
 della sedia." This portrait was always kept under a cur- 
 tain, and Goethe counted it among the most precious of 
 his treasures. 
 
 We must think of Goethe at this time as often direct-
 
 132 
 
 LIFE OF 
 
 ing his attention gravely and anxiously to the progress of 
 events in France, where the movement of thought by 
 which he had been so profoundly influenced in youth had 
 at last led to its logical issues in action. Some of the best 
 of Goethe's contemporaries in Germany hailed the French 
 Revolution as the beginning of a new and glorious era 
 for humanity. Their rejoicings were not shared by 
 Goethe. He knew well, indeed, the sufferings of the 
 oppressed population, not only of France, but of other 
 countries, his own included ; and he was eager that their 
 condition should be improved by just and wise govern- 
 ment. But he found it impossible to believe that the end 
 could be attained by violence, and he had no doubt that 
 the tendency of the Revolution would be to check for 
 many a day every great and noble movement in art, lite- 
 rature, and science. He fully recognized, however, that 
 the events he deplored were in the last resort due, not to 
 self-seeking agitators, but to the abuses of a thoroughly 
 corrupt society. Long afterwards he said to Eckermann 
 that if he detested revolutionists, he detested not less 
 strongly the people who made revolutions inevitable ; and 
 that this was his feeling from the beginning is distinctly 
 indicated by several of his writings. " Gross-Cophta," 
 a prose play written in 1791, deals with the story of the 
 diamond necklace, with which the impostor Cagliostro 
 was intimately connected. The play is not artistically 
 important, but it shows how dark a view Goethe took of 
 some elements of the social life of France in the period 
 immediately preceding the Revolution. In "Die Auf- 
 geregten," an unfinished prose play belonging to the 
 same time, he represents the peasantry of a French
 
 GOETHE. 133 
 
 estate as rising in revolt against the countess to whom 
 they owe allegiance. The countess, being a woman of 
 enlightened opinions, does not dispute that they have 
 solid grievances, and readily meets them half way. The 
 moral evidently is that if the French nobles as a class 
 had possessed her elevation of character, the peril of 
 violent change might without difficulty have been averted. 
 
 In 1792 began the long series of revolutionary wars. 
 The Duke of Weimar served as a general in the Prussian 
 army, and at his request Goethe accompanied him during 
 the campaign in Champagne. Here Goethe realized 
 for the first time the terrible nature of the forces which 
 the Revolution had let loose on the world. During 
 the cannonade of Valmy, anxious to know what the 
 " cannon-fever " was really like, he rode to a spot exposed 
 to the enemy's fire. On the evening of this memorable 
 day, when the French gained their first success, Goethe 
 wrote in his tent : " From this place, and to-day, begins 
 a new epoch in the history of the world, and you may 
 say that you were there." 
 
 On his return, after an absence of four months, he 
 wrote in hexameters, as a satire on the political follies of 
 the day, his admirable version of the old Low Dutch tale, 
 "Reineke Fuchs." Next year, 1793, he was again with 
 the Duke, this time before Mainz, which the Prussians 
 were trying to recapture from the French. When the 
 town was given up, Goethe felt that he had had enough, 
 and more than enough, of war, and went back with relief 
 to his home and his studies at Weimar.
 
 CHAPTER VIII. 
 
 DURING the next period of Goethe's life, extending 
 from 1794 to 1805 — that is, from his forty-fifth to 
 his fifty-sixth year — the central facts are those relating 
 to his friendship with Schiller. 
 
 Schiller, who was ten years younger than Goethe, came 
 to Weimar from Dresden in 1787, when Goethe was in 
 Italy. He was then twenty-eight years of age, and was 
 known chiefly as the author of " The Robbers " and 
 "Don Carlos." He had passed through many a harsh 
 and stern experience, but retained in all their freshness 
 the high, ideal impulses of his early youth. Of the 
 many striking figures who arose in Germany during the 
 second half of the eighteenth century, Schiller, not as a 
 writer only but as a man, was one of the noblest. It 
 was his destiny to have to endure much physical pain, 
 but his sufferings were never allowed to embitter his 
 spirit or to depress his courage. He marched steadily 
 forward on his chosen path, keeping always before 
 himself the loftiest aims, and kindling in other minds 
 something of his own generous passion for truth, 
 humanity, and freedom.
 
 LIFE OF GOETHE. 135 
 
 Dramatic work having been anything but profitable in 
 a material sense, Schiller began, soon after his arrival at 
 Weimar, to write his book on the revolt of the Nether- 
 lands, hoping that as an historian he might secur ; the 
 independence that was necessary to enable him to do 
 justice to his powers as a poet. He had the warmest 
 admiration for Goethe's genius, and looked forward 
 eagerly to his return. 
 
 The two poets met for the first time in the summer of 
 1788, at Rudolstadt, in the house of Frau von Lengefeld, 
 whose daughter Charlotte afterwards became Schiller's 
 wife. Goethe, who had no means of knowing that 
 Schiller's ideas had been in some respects gradually 
 approaching his own, thought of him simply as one of 
 the vehement " Sturm und Drang " writers. On this 
 occasion, therefore, their talk did not pass beyond the 
 limits of ordinary politeness, and Schiller obtained the 
 impression that they were so different from one another 
 that friendship between them would be impossible... 
 Nevertheless, he thought much about Goethe, and 
 sometimes could not help rather enviously contrasting 
 Goethe's prosperity with his own crushing difficulties. 
 
 In 1789 Schiller settled in Jena as a professor of his- 
 tory, having obtained this appointment through Goethe's, 
 influence. Early in the following year he married,: 
 Charlotte von Lengefeld, his union with whom may have 
 brought him repeatedly into contact with Goethe, who 
 was an old friend of Charlotte's family. We know of 
 one meeting between them in the autumn of 1790, when 
 Goethe called at Schiller's house. They talked of the 
 philosophy of Kant ; and Schiller, in writing about the
 
 13G LIFE OF 
 
 conversation to his friend Korner, spoke of Goethe as 
 being, in his opinion, too much occupied with the laws 
 of the outward world. He recognized, however, Goethe's 
 great way of thinking, and his effort to detect the 
 meaning of individual facts by combining them in a 
 whole. 
 
 Broken in health, Schiller went with his wife, in 1793, 
 to Wiirtemberg, in the hope that he might benefit by his 
 native air. While staying at Stuttgart, he made arrange- 
 ments with the publisher Cotta for the issue of a literary 
 periodical, thelforen ("The Hours"); and after his return 
 to Jena, in 1 794, he wrote to Goethe, asking him to become 
 a contributor. Goethe cordially undertook to give what 
 help he could. Shortly afterwards they both happened 
 to attend a meeting of a scientific society at Jena, and 
 as they walked together towards Schiller's house they 
 had an interesting discussion about the true method of 
 science. In the course of this conversation Goethe was 
 for the first time attracted by Schiller ; and he was drawn 
 towards him still more strongly by a later talk, in which 
 he found that they did not essentially differ from one 
 another in their ideas about art. 
 
 In September of the same year Goethe invited Schiller 
 to visit him, that they might come to an understanding 
 about the nature of the work to be done for the Horen. 
 Schiller gladly promised to spend a fortnight in Goethe's 
 house, and it was during this visit that the deep and solid 
 bases of their friendship were laid. Each gave his heart 
 to the other without reserve, and to the end of Schiller's 
 life nothing was permitted to stand in the way of their 
 mutual love and confidence. Goethe often went to Jena,
 
 GOETHE. 137 
 
 where he had rooms in the old Schloss, and Schiller was 
 never happier than when he had an opportunity of 
 spending some time at Weimar. On every occasion 
 when they met, each seemed to find some new quality to 
 intensify his admiration for the other's thought and 
 character. 
 
 Goethe and Schiller took the purest delight in one 
 another's achievements, and neither of them was ever 
 tired of stimulating the other to' bring forth the noblest 
 fruits of his genius. The tendency of Schiller, who was 
 hardly less a philosopher than a poet, was to give his 
 ideas, even in poetry, an abstract expression. Through 
 contact with Goethe he was led, almost unconsciously, to 
 present his conceptions'inmore imaginative forms. His 
 style became more direct, lucid, and animated, and 
 deeper appreciation of the~real world around him im- 
 parted fresh life and colour to his pictures of purely ideal 
 realms. Goethe, whose genius was of an incomparably 
 higher order, and responded to a wider range of influences, 
 had nothing, so far as art was concerned, to learn from 
 Schiller. Nevertheless, he owed to Schiller, as he him- 
 self was always eager to acknowledge, a deep debt of 
 gratitude. From the time when he had finished "Tasso " 
 and the " Roman Elegies," he had produced nothing that 
 was worthy to rank with his best work. He had occupied 
 himself chiefly with ministerial business and physical 
 science, and seemed almost to have lost the impulse to 
 visit the imaginative world in which he had for a while 
 moved so freely and so happily. His power of poetic 
 creation was, however, only slumbering ; and by his inter- 
 course with Schiller it was awakened to splendid activity.
 
 138 LIFE OF 
 
 Schillefr's enthusiasm called forth in him what Goethe 
 himself called "a second youth," "a new spring." 
 
 The Horen, which began to appear in 1795, excited 
 much antagonism, and Schiller was excessively annoyed 
 by the attacks directed against it. Goethe did not let 
 himself be disturbed by hostile judgments, but towards 
 the end of the year he proposed that they should amuse 
 themselves by making their opponents the subjects of a 
 series of epigrams, each epigram consisting of a distich. 
 This suggestion delighted Schiller, and they lost no time 
 in giving effect to it. The scheme widened as they went 
 on, being made to include not only writers who had 
 directly assailed them, but others whose methods and 
 tendencies they disliked. They also seized the oppor- 
 tunity to do honour to various great writers, such as 
 Lessing and Kant. A vast collection of epigrams soon 
 accumulated, some by Goethe, some by Schiller, and 
 some the work of both poets. They were called 
 "Xenien" ("Xenia," hospitable gifts : a title borrowed from 
 Martial), and published in the " Musenalmanach," a 
 yearly volume of poems, edited by Schiller. These 
 epigrams, many of which are bright and keen, fluttered 
 the dovecots of criticism, and caused Goethe and 
 Schiller, whose names were always henceforth closely 
 associated, to be held in wholesome dread by pedants and 
 literary impostors. 
 
 The first important work completed by Goethe after 
 the beginning of his friendship with Schiller was " Wil- 
 helm Meisters Lehrjahre" (" Wilhelm Meister's Appren- 
 ticeship"). In 1793 he had taken in hand the task of 
 revising the part he had written before his sojourn in
 
 GOETHE. 131) 
 
 Italy, but it is doubtful whether he would have gone on 
 with it but for Schiller's influence. Schiller was intensely 
 interested in the book, and often talked about it with 
 Goethe, who sought his advice as to the best way of 
 rounding it off. Encouraged by his friend's enthusiasm, 
 Goethe carried on his labours steadily until it was finished 
 in 1796. 
 
 In "Werther," Goethe's first romance, he deals only 
 with one great crisis in the history of his hero. " Wil- 
 helm Meister," on the contrary, is a picture of the 
 entire course of a young man's life. Meister is the son 
 of a merchant, and at the point where the tale begins he 
 is associated with his father in business. He has a touch 
 of poetry, and longs for a freer, more exciting, more 
 interesting career, in which he may find scope for the 
 development of his individuality. He is profoundly 
 interested in the drama, and this feeling is deepened by 
 his relation with Marianne, a beautiful actress whom he 
 passionately loves. At last he decides to escape with 
 Marianne from his commonplace surroundings, and to 
 become an actor ; and all his arrangements are made, 
 when he is led, by some incidents which he misinterprets, 
 to believe that the girl to whom he has been devoted is 
 unfaithful to him. Shocked by this supposed discovery, 
 he abandons her, and in a dejected mood continues to go 
 through his ordinary duties. But by and by, when 
 travelling to execute some business commissions, he 
 meets several actors and actresses, and his old love for 
 the stage is revived. A theatrical company is formed ; 
 the director receives from Meister enough money for the 
 necessary expenses ; and the players are invited by a
 
 140 LIFE OF 
 
 count to give performances at his country house. Here 
 Meister becomes acquainted with the works of Shake- 
 speare, and his ideas about the drama are transformed. 
 He is excited, too, by a romantic relation with the young 
 and beautiful countess. When the players, after the ful- 
 filment of their engagement, are leaving the castle, 
 he is attacked by bandits, and, as he lies wounded 
 and apparently dying, help is brought to him by "the 
 Amazon," a woman who makes a deep impression upon 
 him. She suddenly appears, and as suddenly disappears, 
 and he hardly knows, when he thinks of her, whether she 
 is real or only a figure in a dream. 
 
 He forms a connection with a regular theatre, and, 
 when acting the part of Hamlet, is so startled by the 
 Ghost (the mystery of whose appearance is explained in 
 the course of the story) that he produces a powerful 
 effect by the truth of his representation. He has not, 
 however, the capacity of becoming a great player, the 
 reason being — as one of the characters tells him — that, 
 no matter what part he assumes, it is always his own 
 personality that he represents. He does not possess the 
 faculty of giving living form to the thoughts and feelings 
 of a type of mind different from his own. One of the 
 actresses of the company, Aurelia, excites his sympathy 
 by her settled melancholy, which is due to the fact that 
 she has been deserted by Lothario, a lover, of high 
 station, whom she is unable to forget. Before her death 
 she intrusts a letter to Meister, asking him to place it, 
 when all is over, in Lothario's hands. 
 
 In fulfilment of this mission, Meister quits the stage ; 
 and by Lothario, who has many great qualities, he is
 
 GOETHE. 141 
 
 introduced to a circle widely different from anything he 
 has yet seen. He finds that there is a secret society by 
 which, unknown to himself, he has been closely watched 
 and in some measure guided. This society, of which 
 Lothario is one of the leading members, has been formed 
 for the cultivation of all that is highest and noblest in 
 humanity ; and Meister, his " Lehrjahre " over, is ad- 
 mitted into it with much pomp and ceremony. He 
 learns the truth about his first love, Marianne, and at 
 the same time hears that she is dead. He then wins the 
 affections of a woman who appeals rather to his intellect 
 than to his feeling ; but he is afterwards brought into 
 contact with " The Amazon," who had passed before him 
 so strangely and beneficently, and the tale ends with the 
 description of the somewhat complicated circumstances 
 which lead to their betrothal. 
 
 Meister does not convey the impression of having 
 profited very largely by his " Lehrjahre." About this, 
 Goethe appears to have given himself little trouble. His 
 object was to present a series of striking pictures of life, 
 and this purpose he accomplished with brilliant power. 
 The execution is, however, very unequal. The last part 
 lacks the life, vigour, and movement of the earlier 
 scenes, and all that relates to the secret society is 
 strained and unnatural. In this part Goethe appears to 
 have been misled by Schiller, who insisted that the 
 problems suggested in the course of the narrative should 
 be worked out and solved. The elements of the original 
 conception were not knit together closely enough for 
 this rigorous treatment. 
 
 In the books dealing with Meister's connection with
 
 142 LIFE OF 
 
 the drama Goethe displays to perfection his matchless 
 power of giving charm, through sheer force of style, 
 even to scenes and incidents that are not in themselves 
 very impressive. The characters, too, have astonishing 
 vitality. We are told little about them, and their 
 motives are never elaborately analysed. They are simply 
 made to act before us, and we thus learn to know them, 
 each in his and her own clearly marked individuality, as 
 if we had met them in real life. Meister himself, with 
 his wavering impulses and vague strivings after an ideal 
 existence, is revealed with absolute truth to nature, and, 
 although he never wins (nor is intended to win) our full 
 respect, we are compelled, almost in spite of ourselves, 
 to follow him with interest from stage to stage of his 
 career. The most important character, however, is not 
 Meister, but Mignon, one of the strangest, most pathetic 
 figures in the world's literature. Transported in child- 
 hood from " the land where the citrons blossom " to the 
 cold North, she is never at home in the scenes in which 
 we find her. Calm, gentle, self-possessed, she conceals a 
 burning passion that in the end consumes her life ; yet 
 she is of so ethereal a nature that she seems to- glide 
 through the world as one who in no way belongs to it. 
 A more truly poetic conception never took form in a 
 romance ; and Mignon alone, even if " Wilhelm 
 Meister " had contained no other element of interest, 
 would have sufficed to make the book immortal. In 
 relation to her the hero is seen at his best, and it is she 
 who gives the work such unity as it possesses — a unity 
 of spirit rather than of form. The songs sung by Mig- 
 non and by the Harper (another highly poetic figure,
 
 GOETHE. 143 
 
 marked out from the beginning, like Mignon, for a tragic 
 doom) are among Goethe's lyrical masterpieces, remark- 
 able equally for the depth of their meaning and the 
 purity, sweetness, and grace of their expression. In 
 almost startling contrast to Mignon is the gay, bright, 
 coquettish Philline — the type of feminine Bohemianism ; 
 a character thoroughly self-consistent and full of bound- 
 ing life until we hear about her in the unfortunate con- 
 cluding scenes, when things are told of her that tend to 
 make her utterly unintelligible. 
 
 In " Wilhelm Meister " Goethe gives us much dra- 
 matic criticism. It has, of course, no vital relation to the 
 story, but it is penetrating and suggestive, and the famous 
 criticism of " Hamlet " marked an era in the modern 
 appreciation of Shakespeare's methods. "The Confessions 
 of a Fair Soul," of which the sixth book consists, have 
 no connection whatever with the romance except that 
 Meister is described as reading them. Yet who would 
 wish that this exquisite study had been excluded ? The 
 original of the " Schone Seele " was Goethe's friend 
 Fraulein von Klettenberg. In presenting the history of 
 her inward life, he penetrates to the very depths of a 
 spirit purified, calmed, and ennobled by mystic contem- 
 plation of the invisible world. 
 
 The next great work completed during this period was 
 " Hermann und Dorothea," an idyllic poem in hexa- 
 meters. The idea of using classic forms in the treatment 
 of a domestic theme was suggested to Goethe by Voss's 
 "Luise," an idyll in hexameters, which he had read 
 again and again with warm interest. " Hermann und 
 Dorothea" consists of nine cantos, each of which is
 
 144 LIFE OF 
 
 headed with the name of one of the Muses. The first 
 five cantos (originally four) were written in nine days in 
 the autumn of 1796, when Goethe spent some weeks at 
 Jena. The work was resumed from time to time, and 
 finished in the following year. 
 
 Nothing could be simpler than the tale told in this 
 poem. Hermann is the son of an innkeeper in a 
 Rhenish town. A band of emigrants, driven from their 
 homes by stress of war in the period of the French 
 Revolution, happen to come to the neighbourhood in the 
 course of their wanderings, and Hermann's good mother 
 sends him to them with a supply of clothing and pro- 
 visions. Among them he sees Dorothea, who at once 
 wins his heart. On his return he r L finds his father and 
 mother in conversation with the pastor and the druggist ; 
 and the pastor, a man of insight, perceives at a glance, 
 from Hermann's heightened colour and sparkling eyes, 
 that something has happened to excite and gladden him. 
 He relates what has happened, and his father suspects 
 that he loves Dorothea. The old man has always wished 
 that his son should marry a maiden of a prosperous 
 family, and angrily declares that he will never receive as 
 a daughter a common peasant girl. Hermann sorrow- 
 fully leaves the room, and is soon followed by his mother, 
 who finds him seated in deep dejection under a pear- 
 tree which, crowning vine-clad slopes' behind the inn, 
 serves as a landmark far over the country. He opens 
 his heart to her, and she consoles him, and gives him 
 hope that his father's resistance may be overcome. It 
 is finally arranged that the pastor~and the druggist shall 
 go and see Dorothea, and form an opinion of her fitness
 
 GOETHE. 145 
 
 to be Hermann's wife, and that Hermann shall drive with 
 them to the place where the emigrants have for the time 
 taken up their abode. The pastor and the druggist are 
 captivated by Dorothea, and return to the inn to com- 
 municate their impressions. Hermann remains behind 
 to woo the maiden he loves. He is, however, deterred 
 by seeing that she wears an engagement ring, and simply 
 asks whether she will come with him and help his mother 
 in her housewifely duties. She supposes that he wishes 
 to engage her as a servant, and, on this understanding, 
 frankly accepts his offer. Then they walk back together, 
 and by the time they reach the pear-tree the landscape is 
 lighted by the full moon, while heavy masses of clouds, 
 betokening the approach of a storm, gather over the sky. 
 They enter the house together, and after an animated 
 scene, during which Dorothea — while thunder is heard 
 to crash — tells her history, all is brought to a satisfactory 
 end by the happy union of the lovers. 
 
 The substance of this story is contained in an old 
 pamphlet describing the adventures of a group of Protes- 
 tant exiles who were expelled from the archbishopric ot 
 Salzburg in 1731. The tale, however, owes its charm, 
 not to the bare facts of which it consists, but to the life 
 breathed into them by Goethe's art. In old age he said 
 that " Hermann und Dorothea " was the only one of his 
 greater poems which he could still read with pleasure, 
 and it is certainly as near perfection as any of his crea- 
 tions. The central figure is Dorothea, and we readily 
 understand her sway over Hermann, for she combines 
 strength with tenderness, and acts nobly, not from a 
 sense of duty merely, but because she is impelled by the 
 
 10
 
 146 LIFE OF 
 
 instincts of a true and generous spirit. There is a strik- 
 ing fitness between her vigorous, handsome form and her 
 frank and wholesome character ; and we feel that of such 
 stuff the women are made who keep a nation's life sound 
 and pure. Hermann, who has not, like Dorothea, been 
 disciplined by hard experience, is less independent, but 
 he has qualities which, when he is fully matured, will 
 give his character the firmness of outline possessed by 
 that of the wife he has won. Already he has courage to 
 be true to his own choice, and he awakens our sympathy 
 by the depth and ardour of his love. His mother's 
 gentleness is finely contrasted with the rough, worldly, 
 but not essentially unkind disposition of his father ; and 
 the wise, good pastor, and the gossiping, self-important 
 druggist help to bring out one another's peculiarities 
 by the differences of their modes of thought and 
 feeling. Goethe never pauses to call our attention to 
 this or that element of the tale ; all is stir and movement, 
 and the imagination is "excited to form for itself a series 
 of graphic pictures and to combine them into a living 
 whole. The story advances so simply and naturally that 
 it carries us on with growing interest to the end, and its 
 significance is deepened by the vast world-movement of 
 which we are continually reminded by the presence of 
 the emigrants. The antique form of the poem is in per- 
 fect keeping with the theme as Goethe conceives it. His 
 hexameters flow lightly and freely, and aid rather than 
 hamper the harmonious development of his ideas. 
 
 In 1796 Goethe wrote "Alexis und Dora," which 
 serves as a splendid pendant to the " Roman Elegies ; " 
 and in the summer of the following year, while he was
 
 GOETHE. 147 
 
 staying at Jena, he began, in friendly rivalry with Schiller, 
 to compose a series of ballads. Goethe generously 
 yielded the palm as a ballad-writer to Schiller ; and it is 
 true that Schiller's ballads, which are among the finest of 
 his works, have a dramatic force that makes them more 
 akin than Goethe's to the old popular poems of this class. 
 But such ballads as " Der Erlkonig" ("The King of 
 the Erls or Elves "), "Die Braut von Corinth" ("The 
 Bride of Corinth "), and "Der Gott und Die Bajadere " 
 ("The God and the Bayadere") have a subtle charm 
 of expression that was far beyond Schiller's range. 
 
 Goethe's lyrical poems, too, many of which were written 
 during this period, have a freshness and a lightness of 
 touch which Schiller himself felt to be unapproachable. 
 Whatever may be thought of Goethe as a dramatist or a 
 writer of romance, there never has been, and never can 
 be, any dispute as to his greatness as a lyrical poet. The 
 secret of the unfading charm of his lyrics lies chiefly in their 
 truth and spontaneity. Goethe never sought to express in 
 writings of this kind what he himself did not feel ; but if a 
 strong feeling took possession of his mind, he could not 
 rest until it found lyrical utterance. And in passing 
 into form in verse, his feeling lost all that was accidental 
 or of merely passing interest ; its expression became 
 the reflection, not of one man's experience only, but of 
 the ever-recurring experience of humanity. There are 
 few elements of the inward life that Goethe does not 
 touch in his lyrics, and all that he approaches is within 
 the scope of his art. The German language, often so 
 harsh and obscure, has in these perfect products of his 
 genius an exquisite softness, richness, and transparency.
 
 148 LIFE OF 
 
 Goethe, who knew well the difficulties it presented, 
 found in it an organ equally fitted for the lightest play 
 of fancy and the loftiest flights of the imagination. 
 
 In 1797 Goethe visited Switzerland for the third time, 
 and enjoyed heartily a long holiday with his friend Meyer, 
 who had been in Italy collecting materials for a work 
 which they thought of writing in common. This work, 
 in which they proposed to show the relation of Italian 
 art to the physical features of the country and to its social 
 and political development, was never begun ; but 
 Goethe's studies for it gave a fresh impetus to his enthu- 
 siasm for art, and for years one of the objects he had most 
 at heart was to communicate his enthusiasm to an ever- 
 widening circle among the educated classes of Germany. 
 In 1798 he started an art journal called " Die Propy- 
 laen" (the German form of ra irpoirvXaia, The Gateway); 
 but the public had little interest in the questions with 
 which it dealt, and after the appearance of four numbers 
 the enterprise had to be abandoned. Another result of 
 Goethe's labours in connection with art was his masterly 
 book on " Winckelmann und sein Jahrhundert " 
 ("Winckelmann and his Century"), published in 1805. 
 In this work, to which contributions were made by Meyer 
 and the great Homeric scholar Wolf, Goethe offered a 
 magnificent tribute to the memory of the writer who, by 
 his insight and learning, had opened the way to a true 
 appreciation of the artistic achievements of the ancient 
 world. 
 
 Among other prose writings of this period may be 
 mentioned Goethe's translation of the autobiography of 
 Benvenuto Cellini, a task undertaken for the Horen ;
 
 GOETHE. 149 
 
 and "Rameaus Neffe" ("Rameau's Nephew"), a trans- 
 lation of what is, on the whole, the most powerful of 
 Diderot's works. " Le Neveu de Rameau " had not 
 yet been printed, and Goethe's rendering was made from 
 a manuscript which had come into Schiller's hands. A 
 more searching study of the baser possibilities of human 
 nature has never, perhaps, been written, and Goethe 
 faithfully reproduced it with all its original force and 
 vividness. 
 
 Schiller occupied himself for several years, at intervals, 
 with his great drama " Wallenstein." The mass of 
 his materials made it hard for him to see his way to an 
 adequate treatment of the subject; but in 1798, having 
 discussed his scheme thoroughly with Goethe, he was able 
 to arrive at a final decision as to its form. The Prelude, 
 " Wallensteins Lager " (" Wallenstein's Camp "), in the 
 extraordinary vividness of which there are unmistakable 
 marks of Goethe's influence, was represented for the first 
 time at the Weimar Theatre in October, 1798. "The 
 Piccolomini " was given early in 1799 ; and soon after- 
 wards the entire work, including "Wallenstein's Death," 
 was performed, a night being devoted to each of its three 
 parts. Goethe, as the director of the theatre, worked 
 hard to secure that full justice should be done to his 
 friend's masterpiece, and his disinterested efforts were 
 crowned with what was then considered unparalleled 
 success. 
 
 The effect of this triumph was that Schiller resolved not 
 only to devote himself almost exclusively to dramatic 
 work, but to transfer his residence from Jena to Weimar, 
 where he would have the advantage of being near the
 
 150 LIFE OF 
 
 theatre, and possess unlimited opportunities of intercourse 
 with Goethe. Before the end of 1799 this plan was 
 carried out, and all the benefits Schiller hoped to derive 
 from it were realized. Goethe and he became, if possible, 
 more intimate friends than ever, and never tired in their 
 efforts to make the Weimar Theatre a great centre for the 
 creation of a truly national stage. They were virtually 
 joint directors, but Goethe retained, of course, supreme 
 control. 
 
 This was the most brilliant period in the history of 
 Weimar, for it was now the home of four famous 
 writers, Goethe, Schiller, Herder, and Wieland. Herder 
 died in 1803, and during his last years he became bitter 
 and morose, so that, to Goethe's intense regret, he brought 
 to an end the relations which had formerly been a source 
 of so much happiness to both. With Wieland, who sur- 
 vived Herder ten years, Goethe remained on friendly 
 terms to the last. 
 
 The great philosophical movement of Germany was 
 now in full progress. It began with the publication, in 
 1 781, of Kant's " Critique of Pure Reason," and was con- 
 tinued in different directions, first by Fichte, then by 
 Schelling, and afterwards by Hegel and Schopenhauer. 
 Goethe was not so fascinated as Schiller by the sugges- 
 tions which were being offered by so many fine minds 
 for the solution of the highest problems ; but he was too 
 keenly alive to every kind of intellectual influence to 
 allow any deep current of contemporary thought to escape 
 his notice. He read with profound interest the second 
 of Kant's great works, " The Critique of Judgment," and 
 thoroughly mastered Fichte's system of ideas as ex-
 
 GOETHE. 151 
 
 pounded in the " Wissenschaftslehre " (" Theory of 
 Knowledge "). He was still more strongly attracted by 
 Schelling, in whose philosophy he found much that 
 accorded with his own conceptions of Nature. Fichte 
 and Schelling were for several years professors at Jena, 
 and Goethe, to whom they owed their appointments, had 
 many opportunities of discussing with them the questions 
 to the study of which they had devoted their lives. 
 
 Another important movement, closely connected with 
 the philosophical ideas of Fichte and Schelling, began at 
 this time to arrest attention. It was the movement which 
 led to the formation of the Romantic School. The 
 critical leaders of this school, August and Frederick 
 Schlegel, were both for a while lecturers at the University 
 of Jena, where they exercised a powerful influence 
 through their literary journal, The Athenccum. With 
 them, and with Tieck and Novalis, Goethe, always 
 anxious to encourage young writers who seemed to give 
 indications of genius, sought to maintain the most 
 friendly relations. He even caused to be represented 
 on the Weimar stage two rather crude plays, " Ion " and 
 " Alarcos," the former by August Schlegel, the latter by 
 Frederick Schlegel. The writers of the Romantic school 
 ultimately diverged widely from Goethe's methods, but 
 all that was really vital in their teaching had already been 
 embodied in his works, and it was chiefly from him that 
 they originally derived the best and most fruitful of their 
 impulses. 
 
 In the winter of 1803-4 Madame de Stael paid her 
 famous visit to Weimar. Goethe did not fail to do due 
 honour to so distinguished a guest, but, like Schiller, he
 
 152 LIFE OF 
 
 was soon fatigued by her restless curiosity and endless 
 talk. He interested her the more deeply because she 
 could not but see that the air of patronage with which 
 she had been disposed to meet him was wholly out of 
 place. For no other German writer did she conceive so 
 strong a respect. 
 
 Meanwhile, Schiller, quickened by Goethe's unfailing 
 sympathy, had been producing in rapid succession 
 the great plays of his last years — " Mary Stuart,'" 
 "The Maid of Orleans," "The Bride of Messina," and 
 "William Tell." Goethe had at this period, so far as the 
 drama was concerned, no corresponding period of acti- 
 vity. In 1800 and 1801 he produced only translations 
 of Voltaire's " Mahomet " and " Tancred." He was 
 working, however, at an important poetical drama, " Die 
 Natiirliche Tochter" ("The Natural Daughter"). This 
 drama was intended to be the first member of a trilogy 
 dealing with the ideas on which the French Revolution 
 had been compelling all the world to reflect. The trilogy 
 was to represent the overthrow and re-establishment of 
 an ancient monarchy, its overthrow being due to corrupt 
 government, its re-establishment to the frank recognition 
 of popular rights. The only part of the scheme he suc- 
 ceeded in working out was " Die Natiirliche Tochter," in 
 which we are permitted to see some of the abuses that 
 were to have led to revolution. The facts on which the 
 idea of the play was based Goethe found in the " Memoires 
 historiques de Stephanie Louise de Bourbon Conti," 
 published at Paris in 1797. Eugenie, the heroine, is 
 the natural daughter of a duke, the uncle of the king ; 
 and the question on which the interest depends is whether
 
 GOETHE. 153 
 
 she shall allow herself to be publicly acknowledged as 
 one in whose veins there is royal blood, or whether she 
 shall remain, as she has been educated, in seclusion. 
 Fascinated by the charm of a lofty social position, she 
 decides to claim the rights which the king, at her father's 
 intercession, is willing to confer upon her. Then she 
 becomes a victim of treachery and violence. Of all 
 Goethe's plays this is the one in which he allows the idea 
 of necessity to exercise the most rigid control over the 
 development of the action. The circumstances being 
 such as are described, there is no way of escape from the 
 consequences of Eugenie's decision; all is ordered in 
 accordance with an inevitable law. The characters, 
 therefore, have no very distinct individuality. They are 
 so completely subordinated to the general scheme that 
 only the heroine receives a special name. The other 
 characters appear simply as the King, the Duke, the 
 Secretary, and so forth. The play, if we estimate it 
 from the point of view selected by Goethe, is one of 
 great power; but had he devoted himself to works of 
 this kind he could never have shown the true character 
 of his genius. His strength lay in the development, not 
 of plot, but of character. 
 
 From time to time Goethe worked at a scheme very 
 different from " Die Natiirliche Tochter." Schiller had 
 been greatly impressed by the fragment of " Faust" pub- 
 lished in 1790, and in season and out of season urged 
 and entreated him to complete it. Goethe himself had 
 a secret consciousness that this was to be the highest of 
 his achievements, and took advantage of every favourable 
 mood to return to it. He was in no hurry, however, to
 
 154 LIFE OF 
 
 bring the work to an end. All the deepest elements of his 
 life were being expressed in it, and he could afford to let 
 the harvest ripen slowly. 
 
 Early in 1S01 Goethe had a serious illness, and for a 
 good many years afterwards he was liable to attacks of a 
 painful malady. Schiller also suffered from bad health, 
 and it was too certain that his life would not be greatly 
 prolonged. The crisis came in the spring of 1805. 
 Schiller and Goethe had both been ill, but on the 29th 
 of April Goethe felt well enough to visit his friend. 
 Schiller was about to go to the play, and Goethe would 
 not hear of his changing his plan. So they parted, never 
 to see one another again. While in his place in the 
 theatre Schiller caught a severe chill, and on the 9th of 
 May he died. 
 
 Goethe, who was confined to his room, suspected, 
 when he heard of Schiller's condition, that the result 
 would be fatal. " Destiny is inexorable," he said, sadly; 
 "man of little moment." When the tidings of death 
 were brought to his house, Meyer, who was spending the 
 evening with him, was called out of the room. He had 
 not courage to give so dreadful a message, and went away 
 without taking leave. Something in the manner of the 
 members of his household made Goethe uneasy, but he 
 would not put his doubts at rest by asking any direct 
 question. " I observe," he said to Christiane, " that 
 Schiller must be very ill." During the night he was 
 heard to sob loudly. Next morning, again addressing 
 Christiane, he said, " It is true, is it not, that Schiller 
 was very ill yesterday ? " Christiane burst into tears. 
 " He is dead ? " asked Goethe, in a firm voice. Chris-
 
 GOETHE. 155 
 
 tiane, still crying, at last told him the bitter truth. " He 
 is dead ! " Goethe repeated, and covered his eyes with 
 his hand. He had never lived through a sadder 
 moment, and for several days no one dared to mention 
 Schiller's name in his presence.
 
 CHAPTER IX. 
 
 AT the time of Schiller's death, days of terrible 
 public disaster were swiftly approaching. In the 
 summer of 1806 the Confederation of the Rhine was 
 formed, and the rickety Holy Roman Empire fell to 
 pieces. Shortly afterwards came the war in which 
 Prussia, as an independent kingdom, was all but anni- 
 hilated. The decisive battle was fought near Jena on 
 October 14, 1806, and in the morning, standing with his 
 family in the garden behind his house, Goethe heard the 
 distant boom of cannon. Later in the day a skirmish 
 was fought near the garden between some French and 
 Prussian troops. When all was over, the French broke 
 into the town, and plundered the inhabitants to their 
 hearts' content, for, as the Duke of Weimar was an ally 
 of the King of Prussia, his capital was held by the 
 victors to be fair game. Two wild French soldiers 
 burst into Goethe's house, and his life would probably 
 have been lost but for the presence of mind of Christiane, 
 who was able to secure help in time to avert a calamity. 
 
 On the day after the battle Napoleon himself entered 
 the town, and on the 16th he ordered that the harrying
 
 LIFE OF GOETHE. 157 
 
 should be brought to an end. He would probably have 
 deprived the Duke of his territory but for the influence 
 of the Duchess, for whom the French Emperor had high 
 respect. The Duke was allowed to retain sovereign 
 power on condition that he should at once withdraw from 
 the Prussian army. Soon afterwards he was compelled 
 to join the Confederation of the Rhine, and he had also 
 to pay a huge indemnity. 
 
 Much energy had to be expended before the desola- 
 tion due to these fearful days could be made good. The 
 people, however, set to work with a will, and in the well- 
 tried Minister, Goethe, they found the guidance and 
 support they needed. He was full of resource and 
 courage, saw exactly what had to be done, and the means 
 of doing it, and stimulated every one by the example of 
 his own zeal and activity. At this great testing-time, 
 when Goethe's character shone forth in all its radiance, 
 the inhabitants of the Duchy would have been much as- 
 tonished if they had heard what afterwards became the 
 foolish parrot-cry about his being an " egoist," a "Pagan," 
 a man indifferent to the welfare of his neighbours, and 
 caring only for his own culture. They would have felt that, 
 if the cry was true, Goethe's " egoism " had a strange 
 resemblance to other people's unselfishness. 
 
 Meanwhile, a great event had happened in Goethe's 
 life. Christiane had become his wife, not only in reality, 
 but in name. Many a time he had felt bitterly that he 
 had committed a terrible mistake in defying, in this 
 matter, the ordinary customs of society. He had paid a 
 heavy penalty for the assertion of his independence ; 
 for the presence of Christiane in his house in a position
 
 158 LIFE OF 
 
 which — although perfectly honourable, so far as his own 
 feeling was concerned — was misunderstood by the rest of 
 the world, had been an occasion of much wretchedness 
 both to her and to him. Moreover, his ideas about the 
 respect due from the individual to great social rules had 
 undergone a complete change. He himself needed no 
 ceremony to bind his conscience, but he felt, as he had 
 not felt eighteen years earlier, that a ceremony might be 
 essential in the interests of the community at large. So, 
 anxious that in a time of public confusion her true position 
 should be put beyond doubt, he wrote to the Court preacher 
 of Weimar, saying that a purpose which had often been in 
 his mind had come to maturity — and might the formal 
 union be concluded on the following Sunday or earlier ? 
 On Sunday, October 19, 1806, Goethe and Christiane 
 became, in the face of the world, what they had all along 
 been in their own esteem, husband and wife. The only 
 persons present were their son August and Goethe's 
 secretary, Riemer. 
 
 August was now a youth of seventeen, and had already 
 been legitimated. He was a handsome young fellow, 
 with dark hair and dark eyes, and endowed with good 
 abilities. He was idolized by his father, and no one 
 could please Goethe better than by showing kindness to 
 his boy. About two years after the marriage August 
 went to Heidelberg to study law, and it was with a heavy 
 heart that Goethe let him go. 
 
 About this time Weimar became the home of Johanna 
 Schopenhauer, the novelist, the mother of one of the 
 most illustrious philosophers of the modern world. She 
 was very bright and clever, and had an intense ad-
 
 GOETHE. 159 
 
 miration for Goethe. "He is," she wrote, "the most 
 perfect being I know, even in appearance. A tall, fine 
 figure, which holds itself erect, very carefully clad, always 
 in black or quite dark blue, the hair tastefully dressed 
 and powdered, as becomes his age, and a splendid face 
 with two lustrous brown eyes, which are at once mild and 
 penetrating." Goethe was grateful to Frau Schopenhauer 
 for receiving his wife with the respect that was her due. 
 Not every woman of her standing was equally con- 
 siderate. 
 
 A few years after Goethe's death a strange book took 
 the world by surprise — Bettina von Arnim's " Goethes 
 Briefwechsel mit einem Kinde " (" Goethe's Correspon- 
 dence with a Child"). Bettina was the daughter of 
 Goethe's old friend Maximiliane Brentano. While still a 
 very young girl she fancied that there was some resem- 
 blance between herself and Mignon; and, as Mignon 
 loved Wilhelm Meister, so she loved Goethe. In 1807, 
 when she was about twenty-two, she came to Weimar, 
 and soon gave evidence of her remarkable passion, 
 which was, of course, an affair rather of the fancy than 
 of the heart. Goethe talked with her kindly, but took 
 care that her enthusiasm should be kept within reasonable 
 bounds. Some years afterwards (in 181 1) Bettina 
 married the poet Arnim. She had the bad taste to insult 
 Christiane, who very properly responded by forbidding 
 her to enter Goethe's house again. To Bettina's surprise, 
 he energetically supported his wife's decision. There 
 was nothing about which he was so sensitive as 
 the treatment accorded to his wife, and Bettina had to 
 reconcile herself to the discovery that in her relation to
 
 160 LIFE OF 
 
 Goethe she was, in comparison with the woman whom 
 she had held in such low esteem, of very little im- 
 portance. The letters published after his death, and 
 attributed to him, are in reality as much Bettina's work 
 as Goethe's. 
 
 In 1S0S he had to pass through a sorrow which he felt 
 most keenly. Ever since his father's death his mother 
 had continued to live at Frankfort. She was a woman of 
 a genial and expansive nature, with a deep vein of 
 poetry ; and her real character was fully recognized only 
 when she had to confront the world, alone. Every one 
 loved her, and she was adored by young girls, whom she 
 delighted to gather around her. To her great joy, Goethe 
 repeatedly visited her, and she was also able to welcome 
 to her home his wife and son. She was so generous 
 that, after Schlosser's death, the trustees for his children 
 by his first wife, Cornelia, Goethe's sister, wished to put 
 some legal limit to her expenditure ; and Goethe was 
 asked to sanction their proposal. Goethe, however, who 
 had inherited much of his mother's disposition, replied 
 that she had a right to spend her fortune as she pleased, 
 and so the good Frau Rath went on living the life that 
 best suited her kindly, happy temper. She corresponded 
 regularly with Goethe, and it would be impossible to 
 conceive a more beautiful relation than that which existed 
 between mother and son. She died on September 
 13, 1808, at the age of seventy-seven, and Goethe 
 mourned for her with a grief that cut deeply into his 
 inward life. 
 
 He sent his wife to Frankfort to make the necessary 
 arrangements with regard to the inheritance that was to
 
 GOETHE. 101 
 
 be divided between him and his sister's children. Chris- 
 tiane showed on this occasion not only a thorough 
 faculty for business, but a liberal spirit that won golden 
 opinions from all whom the matter concerned. 
 
 In the autumn of 1808 took place the famous meeting 
 of Napoleon and Czar Alexander at Erfurt. Napoleon 
 had read a French translation of " Werther," and ex- 
 pressed a wish to see the author. Accordingly, on the 
 morning of October 2nd, Goethe was presented. As the 
 poet entered, the Emperor looked searchingly at him, and, 
 turning round, exclaimed, " Voila un homme ! " Na- 
 poleon talked of "Werther," and had also much to say 
 about the French drama, frequently stopping to ask, 
 " Qu'en dit M. Got ? " A few days afterwards Napoleon 
 and his " pitful of kings " were present at a represen- 
 tation of Voltaire's " La mort de Cesar " at the Weimar 
 Theatre. After the play there was a ball, in the course 
 of which Napoleon repeatedly took occasion to converse 
 with Goethe. He condemned Voltaire's drama, and 
 suggested that Goethe should write a better one on the 
 subject, showing how Caesar, if he had been allowed to 
 live, would have done great things for Rome. The 
 Emperor formed so high an opinion of Goethe that he 
 begged him to come to Paris, assuring him of a fitting 
 welcome. 
 
 Goethe had arranged with Cotta, in 1S05, for the 
 publication of a new edition of his collected works. The 
 appearance of this edition is memorable, because one of 
 the volumes, issued in 1808, contained the First Part of 
 "Faust," as we now possess it. 
 
 There is no sound reason for supposing that when 
 
 11
 
 102 LIFE OF 
 
 Goethe first thought of making the Faust legend the 
 subject of a drama he conceived the work as a whole, 
 including the Second Part. On the contrary, there is 
 ample evidence that the dominant idea of the Second 
 Part was a later development. 1 The Frankfort "Faust" 
 contains not a line or a suggestion which indicates 
 that he intended the work to end otherwise than as 
 a tragedy. The whole scheme of the drama implies that 
 the conclusion is to be tragical. 
 
 Long before the First Part was completed, however, 
 the conception had taken another form. It was one of 
 Goethe's vital characteristics that his mind often reverted, 
 by an inward necessity, to the consideration of the vast 
 problems with which, at the earliest dawn of independent 
 thought, man finds himself confronted. He was especially 
 fascinated by the terrible problem of evil. What is its 
 real nature ? Is it an essential element of the universe, 
 and will it therefore abide for ever? Or is it an appear- 
 ance merely, a negation, which the human spirit may by 
 some means shake off, and so recover its true freedom ? 
 Goethe wrestled with these questions long and earnestly, 
 
 1 This question has given rise to much discussion among students 
 of Goethe's writings. Herman Grimm is one of those who em- 
 phatically maintain that the First and Second Parts were from the 
 beginning in Goethe's mind. See his " Goethe," Zweiter Band, 
 273. A full and clear statement of the opposite view will be found 
 in Karl Biedermann's "Deutschland im Achtzehnten Jahrhundert," 
 Zweiter Band, 1034. Herman Grimm and those who agree with 
 him rely mainly upon some expressions used by Goethe a few days 
 before his death, in a letter written to William von Humboldt (one 
 of the dearest and most highly esteemed of his friends). Bieder- 
 mann, however, shows conclusively that this letter has been 
 misunderstood.
 
 GOETHE. 1G3 
 
 and at last he felt himself able to answer them deci- 
 sively. 
 
 No one who knows anything of Goethe will suppose 
 that he was a thinker of a light, optimistic temper. He 
 realized as few can realize — for few have his capacity for 
 piercing intuition — how deep are the roots of evil in 
 man's nature, and how profound the sources of his 
 misery. It is worthy of note that there is not one of 
 Goethe's works in which he tries to present a flawless 
 male character. Schiller loved to roam in an imaginative 
 world where men have no impulses except such as are 
 high, pure, and heroic. Goethe, on the contrary, held 
 fast by reality. Both in his dramas and his romances 
 most of his leading male figures have some radical defect 
 that either leads, or might conceivably lead, to disaster. 
 Even in " Goetz," the hero of which, if not perfect, is 
 thoroughly sound and good, he gives us Weislingen, 
 whose weakness brings him to a tragic doom. Kindred 
 weaknesses appear in the heroes of "Werther," "Clavigo," 
 "Stella," "Tasso," "Wilhelm Meister." This is not an 
 accident, it is an essential element of Goethe's art, and it 
 in part explains why his work is so much more potent 
 than Schiller's. For, after all, however pleasant it may 
 be to dream of characters who float in an ideal realm far 
 above us, it is by characters in whom we find ourselves 
 reflected that we are most closely touched and most 
 deeply moved. So Tie of Goethe's feminine characters 
 are conceived in a different spirit. We cannot imagine 
 his Iphigenie, for instance, diverging from the straight 
 path. But he also presented Adelheid ; and Lotte and 
 Gretchen, warmly as he loved them, are not prevented
 
 1C4 LIFE OF 
 
 from making experience of evil — the former by hovering 
 on its verge, the latter by plunging into the abyss. 
 
 Goethe, then, was under no illusions as to the darker 
 aspects of the world. He knew and felt that an awful 
 conflict goes on between two mighty powers, the one fair 
 and beneficent, the other hideous and malign. But he 
 convinced himself — or, perhaps, it would be truer to say, 
 the conviction grew in his mind — that this struggle is not 
 necessarily eternal ■ that in spirits which, in spite of failure 
 and suffering, have always an inward longing for light 
 and freedom, the good power ultimately triumphs, and 
 crushes evil for ever under its feet. 
 
 To have a great conviction was in Goethe's case to be 
 conscious of an urgent demand for its expression. Some 
 time or other, therefore (perhaps in 1788, when, at 
 Rome, he wrote of " the plan " having been " made "), 
 it must have occurred to him that "Faust" provided 
 him with precisely such a medium of expression as 
 he needed. Faust has turned from all the highest 
 influences to which his spirit in its inmost depths 
 responds. . In a mood of despair he has abandoned 
 his ideals, and is seeking through the world for 
 some rapture that will satisfy his cravings. So far, he is 
 a type of humanity in one aspect of its life. But — 
 Goethe seems to have asked himself — why should not 
 Faust be a type of humanity in a larger, greater sense ? 
 If it is the destiny of evil to be conquered and to pass 
 away, might not Faust become the representative of this 
 sublime world-process ? In his deep, imaginative spirit 
 might we not see the entire course of the struggle, from 
 the moment when evil seems to attain supremacy until
 
 GOETHE. 165 
 
 that in which it will have to give way to the ultimate and 
 absolute sway of good ? 
 
 Nothing short of this was Goethe's aim in his final 
 conception of " Faust." The poem was to embody all 
 that his thought and his experience of life had taught 
 him as to the spiritual history and the spiritual destiny 
 of man. 
 
 Hence, in the completed First Part, the work no longer 
 begins, as it began in its earliest form, with Faust's 
 monologue. The Prologue in Heaven introduces us to 
 a scene in which it is symbolically brought home to us 
 that Faust, whatever may be his errors or crimes, will not 
 always remain under their power, but will in the end 
 recognize his true nature, yield his will to its laws, and so 
 attain to liberty and peace. And, in accordance with 
 this symbolic assurance, Goethe, in the body of the 
 poem, brings into clearer prominence those qualities of 
 Faust's character which show that at heart he is a man 
 capable of fine impulse and generous aspiration. Every 
 one knows how, after the second monologue, when he is 
 about to end his unhappiness by death, he is affected by 
 the chorus of angels and women on the morning of Easter 
 Day. We obtain the conviction that, however deeply a 
 man who can be so touched may fall, he can never place 
 himself beyond hope of recovery. This is suggested, 
 too, by the form of his pact with Mephistopheles. He 
 is to yield himself wholly to Mephistopheles only if a 
 moment shall come when he will be disposed to say 
 " Oh, stay ! thou art so fair ! " We know that to a man 
 of Faust's nature no such moment can ever come through 
 evil agency.
 
 166 LIFE OF 
 
 In other respects the poem is not vitally changed; it is 
 merely extended and developed in the sense in which it 
 was originally conceived. The working-out of the idea 
 of Faust's deliverance Goethe reserved for the Second 
 Part. 
 
 The "Fragment" published in 1790 had passed almost 
 unnoticed. The completed First Part, on the contrary, 
 was received with general astonishment and admiration. 
 Most people had begun to think of Goethe as one who 
 had practically closed his literary career. He was now 
 on the border-land between middle life and old age, and 
 it had been supposed that no further work of importance 
 was to be expected from him. Yet here was a poem of a 
 depth and range that surpassed anything he had yet 
 produced. For the first time his countrymen began to 
 realize the true extent of his power, and, during the rest 
 of his life, all who were capable of sound critical judg- 
 ment regarded him as incomparably the greatest figure in 
 the literature of Germany. 
 
 Two years after the publication of " Faust " he issued 
 the third of his prose romances, " Die Wahlverwandt- 
 schaften " (" Elective Affinities "). The idea of this book 
 had been for a long time in his mind. He originally 
 intended to make it the subject only of a short study,. 
 but he ultimately felt that its full significance could be 
 brought out only in an elaborate tale. The work displays 
 high imaginative energy, and must be classed among the 
 finest of Goethe's prose writings. Its most striking cha- 
 racteristic is the power with which he convinces us that 
 the relations he calls " elective affinities," although they 
 lead in the story to no outward wrong-doing, must neces-
 
 GOETHE. 167 
 
 sarily, in such circumstances as he presents, have a deeply 
 tragic meaning. 
 
 Another work belonging chiefly to this period is " Aus 
 Meinem Leben. Dichtung und YVahrheit " (" From My 
 Life. Poetry and Truth "), the first two parts of which 
 appeared in 1811, the third in 1814. The fourth he did 
 not finish until 183 1. The narrative brings the story of 
 Goethe's life down to the time when he quitted Frankfort 
 for Weimar. His object was to describe the influences 
 under which his character both as a man and as a writer 
 was formed. Hence the stress he lays on his relations 
 to Gretcben, Annette, Frederika, and Lib. To have 
 omitted these figures from his picture, or to have sketched 
 them only slightly, would have been to convey a wholly 
 wrong impression of the conditions under which his 
 peculiar powers were developed. The style in which the 
 story is told is light, pliant, and graceful, and it has an 
 especially delicate charm in the passages relating to the 
 maidens whom he has loved. Some details of the narra- 
 tive are incorrect, but that his reminiscences are sub- 
 stantially accurate we know from the fact that they 
 accord in the main with his early works and letters. 
 Goethe's intellectual relations even in youth were so far- 
 reaching that " Dichtung und Wahrheit " is much more 
 than a record of his personal experience. It contains a 
 full and most vivid account of all the great currents of 
 thought and feeling in Germany during an important 
 transitional period in the history of her literature. 
 
 1 taring the time when he was writing his autobiography, 
 Goethe studied with much interest Von Hammer's trans- 
 lation of the Persian poet Hafiz. This led to the pro-
 
 1G8 LIFE OF 
 
 duction of the " West-Oestlicher Divan" (West-Eastern 
 Divan "). The work was not published until 1819, but 
 the greater part of it was written in 181 5. It consists of 
 several series of short poems, and is remarkable chiefly 
 for the deep practical wisdom of many of its verses, for 
 the variety and perfection of its metres, and for the splen- 
 dour of its diction. The " West-Oestlicher Divan" became 
 a source of inspiration to several poets of the new genera- 
 tion — among others, to Riickert, Platen, and Bodenstedt. 
 Meanwhile, Germany had been passing through a great 
 and stirring period of her history, and Goethe, like other 
 people, had been anxiously watching the progress of 
 events. It cannot, however, be said that he was one of 
 those who in any way aided the national cause. This 
 was not due to lack of patriotism, for although he could 
 not share the hatred with which most of his countrymen 
 at this time regarded France, he realized fully of what 
 vital importance it was for Germany that French supre- 
 macy should be brought to an end. But it did not seem 
 to him, when the War of Liberation began, that the time 
 had come for a final struggle for national independence. 
 Napoleon, notwithstanding his disasters in Russia, still 
 had vast resources at his disposal, and Goethe was con- 
 vinced that his military genius made him all but invinci- 
 ble. On the other hand, the German sovereigns, as he 
 had known them, had generally been self-seeking and 
 untrustworthy, and it appeared incredible to Goethe 
 that they would be able to act harmoniously for a high 
 common object. Happily, his forebodings proved to be 
 without foundation, and he was heartily pleased when he 
 had to admit that he had been mistaken.
 
 GOETHE. 169 
 
 One small result of the great national uprising was that 
 the Duke of Weimar became a Grand Duke and received 
 an accession of territory. As he proposed to establish a 
 constitutional system of government, it was necessary 
 that the method of administration should be considerably 
 modified ; and Goethe, who was not consulted about the 
 measures which were about to be taken, supposed that 
 there might be some change in his own position. The 
 Grand Duke, however, knew too w T ell what he owed to 
 his old and loyal friend to do anything to his disadvan- 
 tage. Early in the winter of 1S15, Goethe was informed 
 that he had been appointed the First Minister of State. 
 
 A few months afterwards, he had to mourn the loss of 
 his wife. She died on the 6th of June, 1S16. This 
 was a bitter grief to Goethe, who had never loved her 
 more warmly than during the last years of her life.
 
 CHAPTER X. 
 
 AFTER his wife's death Goethe became anxious that 
 arrangements should be made for the marriage of 
 his son August, who had for some time had an official 
 appointment at Weimar. Goethe's choice fell upon Ottilie 
 von Pogwisch, a handsome, clever girl, the granddaughter 
 of a lady for whom he had much regard. August was of 
 opinion that a better wife could not have been selected 
 for him, and so they were married on the 17th of June, 
 181 7. Goethe laughingly warned Ottilie that she was 
 never to contradict her husband, and that if she 
 ever wanted to have the rapture of a quarrel, she 
 must come and have it out with him. They occupied the 
 top floor of Goethe's house, the rooms of which had been 
 carefully prepared and furnished for them ; and by and 
 by they received as a permanent inmate of their home 
 Ottilie's sister Ulrica. Two children were born of the 
 marriage, and his grandsons were to Goethe an inexhaus- 
 tible source of delight. 
 
 Much as Goethe had done for the Weimar Theatre, the 
 business connected with it had often been an occasion of 
 trouble and annoyance, due chiefly to the intrigues of the
 
 LIFE OF GOETHE. 171 
 
 actress Fraulein Jagemann, who had great influence over 
 the Grand Duke. Early in 1 817 it was decided, in oppo- 
 sition to Goethe's wishes, that the birthday of the Grand 
 Duchess should be celebrated by the representation of one 
 of Kotzebue's plays. The performance was a failure, and 
 Goethe handed in his resignation of the directorship. He 
 was persuaded to withdraw it, but later in the year, when, in 
 deference to Fraulein Jagemann, the Grand Duke sanc- 
 tioned the representation of a play in which a leading part 
 was to be taken by a dressed-up poodle, Goethe felt that it 
 was impossible for him to retain a position in which his 
 authority was disregarded. From this time he confined 
 himself exclusively, in his official duties, to the control of 
 institutions for the promotion of science and art. He 
 devoted attention especially to the University of Jena, 
 the prosperity of which he had missed no opportunity of 
 furthering ever since his settlement at Weimar. 
 
 Goethe, who seemed to have the secret of eternal 
 youth, carried with him into middle life and old age much 
 of the fresh vivacity of his early years. He was especially 
 remarkable for his sensitiveness to feminine influence. 
 While writing the " Wahlverwandtschaften " he had been 
 strongly attracted by the beauty, thoughtfulness, and 
 amiability of Wilhelmine Herzlieb, the foster-daughter of 
 the wife of Herr Frommann, a bookseller at Jena, at 
 whose house he was a frequent and welcome guest. 
 SomeofWilhelmine's qualities were reproduced in Ottilie, 
 the lovely and pathetic figure who is overtaken by so sad 
 a fate in the "Wahlverwandtschaften." At the time 
 when most of the poems in the " West-Oestlicher Divan" 
 were written, he had a still more cordial relation with
 
 172 LIFE OF 
 
 Marianne, the fascinating wife of his friend Geheimerath 
 von Willemer, of Frankfort. In 1S14 and 1S15 he had 
 much pleasant talk with Marianne in her home, and in 
 1 8 15 she and her husband spent some happy days with 
 him at Heidelberg. Marianne w r as not only a handsome 
 woman, of a sound and affectionate character, but had a 
 touch of poetic genius. She followed with warm interest 
 and sympathy Goethe's progress in the composition of 
 the poems of the " Divan." Some of them were addressed 
 to her, and she responded with original verses, of which 
 Goethe thought so highly that he interwove them with 
 his own work. 
 
 Goethe's relations to Wilhelmine Herzlieb and 
 Marianne Willemer were much the same as Dr. John- 
 son's relations to Frances Burney and Mrs. Thrale. 
 Both women interested him, appealed to his imagination, 
 and liked him as heartily as he liked them ; and, as a 
 poet and a German, he could give warm expression to 
 his regard for them without running the slightest risk of 
 being misunderstood by either. When he sent to Frau 
 Willemer the exquisite little lyric, " Nicht Gelegenheit 
 macht Diebe," and she, as Suleika, replied with the 
 equally beautiful poem, " Hochbegliickt in deiner Liebe," 
 they would have been astonished and dismayed had any 
 one been stupid enough to suppose that, so far as their 
 relations to one another were concerned, either set of 
 verses represented more than a light and delicate play of 
 fancy. 
 
 Afterwards, however, Goethe passed through a deeper 
 experience. This was his love for Ulrica von Levezow, 
 whom he met with her mother, an old friend of his, at
 
 GOETHE. 173 
 
 Marienbad in 1822, when he was in his seventy-third 
 year. Goethe was charmed by the beautiful maiden, and 
 loved her as ardently as if he had been fifty years younger. 
 In the following year he met her again with her mother 
 at the same place, and the fascination she exerted over 
 him was so obvious that gossips began to talk of an 
 approaching betrothal. When Ulrica left Marienbad, 
 Goethe felt sadly depressed. He found relief, however, 
 while listening to the playing of the Polish pianist, 
 Madame de Szymanowska, and then he was able to give in 
 the fine poem " Aussohnung " (" Reconciliation ") full ex- 
 pression to his sense of what seemed for the moment his 
 recovered freedom. It cost Goethe a hard struggle to 
 overcome this late-flowering passion. He was determined 
 that it should be mastered, and in the end succeeded in 
 suppressing it. 
 
 On the 3rd of September, 1S25, the fiftieth anniver- 
 sary of the Grand Duke's accession was celebrated. 
 Goethe was deeply moved by the memories which 
 crowded in upon him on this occasion. It was arranged 
 that early in the morning a cantata should be sung in 
 front of the Roman House, in the Park, where the Grand 
 Duke was staying ; and, while this was being done, Goethe 
 entered, anxious to be the first to congratulate the sovereign 
 he had served so well. The Grand Duke took Goethe's 
 hands in his own, and said, " To the last breath together I" 
 About two months afterwards the fiftieth anniversary of 
 Goethe's arrival at Weimar was also celebrated. The 
 Grand Duke presented him with a gold medal struck for 
 the occasion, and expressed in a letter all that he felt 
 about the magnificent services Goethe had lor half a
 
 174 LIFE OF 
 
 century rendered to himself and his people. By the Grand 
 Duke's order, a copy of this letter was posted on a wall 
 opposite Goethe's house. Seeing a crowd, Goethe sent 
 a friend to find what was interesting them. " That is he ! " 
 cried Goethe, when he learned what had been done. In 
 the evening " Iphigenie " was represented, and the town 
 was brilliantly illuminated. 
 
 Goethe was saddened, almost beyond the power of ex- 
 pression, by the death of the Grand Duke in 1828, and 
 that of the Grand Duchess in 1S30. He had been 
 associated with them so long, and had loved them, and 
 been loved by them, so truly, that their death, in the first 
 moments of grief, seemed like the breaking-up of all that 
 had made life valuable. Happily, he had every reason 
 to be satisfied with his relations with the young Grand 
 Duke and Grand Duchess. They looked up to him with 
 reverence, and delighted to do him honour. 
 
 In his home Goethe had much wearing anxiety and 
 distress. His son August, although endowed with many 
 good qualities, was of a wayward and uncertain temper, 
 and at last took to hard drinking. He loved his father 
 deeply, but even Goethe's influence was not strong 
 enough to deliver him from this hideous tyranny. In 
 1830 he went to Italy, and he died at Rome on the 27th of 
 October. It was found that he had been suffering from 
 malformation of the brain. 
 
 In 182 1 a student at Gottingen, Johann Peter Ecker- 
 mann, submitted a copy of his poems to Goethe, with a 
 sketch of his life ; and Goethe, as was his wont on such 
 occasions, sent a friendly answer. Two years afterwards 
 Eckermann, encouraged by this reply, despatched a manu-
 
 GOETHE. 175 
 
 script to Goethe, begging that he would forward it to 
 Cotta. On the ioth of June, 1823, an interview took 
 place, and Eckermann made so good an impression that 
 Goethe gave him some work to do, and ultimately made 
 him his secretary. The result was that many years after- 
 wards the world received Eckermann's "Conversations 
 with Goethe." Eckermann was not, like Boswell, a great 
 artist, and Goethe does not live in his book as Johnson 
 lives in BoswelPs. Nevertheless, these " Conversations " 
 present a most striking picture of Goethe in old age, and 
 it is impossible to read them without feeling that they 
 bring us into contact with an intellect and character of 
 superb quality. Almost every subject interests Goethe, 
 as he is here revealed ; and on all matters, from the 
 humblest to the most lofty, about which he expresses an 
 opinion, he has something to say that indicates a mind 
 fresh, vigorous, and richly stored with the fruits of a life 
 of thought, action, and study. Above all, the reader is 
 impressed by the noble feeling of humanity that pervades 
 his utterances. Goethe has seen as much of the world 
 as it is given to men to see; yet in his judgments there 
 is no trace of a bitter or querulous temper. He is mild, 
 serene, and helpful. 
 
 Weimar had now become a place of pilgrimage for 
 young poets, who looked to Goethe as the supreme 
 master of their craft. Among those who came to him 
 was the poet who was destined to take, after Goethe's 
 death, the first place in the imaginative literature of Ger- 
 many — Heinrich Heine. Heine visited Weimar when 
 he was twenty-five years of age, and had already taken 
 rank among the most powerful writers of his day. Long
 
 170 LIFE OF 
 
 afterwards, in " Ueber Deutschland," he said that in 
 talking with Goethe he involuntarily looked at his side 
 for the eagle of Zeus. " I was nearly," he says, " addres- 
 sing him in Greek." Many a time, when he had thought 
 of visiting Goethe, he had reflected on all sorts of sub- 
 lime things he would like to say. When he found him- 
 self actually in the great man's presence, he remarked 
 that the plums by the wayside between Jena and Weimar 
 were uncommonly good ! So, at least, we are assured by 
 Heine, whose reminiscences were seldom intended to be 
 taken quite seriously. Goethe appreciated Heine's rare 
 gifts, but said to Eckermann that with all his brilliance 
 one thing was wanting to him — love. He predicted, 
 however, that Heine would be greatly feared. 
 
 From abroad, as well as from all parts - of Germany, 
 testimonies of admiration were from time to time sent to 
 Goethe. On his last birthday he received from fifteen 
 (or perhaps nineteen) Englishmen, among w T hom were 
 Sir Walter Scott, Wordsworth, Southey, and Carlyle, a seal 
 bearing the motto from one of his poems, " Ohne Hast, 
 aber ohne Rast " ("Without haste, but without rest"). 
 The suggestion that this tribute of respect and gratitude 
 should be offered to Goethe had been made by Carlyle, 
 with whose translation of "Wilhelm Meister " he had 
 been greatly delighted. Goethe, although he never saw 
 Carlyle, recognized his genius, and foretold his future 
 greatness. 
 
 During his last years Goethe took little interest in the 
 public affairs of Europe. Least of all did he interest 
 himself in the proceedings of Liberal politicians. On 
 the day when the tidings of the French Revolution of
 
 GOETHE. 177 
 
 1830 reached Weimar, his friend Soret went to see him. 
 When Soret entered his room Goethe was in a state of 
 intense excitement, and began to talk of the mighty 
 volcanic eruption at Paris. Soret replied that nothing 
 else was to be expected from such a Ministry. Goethe 
 looked at him in astonishment. What had the Ministry 
 to do with the matter ? He had not been speaking of 
 "those people," but of the contest in the French 
 Academy between Cuvier and Geoffrey St. Hilaire ! — 
 a contest in which St. Hilaire had supported Goethe's 
 ideas as to the true way of conceiving organic Nature. 
 
 The essential aim of the Liberal party all over Europe 
 in those days was to secure a political system in which 
 the functions of the Government should be restricted 
 within the narrowest possible limits. Every interest of 
 life was to be submitted to the operation of the principle 
 of free competition. Goethe could have no sympathy 
 with a movement of which this was the ultimate object, 
 for it was one of his deepest convictions that strong govern- 
 ment is an enduring necessity of society, and that the 
 path of free competition is a path that leads to ruin. And 
 have events proved that in this opinion he was utterly 
 mistaken ? So far as industry and trade are concerned, 
 the Western world has had ample experience of free com- 
 petition, and can we take much pride in such of its 
 results as are seen in the foul and pestilent dens in which, 
 in every great city, multitudes of men, women, and chil- 
 dren are compelled to lead degraded and unhappy lives ? 
 Goethe did not mean by strong government a system 
 which should crush thought and true individuality. On 
 the contrary, to him thought and true individuality 
 
 12
 
 178 LIFE OF 
 
 seemed the vital conditions of human progress. But he 
 wished, too, that the weak should be protected against 
 the tyranny of the strong ; that the State should be the 
 supreme organ of practical reason for the establishment 
 and maintenance of wholesome relations between man 
 and man, and for the execution of measures designed to 
 promote the free development, not of this class or of 
 that only, but of the community as a whole. 
 
 Many Liberal politicians were never tired of talking of 
 Goethe as one who cared nothing for the practical 
 interests of the world. They mistook indifference to 
 their party for indifference to humanity. The truth 
 is, he was in one sense far ahead of those who 
 virulently assailed him as a reactionary. As we know 
 from many passages in " Wilhelm Meisters Wanderjahre," 
 he saw that the real problems of the future were not 
 merely political but social; that communities could never 
 hope to solve these problems by simply giving free scope 
 to the forces contending for mastery ; and that for the new 
 conditions of the world new forms of co-operative in- 
 dustrial organization would become inevitable. He 
 devoted much earnest attention to the principles ex- 
 pounded during this period by St. Simon, and his ideas 
 about social progress have a close affinity to some of 
 those with which the English-speaking world has been 
 made familiar by the most illustrious of its modern 
 spiritual teachers, Carlyle and Ruskin. 
 
 Even in old age Goethe never paused in his labours 
 as a man of letters. One of the works now issued by 
 him was " Wilhelm Meisters Wanderjahre " ("Wilhelm 
 Meister's Years of Travel " ). It was published in its
 
 GOETHE. 179 
 
 earliest form in 1821, but afterwards it was recast, the 
 work as we now have it being finished in 1829. This 
 book has little real connection with the " Lehrjahre," 
 and ought not to be read as a complete work of art, 
 for Goethe hardly even attempts to give unity to the 
 various elements of which it is made up. Much of it is 
 rather tiresome, but it also contains tales and passages as 
 remarkable for nobility of style as for depth of thought. 
 Especially valuable are those parts of the book in which he 
 develops his mature convictions with regard to education, 
 and the conditions of the high and enduring welfare of 
 industrial societies. Here he anticipates much of what 
 is most deeply characteristic of the thought of our own day. 
 
 In all directions Goethe continued to exercise his 
 widely varied powers. He edited a periodical called 
 for some time " Kunst und Alterthum in den Rhein 
 und Maingegenden " ( " Art and Antiquity in the 
 districts of the Rhine and the Main " ). Afterwards 
 he called it simply " Kunst und Alterthum," and in- 
 cluded in it, besides papers o n art and archaeology, 
 some of his poems and essays in literary criticism. 
 He also published, between 181 7 and 1824, a scientific 
 periodical, in which he printed his treatise on the in- 
 termaxillary bone, and communicated his discovery as 
 to the constitution of the bones of the skull. This 
 discovery had in the interval been independently made 
 by Oken, but to Goethe the question of priority appeared 
 to be one of absolutely no importance. 
 
 During this time, too, he went on writing lyrical and 
 other poems, as he had done during all the earlier 
 periods of his career ; and he devoted great attention to
 
 ISO LIFE OF 
 
 the preparation of a complete edition of his works, the 
 first volume of which was published in 1827. He also 
 found time to write or dictate an extraordinary number of 
 letters. Goethe had always been a model correspondent, 
 and the various collections of his letters are of inestimable 
 value for the light they throw upon his character. He 
 himself issued, in 1828-29, his correspondence with 
 Schiller; and he prepared for publication his corres- 
 pondence with Zelter, the genial and eccentric Berlin 
 musical composer, to whom he was warmly attached. 
 We now possess a vast series of Goethe's letters, some 
 dating from early youth, others written immediately before 
 his death. They reflect accurately many different moods, 
 corresponding to the different stages of his development ; 
 but in the letters of all the periods of his life the mind 
 which unconsciously discloses itself is one dominated by 
 a passion for truth, by a lofty sense of honour, and by 
 manly, humane, and generous impulses. 
 
 The most important work of his old age is the Second 
 Part of " Faust." Some portions of it had been written 
 even before the appearance of the First Part ; but the 
 work belongs in the main to his latest period. He 
 finished it before his last birthday, and told Eckermann 
 that, this task being done, he would regard the rest 
 of his life as " a pure gift." 
 
 " Faust," therefore, had accompanied him during the 
 entire course of his literary career. In it he had repre- 
 sented all the various phases of evolution through which 
 his thought and character had passed. 
 
 As a work of art, the Second Part is far inferior to the 
 First. It lacks the unity which is to some extent given
 
 GOETHE. 181 
 
 to the First Part by Faust's relation to Gretchen ; and 
 it contains a multitude of symbolical ideas, the meaning 
 of which it is hard to unravel. "We miss, too, the fire 
 and glow of the scenes conceived in Goethe's early days, 
 when "Faust" served as the direct imaginative expression 
 of his own tumultuous thoughts and longings. Never- 
 theless, there are individual passages, especially in the 
 scenes relating to Helen of Troy, full of splendid power ; 
 and the idea in which all is summed up is in every way 
 worthy even of the grandest of the original elements 
 of Goethe's scheme. Before dying, Faust feels that 
 a moment might come to which, with all his heart, he 
 could say, " Oh, stay ! thou art so fair ! " But it is a 
 moment which Mephistopheles, the representative of the 
 evil in his nature, could never have secured for him. 
 It is a moment of pure delight springing from the con- 
 templation of the results of disinterested labour in the 
 service of humanity. 
 
 This was Goethe's last word to the world ; the expres- 
 sion of his deepest and most settled conviction. To 
 make selfish joy, as Faust had done, the supreme object 
 of existence — that way lie perpetual evil and misery ; to 
 sacrifice self, to bring the will into harmony with ideal 
 law, in all things to think and act in a spirit of love and 
 brotherhood, as Faust, after fierce struggle, learns to do 
 — in that, and in that alone, can man find a life truly 
 fitted to his nature and capable of satisfying his deepest, 
 inmost wants. The idea with which Goethe seeks to 
 solve the problem of " Faust" is the old, yet ever new, 
 doctrine — " He that loseth his life for my sake shall 
 find it."
 
 182 LIFE OF 
 
 For many years Goethe enjoyed excellent health, and 
 from day to day his work went on without serious in- 
 terruption. The end — described simply and graphically 
 in Diintzer's " Goethes Leben " — came somewhat 
 suddenly, when he was in his eighty-third year. On 
 Thursday, March 15, 1S32, when the young Grand 
 Duchess paid him her usual weekly visit, he had much 
 to say about a drawing which a friend had sent him 
 from Pompeii. It was a sketch of an ancient design in 
 mosaics, representing a scene in the life of Alexander the 
 Great. The Grand Duchess saw in her friend no sign of 
 an approaching illness, nor was Goethe, when he retired 
 to his room in the evening, conscious of any physical 
 change. During the night, however, he could not sleep, 
 and next morning it was obvious that he had lost much 
 of his usual vigour. Between the 19th and the 20th of 
 March, about midnight, he had severe pains in the chest 
 and suffered from an attack of breathlessness. Even these 
 symptoms did not alarm him, and on the 20th he had 
 strength enough to sign an official paper securing that aid 
 should be granted to a lady whose talents as an artist 
 had excited his admiration. But life was gradually ebbing 
 away. On the morning of the 22nd of March, he sat in 
 his armchair, holding the hand of his daughter-in-law, 
 Ottilie, in his own, and conversing with her brightly. As 
 he talked, his words came with increasing difficulty, and 
 at last he wholly lost the power of speech. He made 
 signs in the air, and, when his arm dropped, moved his 
 fingers as if writing on his knee. Shortly before midday, 
 leaning back in a corner of his chair, he softly passed 
 away.
 
 GOETHE. 183 
 
 If we look back upon the course of Goethe's long life, 
 it is impossible not to be struck with admiration when 
 we think of the extraordinary range of his activity. 
 There are few departments of intellectual life into which 
 he did not penetrate, and in everything which, as a 
 thinker and writer, he undertook, he displayed the 
 highest order of mental power. As a man of science, 
 he ranks among the foremost investigators of his age. 
 He had no sooner begun to reflect seriously on scien- 
 tific problems than he placed himself in what proved 
 to be the central current of modern thought. The 
 supreme idea of the nineteenth century is the idea of 
 evolution, and the position of those inquirers who imme- 
 diately preceded Darwin is necessarily determined by the 
 answer which must be given to the questions — Were 
 they, in their observations and speculations, guided by 
 aims which in the main accord with Darwin's principle ? 
 Were they among the forerunners who prepared the 
 way for the doctrine in which all that was best and 
 most vital in pre-Danvinian scientific thought is summed 
 up? In regard to Goethe, these questions must be 
 answered emphatically in the affirmative. His discoveries, 
 resulting almost equally from the exercise of his per- 
 ceptive and imaginative faculties, were on the lines which 
 led directly to the theory of evolution. It is only, in- 
 deed, since the law of evolution was detected, that the 
 world has recognized the full meaning and importance of 
 his contributions to scientific progress. 
 
 As a writer on art, Goethe was less original than as 
 a man of science. Lut here also he was on the track 
 that has been followed by the greatest of Ins succes-
 
 184 LIFE OF 
 
 sors. Greek architecture and sculpture Winckelmann 
 had made in part intelligible ; and, having absorbed his 
 teaching, Goethe, as the result of his own observations 
 in Italy, had many a luminous suggestion to offer as to 
 masterpieces of ancient art, and as to the general 
 processes of development with which they were related. 
 In his study of modern art it was to the painters and 
 sculptors whose technical skill was used in the service of 
 high imaginative ideas that he instinctively turned ; and 
 no writer of his day sought more earnestly to show how 
 little can be achieved in art if it is divorced from serious 
 and noble thought. He felt, too, as only a few of the 
 world's intellectual guides have yet felt, how great is the 
 place which properly belongs to art as one of the in- 
 fluences capable of giving dignity and refinement both to 
 individual and to social life. 
 
 Great, how r ever, as were Goethe's achievements in the 
 criticism of art and in science, they are of almost slight 
 importance in comparison with his work as an imaginative 
 writer. As a writer of romance, as a dramatist, as a 
 lyrical poet, he towers high above all other men of 
 letters whom Germany has produced. In the literature 
 of his country he takes the rank which in that of Greece 
 belongs to Homer, in that of Italy to Dante, in that of 
 England to Shakespeare. Almost every element of 
 human life is touched in his creations, yet he has told us 
 that his writings are to be regarded as parts of one great 
 "confession." However remote they may seem to be 
 from his own experience, they are directly or indirectly 
 rooted in the facts of his personal history. To this is 
 due one of the most distinctive qualities of his work
 
 GOETHE. 185 
 
 both in verse and in prose — the extraordinary vitality 
 of his ideas ; the vividness with which all that he depicts 
 is made to pass before us, as if it were a part of the 
 outward and visible world. He cannot, however, be 
 truly described as a realist, if by a realist is meant 
 one who seeks to do no more than represent exactly 
 what he himself has seen or felt. In taking reality as 
 the basis of ideal structures, Goethe severed from it 
 associations which were only of temporary or accidental 
 interest. He brought it into new relations, touched it 
 with the transforming power of the imagination, and gave 
 to individual facts universal significance. Hence the 
 greatest of his works are as fresh to-day as when he 
 wrote them ; and they could lose their living power 
 only if human nature itself were radically changed. 
 
 As a critic of literature, he had the sanity of judgment 
 and the intuitive insight which mark all poets of the 
 highest genius. He has never, perhaps, been surpassed 
 in his power of detecting the signs of a genuinely 
 creative capacity ; and this power, remarkable even in 
 his youth, did not desert him in old age. He was con 
 stantly on the outlook for new intellectual forces, and, 
 when they appeared, seldom failed to divine the direction 
 in which they were moving, and the nature of the results 
 they were likely to accomplish. Byron, Scott, Manzoni, 
 Victor Hugo, Carlyle — all were hailed by Goethe as, in 
 different ways, potent representatives of the later periods 
 of the era to which he himself belonged. It did not 
 occur to him to think of them as rivals. He thought 
 only of his good fortune in having lived to see them 
 carry on the movement of European literature.
 
 1SG LIFE OF 
 
 When a writer achieves world-wide fame, we cannot 
 resist the impulse to ask what he has to tell us as to the 
 great, enduring spiritual problems of existence. We 
 have seen how deeply Goethe, in youth, was influenced 
 by Spinoza ; and during the whole of his mature life his 
 conception of the universe in some respects closely re- 
 sembled that of the teacher whom he had so profoundly 
 revered. Atheism was not only repugnant to his feeling, 
 but seemed to him the last development of human folly. 
 To him the world was but the manifestation of Divine 
 energy; he thought of it as "the living garment of the 
 .Deity." So far, his idea of the ultimate nature of things 
 was simply Spinoza's idea ; but, when he had fought his 
 way to an independent conviction, he differed widely 
 from Spinoza in his mode of conceiving the Reality 
 which reveals itself in the phenomenal order. The God 
 in whom Goethe believed was not simply " Substance." 
 The enduring types or patterns to which, in his interpre- 
 tation of Nature, he attributed such vast importance, 
 imply the existence of something more and deeper than 
 abstract force. They are Divine ideas, and would be 
 unintelligible apart from Mind or Reason. That the 
 word Reason, when applied to the creative energy of 
 the universe, expresses absolute truth, Goethe nowhere 
 says ; but he held that man cannot but form for himself 
 some representation of the Unknowable Power, and 
 that to represent it as Reason is the least inadequate way 
 in which we can catch some glimpse of its unutterable 
 splendour. 
 
 The notion that the world was formed for man seemed 
 to Goethe the offspring of extravagant self-conceit. Yet
 
 GOETHE. 187 
 
 he had no mean estimate of the greatness of the human 
 spirit. He recognized in it powers capable of indefinite 
 growth and expansion, and did not doubt that there is an 
 invisible realm in which, after it has fulfilled its mission 
 in the present world, it passes to new and higher 
 destinies. It appeared to him, however, strange and most 
 unreasonable that men should miss what is great and 
 worthy in this life by dreaming vaguely about a life to 
 come. He conceived that the truest preparation for 
 whatever may be in store for us in other states of exis- 
 tence must be the wise cultivation of the faculties with 
 which we are endowed ; and among these faculties he 
 gave the highest place to the impulses which bring men 
 into intimate and helpful association with their fellows. 
 
 The conduct of life he made a subject of profound 
 reflection, and no modern writer illuminates it with a 
 light at once so clear and so steady. It is for this reason 
 that a quite peculiar relation springs up between Goethe 
 and those who feel the power and the charm of his 
 genius. They go back again and again to his works, his 
 letters, his " Conversations," and never fail to find in 
 them some fruitful word that brings with it fresh hope 
 and courage. His wise and noble sayings are the more 
 inspiring because they almost invariably suggest deeper 
 meanings than they directly utter. The mind, in appro- 
 priating them, is placed in contact, not with abstract 
 dogmas, but with life itself, and is stimulated to the free 
 exercise of its own energies. 
 
 Goethe had an almost unequalled opportunity of 
 developing his powers, and apprehended vividly the full 
 extent of the obligation it imposed. His life, therefore,
 
 188 
 
 LIFE OF GOETHE. 
 
 has the note of greatness which distinguishes his writ 
 ings. It was a life of lofty aim and strenuous endeavour, 
 and left a mark, wide, deep, and abiding, on the thought 
 and aspiration of mankind. 
 
 The End.
 
 INDEX. 
 
 " Alexis unci Dora," 146 
 
 Anson, Lord, his " Voyage 
 
 Round the World," 16 
 Arnim, Bettina von, 159 
 " Aufgeregten, Die," 132 
 
 B. 
 
 Ballads, by Goethe, 147 ; by 
 
 Schiller, 147 
 Basedow, 80 
 
 Beaumarchais, Memoirs of, 68 
 " Belinden, An," 84 
 Behrisch, 27 
 Bohme, Professor, 25 
 Bologna, 107, in 
 Boswell, 34, 175 
 Breitkopf, 27, 34 
 Brentano, Maximiliane, 59 
 Brion, Frcdcrika, Goethe's love 
 
 for, 41 ; his parting from, 43 ; 
 
 her influence on Goethe, 45 ; 
 
 Tier relation to Maria in j 
 
 " Goetz," 57; to Maria in ! 
 
 "Clavigo,"6 9 ; to Gretchen in 
 " Faust," 75 ; Goethe visits, in 
 x 779. 99; in "Dichtung und 
 Wahrheit," 42, 167 
 Buff, Charlotte, 51, 58, 60, 66 
 
 Carlyle, 176, 178, 185 
 Cellini, Benvenuto, 148 
 "Claudine von Villa Bella," 69, 
 
 114 
 " Clavigo," 68 
 Clodius, 31 
 Cuvier, 177 
 
 D. 
 
 " Dichtung und Wahrheit," 167 
 Dresden, Goethe studies the 
 picture gallery at, 28 
 
 Eckermann, 130, 174, 1?5i I?6> 
 
 180 
 "Egmont," 114, 120 
 Emmendingen, 59, 83, 99
 
 190 
 
 INDEX. 
 
 Ernesti, 24 
 
 "Erwin und Elmire," 69, 114 
 
 Fahlmer, Johanna, 80, 99 
 
 "Faust," in its earliest form, 
 72-73 ; Goethe works at, in 
 Rome, 114 ; " Faust : A Frag- 
 ment," published in 1790, 127 ; 
 continued, 153 ; the First Part, 
 published in 1808, 161-166 ; 
 he Second Part, 180 
 
 Fichte, 150 
 
 Frankfort, Goethe's knowledge of, 
 
 14 
 
 " Frankfurter Gehehrten An- 
 
 zeigen," the, 49 
 
 " Geheimnisse, Die," 103 
 
 Gellert, 24 
 
 Goethe, Catharine Elizabeth, 
 
 Goethe's mother, 12, 16, 18, 33, 
 
 160 
 Goethe, Christiane, Goethe's wife, 
 
 117, 131, 154, 156, 157, 160, 
 
 169 
 Goethe, Cornelia, Goethe's sister, 
 
 13. 17. 32. 48, 59- 83, 99 
 Goethe, Frederick George, 
 
 Goethe's grandfather, n 
 Goethe, Johann Kaspar, Goethe's 
 
 father, 12, 14, 17, 19, 22, 90, 
 
 99 
 Goethe, Johann Wolfgang, his 
 
 birth, 11 ; childhood and boy- 
 hood, 11-23 I atLeipsic, 24-32 ; 
 returns, as an invalid, from 1 
 
 Leipsic to Frankfort, 32 ; 
 spends a year and a half at 
 Frankfort, 32-34 ; at Strasburg, 
 34-46 ; influenced by Herder, 
 37 ; his love for Frederika 
 Brion, 41 ; becomes an advo- 
 cate at Frankfort, 47 ; gives 
 dramatic form to the history of 
 Goetz von Berlichingen, 48, 54 ; 
 goes to Wetzlar, 50 ; his love 
 for Charlotte Buff, 51-52; 
 returns to Frankfort from Wetz- 
 lar, 53 ; " Die Leiden des jun- 
 gen Werthers, ' ' 60 ; " Clavigo, 
 68; "Stella," 69; poetic 
 fragments, 70; " Faust " in its 
 earliest form, 72 ; studies 
 Spinoza, 78 ; his friendship 
 with Lavater, Basedow, 
 Johanna Fahlmer, Frederick 
 Jacobi, and the Counts Stolberg, 
 80-82 ; his love for Lili Schone- 
 mann, 82-84 ; quits Frankfort 
 for Weimar, 85 ; the first eleven 
 years of his life at Weimar, 86- 
 105 ; his friendship with Char- 
 lotte von Stein, 91 ; develop- 
 ment of his character at 
 Weimar, 93 ; his official duties, 
 95-97 ; his scientific discoveries, 
 100, 101, 128, 129, 183 ; his 
 visit to Italy, 106-115 ; informal 
 marriage, 118; " Egmont," 
 120 ; " Iphigenie," 122 ; '' Tor- 
 quato Tasso," 123 ; " Faust : A 
 Fragment," 127 ; becomes 
 director of the Weimar Theatre, 
 131 ; his feeling about the 
 French Revolution, 132 ; at 
 Valmy, 133 ; his friendship
 
 INDEX. 
 
 101 
 
 with Schiller, 134-155 ; the 
 "Xenien," 133; "Wilhelm 
 Meisters Lehrjahre," 13S ; 
 Hermann und Dorothea," 143 ; 
 ballads, 147 ; lyrics, 147 ; 
 "Winckelmann unci sein 
 Jahrhundert," 148; "Die 
 Natiirliche Tochter,'' 152 ; his 
 formal marriage, 157 ; his 
 relation to Bettina von Arnim, 
 159 ; his mother's death, 160 ; 
 his interviews with Napoleon, 
 161 ; the First Part of " Faust," 
 161 ; " Die Wahlverwandt- 
 schaften," 166 ; " Dichtung und 
 Wahrheit," 167; the " West- 
 Oestlicher Divan," 168 ; his 
 feeling about the War of 
 Liberation, i63 ; becomes 
 First Minister of State, 169 ; 
 death of his wife, 169; marriage 
 of his son August, 170 ; his 
 relation to Wilhelmine Herzlieb 
 and Marianne von Willemer, 
 171, 172 ; his love for Ulrica 
 von Levezow, 172 ; the fiftieth 
 anniversary of his arrival at 
 Weimar, 173 ; death of the 
 Grand Duke and Grand Duchess 
 of Weimar, and of Goethe's 
 son, 174 ; Eckermann's "Con- 
 versations with Goethe," 175 ; 
 visited by Heine, 175 ; gift 
 from his English admirers, 
 176 ; ideas about the State 
 and society, 176-178 ;" Wil- 
 helm Meisters Wanderjahre," 
 178; " Kunst und Alterthum," 
 179 ; his letters, 180 ; the 
 Second Part of "Faust," i3o ; 
 
 his death, 182 ; general view of 
 His work, 183 
 Goethe, Julius August Walther, 
 Goethe's son, 129, 15S, 170, 
 
 174 
 
 Goetz von Berlichingen, his auto- 
 biography, 48 ; his history 
 dramatized, 49 ; the drama in 
 its second form, 54 ; reception 
 of the play, 57 
 
 Goldsmith, his " Vicar of Wake- 
 field," 40, 41 
 
 " Gotter, Helden, and Wieland," 
 70 
 
 Gottsched, 31 
 
 Gretchen, Goethe's first love, 21, 
 42, 167 
 
 Gretchen, in " Faust,'' 75, 163 
 
 "Gross-Cophta," 132 
 
 Goschen, 105 
 
 II. 
 
 " Harzreise im Winter," 103 
 Heine, Heinrich, 175 
 Herder, Goethe meets, 37 ; his 
 character, 37 ; his influence on 
 Goethe, 39 ; his criticism of the 
 " Geschichte Gottfriedens von 
 Berlichingen," 54 ; settles at 
 Weimar, 89 ; Goethe's relations 
 with, 90, 150 
 " Hermann und Dorothea," 143- 
 
 146 
 Herzlieb, Wilhelmine, 171, 172 
 " Hexenkiiche, Die," written at 
 
 Rome, 115 
 Homer, 40, 43, 1S4 
 Horn, Goethe's friend, 25 
 Hubertusburg, Treaty of, 19
 
 192 
 
 INDEX. 
 
 Ilmenau, mines at, 96, ico, 117 
 
 " Ilmenau," poem, 103 
 
 Intermaxilliary bone, Goethe's 
 discovery of, in human jaw, 101 
 
 " Iphigenie, 1 ' in its prose form, 
 102 ; transformed to a poetical 
 drama, in ; criticism of, 122 
 
 " Italienische Reise," the, 106 
 
 Italy, Goethe's visit to, 106-115 
 
 J- 
 Jacobi, Frederick, 81, 104 
 Jena, Battle of, 156 
 Jerusalem, suicide of, Co 
 Joseph II., his coronation, 21 
 
 K. 
 
 Kanne, 31, 34 
 
 Kant, 135, 138, 150 
 
 Kestner, 52, 58, 66 
 
 Klettenberg, Friiulein von, her 
 influence on Goethe, 33 ; her 
 death, 84 ; the original of the 
 "fair soul" in " Wilhelm Mei- 
 ster," 143 
 
 Klopstock, his "Messiah,'' 16; 
 writes to Goethe, 86 
 
 " Kunst und Alterthum,'' 179 
 
 Laroche, Frau von, 53, 59 ; Maxi- 
 
 miliane, 53 
 " Laune des Verliebten, Die," 30 
 Lavater, 80 
 Leipsic, Goethe goes to, 22 ; his 
 
 life at, 24-32 
 Lessing, 29, 30, 138 
 Letters, Goethe's, 180 
 Levezow, Ulrica von, 172 
 
 Liberation, War of, i63 
 " Lili's Park," 84 
 Loder, Professor, ior 
 Lyrics, Goethe's, 147 
 
 M. 
 
 " Mahomet," fragment of original 
 drama, 70 ; Voltaire's, trans- 
 lated, 152 
 
 Mainz, 84, 133 
 
 Marie Antoinette, 36 
 
 Mephistopheles, in the original 
 " Faust," 76 
 
 Merck, 49, 53, 54, 57, 98 
 
 Metamorphosis of Plants, 123 
 
 Meyer, no, 131, 154 
 
 Michael Angelo, 109 
 
 Mignon, 142 
 
 Mineralogy, Goethe's study of, 
 100 
 
 " Mitschuldigen, Die," 
 
 N. 
 
 Naples, 112 
 
 Napoleon, Goethe's interviews 
 
 with, 161 
 " Natiirliche Tochter, Die," 152 
 " Neue Liebe, Neues Lebe'n," 84 
 Newton, Goethe's rejection of his 
 
 theory of colours, 130 
 NicoJai, 67 
 Niederbronn, 36, 37, 50 
 
 O. 
 
 Oescr, influence of, on Goethe, 
 
 27 ; Frederika, 28, 32 
 Ossian, 40, 43 
 Osteology, Goethe's discoveries 
 
 in, '100, 101, 129, 179
 
 INDEX. 
 
 193 
 
 Ottilie, Goethe's daughter-in-law, 
 170, 182 
 
 P. 
 
 Paoli, General, 34 
 Percy's " Reliques," 40 
 Pindar, 51 
 " Prometheus,'' 70 
 "Propylaen, Die," 148 
 
 R. 
 " Rameaus Neffe," 149 
 Raphael, 107, 109, in 
 " Reineke Fuchs," 133 
 Revolution, the French, 132 
 Robinson Crusoe, 16 
 Romantic School, the, 151 
 Rome, Goethe in, 107-112 ; 113- 
 
 "S 
 
 Romer, the, 15 
 " Romische Elegien," 119 
 Rousseau, 38, 39, 60, 65, 112, 124 
 Ruskin, 178 
 
 S. 
 
 Salzmann, 35, 49 
 
 Schelling, 151 
 
 Schiller, publication of the " Rob- 
 bers," 103 ; goes to Weimar, 
 134 ; his first meeting with 
 Goethe, 135, settles at Jena, 
 
 135 ; his marriage, 135 ; asks 
 Goethe to write for the Horen, 
 
 136 ; his friendship with Goethe, 
 136 ; unites with Goethe in 
 writing the " Xenien," 138 ; his 
 ballads, 147; " Wallenstein," 
 149 ; settles at Weimar, 149 ; 
 his later plays, 152 ; his death, 
 
 154 
 J-chlegel, the brothers, 151 
 
 Schlosser, 25, 59, 99, 160 
 Schbnemann, Lili, 82-84, 99. 
 
 167 
 Schonkopf, Annette, 26, 31, 34, 
 
 42, 167 
 Schrbter, Corona, 93, 102 
 Scott, Sir Walter, 176 
 Sculpture, Goethe's study of 
 
 ancient, 109, 120 
 Shakespeare, 29, 39, 47, 55, 184 
 Sicily, Goethe in, 113 
 Sixtine Chapel, the, 109, 114 
 Soret, 177 
 Southey, 176 
 Spinoza, 78, 186 
 St. Gotthard, 83 
 St. Hilaire, Geoffroy, 177 
 St. Peter's, 109 
 Stael, Madame de, 151 
 Stein, Charlotte von, 91, 99, 104, 
 
 106, 113, 117, 119 
 "Stella," 69 
 Stilling, Jung, 35 
 Stock, 28 
 
 Stolberg, the Counts, 82, 83 
 Strasburg, Goethe's life at, 34-46 ; 
 
 later visits to, 83, 99 
 Switzerland, Goethe's first visit to, 
 
 83 ; his second, 98 ; his third, 
 
 148 
 
 Textor, Johann Wolfgang, 12, 17 
 
 Tischbein, no, 112 
 
 Thorane, Count, 18 
 
 " Torquato Tasso,'' prose frag- 
 ment, 103 ; poetical drama, 
 124 
 
 Types, doctrine of, 101, 128, 129, 
 186 
 
 13
 
 194 
 
 INDEX. 
 
 Valmy, 133 
 Venice, 107, 129 
 Vesuvius, 112 
 Voss, his " Luise," 143 
 
 W. 
 
 " Wahlverwandtschaften, Die," 
 166 
 
 "Wanderer, The," 50 
 
 "Wanderers Sturmlied," 50 
 
 Wandering Jew, the, 70 
 
 Weimar, state of, when Goethe 
 arrived there, 86 ; the great 
 period in history of, 150 ; plun- 
 dered, 156 
 
 Weimar, Duke of, invites Goethe 
 to visit him, 84 ; Goethe's rela- 
 tions with, 86, 87 ; Goethe 
 becomes a member of his Privy 
 Council, 91 ; gives Goethe a 
 house in the Park, 91 ; Goethe 
 goes with him to Berlin and 
 Switzerland, 98 ; relieves 
 Goethe of many official duties, 
 116; gives Goethe a house in 
 Weimar, 131 ; Goethe accom- 
 panies him in Champagne, 133 ; 
 he is made a Grand Duke, 169 ; 
 influenced by Fraulein Jage- 
 
 mann, 171 ; the fiftieth anniver- 
 sary of his accession, 173 ; his 
 death, 174 
 
 Weimar, Duchess of, 87, 119, 
 157, 174 ; Duchess Dowager of, 
 88, 129 
 
 " Werther, Die Leiden des jung- 
 en," origin of, 60 ; the tale, 
 61 ; characteristics of, 63 ; re- 
 ception of, 66 
 
 " West-Oestlicher Divan," 168 
 
 Wetzlar, Goethe goes to, 50 ; 
 leaves, 53 
 
 Wieland, his influence on Goethe, 
 29 ; Goethe writes a farce on, 
 70 ; Goethe's relations with, at 
 Weimar, 88, 150 
 
 Willemer, Marianne von, 172 
 
 " Wilhelm Meister," " Lehrjahre," 
 begun, 103 ; " Lehrjahre,' 
 completed, 138 ; " Wander- 
 jahre," 178 
 
 Winckelmann, his death, 30 ; at 
 Rome Goethe is helped by his 
 writings, 108, 120, 184 ; Goethe's 
 book about, 148 
 
 Wordsworth, 176 
 
 X. 
 
 "Xenhn," 138
 
 BIBLIOGRAPHY. 
 
 EY 
 
 JOHN P. ANDERSON 
 (British Museum). 
 
 I. Works. 
 II. Two or Moke Works. 
 
 III. Single Works. 
 
 IV. Toems. 
 
 V. Translations. 
 VI. Miscellaneous. 
 VII. Letters. 
 VIII. Selections. 
 
 IX. Appendix— 
 
 Biography, Criticism, etc 
 
 Faust. 
 
 Songs, etc., set to Music. 
 
 Magazine Articles. 
 
 X. Chronological List of 
 Works. 
 
 {The Compiler has found it impracticable to give more than tJie first 
 edition of the separate works in the original. All tlie English 
 translations known to him have, however, been included.'] 
 
 I. WORKS. 
 
 D. Goethens Schriften. Mit 
 Kupfern. 4 Th. Berlin, 1775- 
 79, 8vo. 
 
 J. W. Gbthens Schriften. 4 Bd. 
 Carlsruhe, 1778-80, 8vo. 
 
 Goethe's Schriften. [With engrav- 
 ings.] 8 Bd. Leipzig, 1787-90, 
 8vo. 
 
 Goethe's Schriften. 4 Bd. Leipzig, 
 1787-91, 8vo. 
 
 Goethe's Schriften. 8 Bd. Wien 
 und Leipzig, 1790, 8vo. 
 
 Gbthe's Neue Schriften. 7 Bd. 
 Berlin, 1792-1800, 8vo. 
 
 Goethes Werke. ]3 Bd. Tubin- 
 gen, 1806-10, 8vo. 
 
 Goethe's Werke. 20 Bd. Stutt- 
 gart und Tiibingen, 1815-19, 8vo.
 
 ii 
 
 BIBLIOGRAPHY. 
 
 Original-Ausgabe. 26 Bd. Wien 
 und Stuttgart, 1816-1821, 
 12mo. 
 Vollstandige Ausgabe letzter 
 Hand. (Goethe's nacbgelass- 
 ene "Werke. Inhalts-und- 
 Namen - Verzeicbnisse iiber 
 sammtlicbe Goetbe'sche "Werke, 
 Ausgabe 1827-1834, Yerfertigt 
 von C. T. Musculus unter 
 Mitwirkung des Hofraths Dr. 
 Riemer.) 61 Bd. Stuttgart 
 und Tubingen, 1827-42, 8vo. 
 
 Gothe's sammtlicbe Werke. Mit 
 Bildnisse und Facsimile. 5 Bd. 
 Paris, 1836, 8vo. 
 
 Goethe's poetische und prosaische 
 Werke. 3 Bd. Stuttgart und 
 Tubingen, 1836-47, 4to. 
 
 Vollstandige, neugeordnete Aus- 
 gabe. 40 Bd. Stuttgart, 1840, 
 16mo. 
 
 Goethe's poetische und prosaische 
 Werke. Mit Stahlstichen. 
 Zweite Auflage. [Edited by F. 
 W. Riemer and J. P. Ecker- 
 mann.] 2 Bd. Stuttgart und 
 Tubingen, 1845-46, 8vo. 
 
 Goethe's sammtliche Werke, etc. 
 30 Bd. Stuttgart, 1850-51, 
 8vo. 
 
 Goethe's sammtliche Werke. 
 Vollstandige, neugeordnete 
 
 Ausgabe. 30 Bd. Stuttgart, 
 1857-58, 8vo. 
 
 Vollstandige Ausgabe. 6 Bd. 
 Stuttgart, 1860, 8vo. 
 
 Vollstandige neu durchgesehene 
 Ausgabe. 3 Bd. Stuttgart, 
 1869, 8vo. 
 
 Goethe's sammtliche Werke. Mit 
 Einleitungen von K. Goedeke. 
 15 Bd. Stuttgart, 1872-75, 
 8vo. 
 
 Der Junge Gothe. Seine Briefe 
 und Dichtungen von 1764-1776. 
 Mit einer Einleitung von M. 
 
 Bernays. 3 Bd. Leipzig, 1875, 
 8vo. 
 Goethe's Werke, Revidirte Aus- 
 gabe. (Thl. 1-3, 5-10, 11 ; 
 Abtheil 2, 14-16, 25, 26, 23, 30- 
 32; heransgegeben mit Anmerk- 
 ungen von F. Strehlke. Nebst 
 der Biographie des Dichters 
 [Thl. 1.] von F. Forster, Thl. 4, 
 11, Abtheil 1, 12, 13, 19-23 
 herausgegeben von G. von 
 Loeper. Thl. 17, 18, 24 heraus- 
 gegeben von W. Frb. v. Bieder- 
 mann. Thl. 33-36 herausgegeben 
 von S. Kalischer.) 36 Thl. 
 Berlin, Leipzig [printed, 1868- 
 79], 8vo. 
 
 Goethe's Werke. Erste illustrirte 
 Ausgabe, mit erlauternden 
 Einleitungen [by Wendt and 
 others]. Neunte verbesserte 
 Auflage. 20 Bd. Berlin, 
 Leipzig [printed] 1880, 8vo. 
 
 Goethe's sammtliche Werke. 
 Vollstandige Ausgabe. Mit 
 Einleitungen von K. Goedeke, 
 15 Bd. Stuttgart, 1881, 8vo. 
 
 Goethe's Werke. [Edited by K. 
 G.— i.e., K. Goedeke.] 36 Bd. 
 Stuttgart, 1882-67-81, 8vo. 
 
 Goethe'a Werke. Herausgegeben 
 von H. Diintzer. Berlin, 
 Leipzig [printed, 1882, etc.], 
 
 8vo. 
 
 Forming part of the " Deutsche 
 National Litteratur, herausgegeben 
 von J. Kurschner. 
 
 Goethes Werke, illustrirt von den 
 ersten deutschen Kiinstlern. 
 (Eine ausgewahlte Sammlung.) 
 Herausgeber H. Diintzer. 5 
 Bd. Stuttgart [printed] und 
 Leipzig, [1883-85,] 8vo. 
 
 Goethe's Werke. Herausgegeben 
 im Auftrage der Grossherzogin 
 Sophie von Sachsen. Weimar, 
 1887, etc., 8vo.
 
 BIBLIOGRAPHY. 
 
 in 
 
 This edition, now being issued, is 
 divided into four parts :— I. Abtheil- 
 ung : Goethe's Werke, 50 Biinde ; II. 
 Abtheilung : Goethe's Naturwissen- 
 schaftliche Schriften, about 10 
 Bande ; III. Abtheilung : Goethe's 
 Tagebucher ; IV. Abtheilung : 
 Goethe's Briefe. 
 
 II. TWO OR MORE WORKS. 
 
 Nachtrage zu Goethe's sammtliche 
 Werken. Gesammelt und 
 herausgegeben von E. Boas. 3 
 Thl. Leipzig, 1841, 16mo. 
 
 Neue Ausgabe, etc. 3 Thl. 
 Leipzig, 1846, 8vo. 
 
 Gothe's Singspiele Claudine v. 
 Villa Bella und Erwin und 
 Elmire. In ihren urspriing- 
 lichen Gestalt herausgegeben 
 von Dr. H. Dbring. Arnstadt, 
 1843, 8vo. 
 
 Clavigo. Ein Trauerspiel in 
 fiinf Akten. Die Geschwister. 
 Schauspiel in einem Akt. 2 
 pts. Stuttgart, 1868, 8vo. 
 
 Forming No. 28 of a. series 
 entitled, "Classische Theater- Bib- 
 liothek aller Nationen." 
 
 Goethe's Italianische Reise ; 
 Aufsatze und Ausspriiche iiber 
 bildende Kunst. Mit Einleit- 
 ung und Bericht iiber dessen 
 Kunststudien und Kunstiibung- 
 en. Herausgegeben von C. 
 Schuchardt. 2 Bd. Stuttgart, 
 1862-63, 8vo. 
 
 The Autobiography of Goethe. 
 Truth and Poetry : From my 
 own Life. Translated from the 
 German, by J. Oxenford. 
 Thirteen books. — Vol. 2. The 
 Autobiography, etc. The 
 concluding books [14-20]. 
 Also letters from Switzerland 
 and Travels in Italy. Trans- 
 lated by A. J. W. Morrison. 
 (Bohn's Standard Library). 
 2 vols. London, 1848-9, 8vo. 
 
 Dramatic Works of Goethe : com- 
 prising Faust, Iphigenie in 
 Tauris, TorquatoTasso, Egmont, 
 translated by Anna Swanwick, 
 and Goetz von Berlicbingen, 
 translated by Sir Walter Scott. 
 (Bohn's Standard Library). 
 London, 1850, 8vo. 
 
 The Dramatic Works of J. W. 
 Goethe. Translated from the 
 German by Sir W. Scott, E. A. 
 Bowring, A. Swanwick, and 
 others. (Bohn's Standard 
 
 Library.) London, 1879, 8vo. 
 
 Essays on Art. Translated by S. 
 G. Ward. Boston [Mass.], 
 1845, 16mo. 
 
 Miscellaneous Travels of J. W. 
 Goethe ; comprising Letters 
 from Switzerland (translated 
 by A. J. W. Morrison) ; the Cam- 
 paign in France, 1792 (trans- 
 lated by R. Farie) ; the Siege of 
 Mainz ; and a Tour on the 
 Rhine, Maine, and Neckar, 
 1814-1815. Edited by L. Dora 
 Schmitz. {Bohns Standard 
 Library.) London, 1882, 8vo. 
 
 Novels and Tales by Goethe. 
 Elective Affinities ; The Sorrows 
 of Werther ; German Emigrants ; 
 The Good Women ; and a 
 Nouvelette, translated chiefly by 
 R. D. Boylan. {Bohn's Stand- 
 ard Library.) London, 1854, 
 8vo. 
 
 III. SINGLE WORKS. 
 
 Aus meinem Leben, Dichtung und 
 Wahrheit. Abth. 1 ; and Th. 
 1-2 of Abth. 2. [6 Th.] 
 Tiibingen und Stuttgart, 1811- 
 22, 8vo. 
 
 Memoirs of Goethe : written 
 
 by himself. (Biographical 
 notices [by the translator] of
 
 IV 
 
 BIBLIOGRAPHY. 
 
 the principal persons mentioned 
 in these memoirs.) 2 vols. 
 London, 1S24, 8vo. 
 
 Goethe's Boyhood, 1749-1764. 
 
 Being the first five books form- 
 ing part 1 of Goethe's Autobio- 
 graphy. Translated by J. 
 Oxenford. {Bohn's Shilling Li- 
 brary.) London, 18SS, 8vo. 
 
 Die Idylle von Sesen- 
 
 heim. Aus Gbthe's " Dicht- 
 ungund Wahrheit," etc. Berlin, 
 Leipzig [printed], 1872, 32mo. 
 
 The New Paris. A 
 
 child's tale. [An extract from 
 " Aus meinem Leben. "] (Tales 
 from the German, by John 
 Oxenford and G. A. Foiling.) 
 London, 1844, 8vo. 
 
 Beitrage zur Optik. 2 Stiicke. 
 Weimar, 1791-2, 8vo. 
 
 Der Biirgergeneral. Ein Lust- 
 spiel in einem Aufzuge [and in 
 prose]. Berlin, 1793, 8vo. 
 
 Campaign in France, in the year 
 1792. Translated by R. Farie. 
 London, 1849, 12mo. 
 
 Claudine von Villa Bella. Ein 
 Schauspiel [in prose] mit Gesang. 
 Berlin, 1778, 12mo. 
 
 Arien und Gesange des 
 
 Singspiels Claudine von Villa 
 Bella, etc. Berlin, 1818, 8vo. 
 
 Clavigo. Ein Trauerspiel [in five 
 acts and in prose]. Leipzig, 
 1774, 8vo. 
 
 Egmont. Ein Trauerspiel in 
 fiinf Aufziigen. Achte Ausgabe. 
 Leipzig, 1788, 8vo. 
 
 Another edition, with English 
 
 notes, etc. London, 1864, 8vo. 
 Forming part of "Thimm'a 
 Classical German Drama." 
 
 Another edition. Anno- 
 tated by E. A. Oppen. 
 (German Classics, etc.) London, 
 1868, 12rno. 
 
 — Another edition. With ex- 
 planatory notes and vocabulary 
 by H. Apel. London, 1868, 8 vo. 
 
 — Another edition. German 
 
 Classics. Edited, with English 
 notes, by C. A. Buchheim. 
 Vol. i. Egmont, a tragedy by 
 Goethe. (Clarendon Press Series. ) 
 Oxford, 1869, 8vo. 
 
 Egmont. Translated from 
 
 the German. Boston [Mass.], 
 1841, 12mo. 
 
 Egmont. Translated from 
 
 the German. London, 1848, 
 16mo. 
 
 Egmont. Translated (with 
 
 entr' actes and songs by Beet- 
 hoven, newly arranged from the 
 full score, and Schubert's song 
 " Freudvoll und Leidvoll ") by 
 A. D. Coleridge. With an 
 illustration by J. E. Millais. 
 London, 1868, 8vo. 
 
 Des Epimenides Erwachen. 
 Ein Festspiel [in one act and in 
 verse. With a preface signed 
 K. L.] Berlin, 1815, 8vo. 
 
 Erwin und Elmire : ein Schau- 
 spiel mit Gesang. Frankfurt, 
 1775, 8vo. 
 
 Faust. Ein Fragment. Achte 
 Ausgabe. Leipzig, 1790, 8vo. 
 
 Faust. Eine Tragodie. Tubin- 
 gen, 1808, 8vo. 
 
 Faust. Eine Tragodie. Zweyter 
 Theil in fiinf Acten. Stuttgart 
 und Tiibingen, 1833, 8vo. 
 
 Faust in urspriinglicher Gestalt 
 nach der Gochhausenschen 
 Abschrift herausgegeben von E. 
 Schmidt. Weimar, 1887, 8vo. 
 
 Retsch's Series of twenty-six 
 
 outlines, illustrative of Goethe's 
 tragedy of Faust, engraved from 
 the originals by Henry Moses. 
 London, 1820, 4to.
 
 BIBLIOGRAPHY. 
 
 Faustus : from the German 
 
 of Goethe. [The greater part 
 of Thl. 1., translated in verse, 
 and connected hy a prose 
 narrative. With 27 illustra- 
 tions in outline by Moritz 
 Retzsch]. London, 1821, 4to. 
 
 Metrical version of the Wal- 
 
 purgisnacht, entitled, "May- 
 Day Night," by Percy Bysshe 
 Shelley. {The Liberal. Verse 
 and prose from the South, vol. i, 
 pp. 121-137). London, 1822, Svo. 
 Re-published in Shelley's " Post- 
 humous Poems," 1824. 
 
 Faust [Part the First] : a 
 
 drama by Goethe ; and Schiller's 
 Song of the Bell. Translated 
 by Lord F. L. Gower. London, 
 1S23, 8vo. 
 
 Faustus, from the German of 
 
 Goethe, with Retzsch's illustra- 
 tions, re-engraved by H. Moses. 
 London, 1824, 4to. 
 
 Faust, a Drama by Goethe, 
 
 and Schiller's Partition of the 
 Earth, and Song of the Bell, 
 translated by Lord Francis 
 Leveson Gower. New edition. 
 2 vols. London, 1825, 8vo. 
 
 Faust. By Goethe. From 
 
 the German. By John Anster. 
 London, 1828, 8vo. 
 
 Faust, a dramatic poem, 
 
 translated into English prose, 
 with remarks on former trans- 
 lations, and notes, by the 
 translator of Savigny's " Of the 
 vocation of our age for legisla- 
 tion and jurisprudence. [A. 
 Hayward]. London, 1833, 8vo. 
 
 Faust ; a dramatic poem 
 
 translated into English prose, 
 with remarks on former trans- 
 lations, notes [and an appendix], 
 by A. Hayward. Second 
 edition. London, 1834, 8vo. 
 
 — Faust [Part 1], a tragedy. 
 Translated into English verse, 
 with notes and preliminary 
 remarks, by J. S. Blackie. 
 Edinburgh, 1834, 8vo. 
 
 — Faust [Part 1] ; a tragedy ; 
 translated from the German by 
 D. Syme. Edinburgh, 1834, 
 12mo. 
 
 — Faustus [Part 1] ; a tragedy. 
 Translated from the German of 
 Goethe. London, 1834, 12mo. 
 
 — Goethe's Faust [Part 1], 
 illustrated with outlines by M. 
 Retzsch, engraved by H. Moses. 
 London, 1834, obi. 4to. 
 
 — Faustus [Part 1] ; The Bride 
 of Corinth; The First Wal- 
 purgis Night. Translated from 
 the German by J. Anster. 
 London, 1835, 8vo. 
 
 — The Faust [Part 1] of Goethe 
 attempted in English rhyme, 
 by R. Talbot. London, 1835, 
 8vo. 
 
 — Original Poems. Transla- 
 tions of Demetrius and three 
 Scenes from Faust. By C. 
 Hodges. Munich, 1836, 12mo. 
 
 — Goethe's Faust [Part II], 
 illustrated with fourteen outline 
 illustrations, by Moritz Retzsch. 
 London, 1836, obi. 4to. 
 
 — Faust : a Tragedy, by Goethe ; 
 German text with English 
 notes. London, 1836, 12mo. 
 
 — Faust, a tragedy in two parts, 
 rendered into English verse. 2 
 vols. London, 1838, 12mo. 
 
 Only 50 copies printed. 
 -Faust : a Tragedy. 
 
 Part II, 
 as completed in 1831, translated 
 into English verse (by John 
 Macdonald Bell). Dumfries, 
 1838, 8vo. 
 
 Faust : a Tragedy ; translated 
 
 into English verse by J. Birch ;
 
 VI 
 
 BIBLIOGRAPHY. 
 
 embellished with engravings on 
 steel (by J. Brain) after Moritz 
 Ketzsch. 2 pts. London, 1839- 
 43, 8vo. 
 
 — Goethe's Faust. Mit gegen- 
 iiberstehender englischer Ueber- 
 setzung und erklarenden Noten 
 versehen vom Honorable Robert 
 Talbot. Erster Theil. The 
 Faust of Goethe. Part 1. 
 Translated into English rhyme, 
 by the Hon. Robert Talbot. 
 Second edition, revised and 
 much corrected, with the 
 German text on alternate pages 
 and additional notes. London, 
 1839, 8vo. 
 
 — Goethe's Faust. Partslandll. 
 translated into English from 
 the German, partly in the 
 metres of the original, and 
 partly in prose. By Leopold 
 J. Bernays. London, 1839, 
 8vo. 
 
 — Faust ; Part 11, translated 
 from the German, partly in the 
 metres of the original, and 
 partly in prose ; with other 
 poems, original and translated, 
 by Leopold J. Bernays. Lon- 
 don, 1839, 8vo. 
 
 — Ceracchi, a drama, and other 
 poems. (Passages translated 
 from the Faust of Goethe. ) By 
 Samuel Naylor. Maidenhead 
 [1839], 8vo. 
 Privately printed. 
 
 — Faust, by Goethe. Trans- 
 lated into English prose, with 
 remarks on former translations, 
 and notes, by A. Hayward. 
 Third edition. London, 1840, 
 8vo. 
 
 — Faust ; a tragedy, translated 
 into English verse by J. Hills. 
 London, 1840, 16mo. 
 
 Faust. Partslandll. With 
 
 other poems, original and trans- 
 lated, by J. L. Bernays. 
 Carlsruhe, 1840, 8vo. 
 
 Faustus : a Dramatic Mystery ; 
 
 The Bride of Corinth; The 
 First "Walpurgis Night. Trans- 
 lated from the German of Goethe 
 by John Anster. Frankfort 
 a. M., 1841, 16mo. 
 
 Faust [Part 1.], a Tragedy by 
 
 Goethe. Translated by L. 
 Filmore. London, 1841, 8vo. 
 
 Forming part of the collection 
 entitled, " Smith's Standard 
 Library." 
 
 Faust [Part 1], translated 
 
 into English verse by Sir George 
 Lefevre. London [1841], 12mo. 
 
 Faust, a Tragedy. Part II. 
 
 Rendered from the German by 
 Archer Gurney. London, 
 
 1842, 8vo. 
 
 Faust : a Dramatic Poem. 
 
 Translated into English prose 
 by A. Hayward. Reprinted 
 from the third English edition, 
 corrected and revised. Erfurt 
 and Leipzig, 1842, 16mo. 
 
 Faust, a tragedy. Part II, 
 
 as completed in 1831. Trans- 
 lated into English verse [by 
 John Macdonald Bell]. Second 
 edition. London, 1842, 8vo. 
 
 — Goethe's Faust [Part 1], 
 translated into English verse. 
 By Sir G. Lefevre. Second 
 edition. Frankfort a. M[ain], 
 
 1843, 16mo. 
 
 — Retzsch's Twenty-six Outlines 
 to Goethe's Tragedy of Faust. 
 Engraved from the originals by 
 Henry Moses, with an illustra- 
 tive analysis of the Tragedy. 
 London, 1843, 4to. 
 
 — Goethe's Faust, complete. 
 The forty outlines by M.
 
 BIBLIOGRAPHY. 
 
 Vll 
 
 Retzsch, engraved on steel for 
 J. Birch's translation of Faust, 
 by J. Brain. London [1843], 
 obi. 4to. 
 
 Goethe's Faust (being the 
 
 "preface" or opening to that 
 poem, and the " Prologue in 
 Heaven." The literal transla- 
 tion by G. F. Duckett, etc.). 
 [London? 1845 ?], 4to. 
 
 Faust, a tragedy by Goethe. 
 
 Translated into English verse by 
 Lewis Filmore. New edition. 
 London, 1847, 12mo. 
 
 Faust, a dramatic poem, by 
 
 Goethe. Translated into 
 
 English prose, with notes, by 
 A. Hayward. Fourth edition. 
 London, 1847, 8vo. 
 
 Faust, a tragedy. Translated 
 
 by Captain Knox. London, 
 1847, 8vo. 
 
 Faust, a tragedy by Goethe ; 
 
 and Selections from Schiller, 
 translated by Anna Swanwick. 
 London, 1849, 8vo. 
 
 Dramatic "Works of Goethe : 
 
 comprising : — Faust, Iphigenia 
 in Tauris, etc. Translated by 
 Anna Swanwick. (Bohn's 
 
 Standard Library, Goethe's 
 Works, vol. iii. ) London, 1850, 
 8vo. 
 
 Faust, a drama, with glossary 
 
 and notes. By Dr. Tiarks. 
 London, 1850, 12mo. 
 
 Faust, by Goethe. Trans- 
 lated into English prose, with 
 notes, by A. Hayward. Fifth 
 edition. London, 1851, 12mo. 
 
 Faust [Part 1] : a Tragedy. 
 
 With copious notes, gram- 
 matical, philological and 
 exegetical, by Falck Lebahn. 
 Germ. London, 1853, 8vo. 
 
 Faust, translated by L. 
 
 Filmore. ( Universal Library, 
 
 Poetry, vol. i.) London, 1853, 
 8vo. 
 
 — Faust, by Goethe. Trans- 
 lated into English prose, with 
 notes, by A. Hayward. Boston 
 [Mass.], 1854, 16mo. 
 
 — Goethe's Faust: the First 
 Part, with an analytical trans- 
 lation, and etymological and 
 grammatical notes. By L. E. 
 Peithmann. Germ. London 
 [1854], 16mo. 
 
 — Faust : a dramatic poem. 
 Translated into English prose, 
 with notes. By A. Hayward. 
 Sixth edition. London, 1855, 
 8vo. 
 
 — Goethe's Faust : the first 
 part, with an analytical trans- 
 lation [or rather vocabulary] 
 and etymological and gram- 
 matical notes. By L. E. Peith- 
 mann. Second edition, etc. 
 Germ. London, 1856, 12mo. 
 
 Faust, a tragedy. Translated 
 
 into English prose from the 
 German of Goethe, with notes, 
 by Charles T. Brooks. Boston 
 [Mass.], 1856, 8vo. 
 
 Faust, a tragedy, translated, 
 
 with notes, by C. T. Brooks. 
 Second edition. Boston [Mass.], 
 1857, 8vo. 
 
 Goethe's Faust [Part 1], 
 
 with critical and explanatory 
 notes by G. G. Zerffi. Germ. 
 London, 1859, 8vo. 
 
 Faust : a tragedy. Trans- 
 lated into English verse from 
 the German of Goethe. By J. 
 Galvan. Dublin, 1860, 12mo. 
 
 Faust, by Goethe. Trans- 
 lated into English prose, with 
 notes, by A Hayward. Seventh 
 edition. London, 1860, 8vo. 
 
 Faust, by Goethe. Trans- 
 lated into English verse by
 
 Vlll 
 
 BIBLIOGRAPHY. 
 
 Lewis Filmore. New edition. 
 London, 1861, 8vo. 
 
 — Faust, translated from the 
 German by v. Beresford. Cas- 
 sel, 1S62, 8vo. 
 
 — Goethe's Faust. Translated 
 into English verse, by J. Cart- 
 wright. London, 1862, 12mo. 
 
 — Faust. Part 1. With 
 critical and explanatory notes, 
 by G. G. Zerffi. Second edition. 
 London, 1862, 8vo. 
 
 — Poems ; original and trans- 
 lated. [From Goethe's Faust, 
 etc.] By Theodore Martin. 
 London, 1863, 8vo. 
 Printed for private circulation. 
 
 Faustus. Part 1. From the 
 
 German of Goethe. By John 
 Anster. New edition. Lon- 
 don, 1864, 8vo. 
 
 Faustus : the Second Part. 
 
 From the German of Goethe. 
 By John Anster. London, 
 
 1864, 8vo. 
 
 Faust. Translated by A 
 
 Hayward. Eighth edition. 
 London, 1864, 8vo. 
 
 Translation of Goethe's Faust. 
 
 By W. B. Clarke. Freiburg, 
 
 1865, 8vo. 
 
 First and Second Parts. 
 
 Faust [Part 1] : a dramatic 
 
 poem. Translated into English 
 verse by Theodore Martin. 
 Edinburgh, 1865, 8vo. 
 
 Faust [Part 1], translated by 
 
 L. Filmore. {Masterpieces of 
 Foreign Literature.) London, 
 
 1866, 8vo. 
 
 Faust [Part 1] : a dramatic 
 
 poem. Translated into English 
 verse by Theodore Martin. 
 Second edition. Edinburgh, 
 1866, 8vo. 
 
 Faust, von Goethe. Der 
 
 Tragodie, erstor Thiel. With 
 
 English notes. New York, 
 1866, 12mo. 
 
 Faust. From the German, by 
 
 J. Anster. (Tauchnitz Collec- 
 tion of German Authors, vol. v.) 
 Leipzig, 1867, 12mo. 
 
 Faust, a dramatic poem, 
 
 translated by J. W. Grant. 
 London, 1867, 8vo. 
 
 Historical Pictures [in verse] 
 
 from the Campagna of Rome. 
 With lyrics from " Faust." By 
 J. W. Grant. London, 1867, 
 8vo. 
 
 Faust, a dramatic poem. 
 
 Translated into English verse 
 by Theodore Martin. Third 
 edition. Edinburgh [printed] 
 and London, 1870, 8vo. 
 
 Faust : a tragedy. Translated 
 
 in the original metres by 
 Bayard Taylor. 2 vols. Lon- 
 don, 1871, 8vo. 
 
 Faust. The first part. 
 
 Translated, in the original 
 metres, by Bayard Taylor. 
 Boston [Mass.], 1871, 8vo. 
 
 Faust, a tragedy. Part 1. 
 
 Translated in the original 
 metres by Bayard Taylor. 
 Leipzig, 1872, 8vo. 
 
 Faust. Translated, in the 
 
 original metres, by Bayard 
 Taylor. Boston [Mass.], 1873, 
 8vo. 
 
 Goethe's Faust. With 
 
 copious notes, grammatical, 
 philological, and exegetical. 
 By Falck Lebahn. New edition. 
 Germ. London, 1872, 8vo. 
 
 Faust, a tragedy. Translated 
 in rime by C. K. Paul. Lon- 
 don, 1873, 8vo. 
 
 — Faust. Translated into 
 English prose, by A. Hayward. 
 Ninth edition. London 1874. 
 12 mo.
 
 BIBLIOGRAPHY. 
 
 IX 
 
 Outlines to Goethe's Faust. 
 
 Twenty-six etchings by Moritz 
 Retzsch. [With illustrative 
 text in English.] London, 
 1875, obi. 4to. 
 
 Faust, a tragedy. Part II. 
 
 Translated in the original 
 metres by Bayard Taylor. 
 Leipzig, 1876, 8vo. 
 
 Faust, by Goethe. Trans- 
 lated by Bayard Taylor. Illus- 
 trated by E. Seibertz, A. 
 Liezen-Mayer, and L. Hof- 
 mann. New York, 1876, fol. 
 
 Faust von Goethe. Der 
 
 Tragodie, erster Theil. With 
 English notes. Now edition. 
 New York, 1876, 12mo. 
 
 Faust, a tragedy. The first 
 
 part. Translated, in the original 
 metres, by T. J. Arnold. With 
 50 illustrations after original 
 designs by A. L. Mayer, and 
 with vignettes, ornamental bor- 
 derings, etc., by R. Seitz. 
 Munich, London [1S77], fol. 
 
 Faust ; a tragedy. Trans- 
 lated by T. Martin. Illustrated 
 by A. von Kreling. London, 
 
 1877, fol. 
 
 Faust. [Part 1.] Translated 
 
 into English verse by C. K. 
 
 Bowen. London, 1878, 8vo. 
 The Faust of Goethe. In 
 
 English verse. By W. H. 
 
 Colquhoun. Part 1. London, 
 
 1878, etc., 8vo. 
 
 No more published. 
 
 Faust. A tragedy. Trans- 
 lated into English verse by W. 
 D. Scoones. London, 1879, 
 16 mo. 
 
 Goethe's Faust. In two parts. 
 Translated by Anna Swanwick. 
 (Bohn'8 Standard Library.) 
 London, 1879, 8vo. 
 
 Goethe's Faust. [Part 1.] 
 
 Translated by A. Swanwick. 
 With illustrations after the 
 designs of M. Retzsch. London, 
 1879 [1878], Svo. 
 — Faust [Part 1.], a tragedy, by 
 Goethe. Translated in the 
 original metres by Bayard 
 Taylor. New edition. Boston, 
 1879, 12mo. 
 -Faust [Part 1.], a tragedy. 
 
 Translated, chielly in blank 
 verse, with introduction and 
 notes, by J. A. Birds. London, 
 1880, 8vo. 
 -Faust : a tragedy. [Part the 
 
 First.] Translated into English 
 verse, with notes and remarks, 
 by J. S. Blackie. Second 
 edition, largely rewritten. Lon- 
 don, 1880, Svo. 
 
 — Goethe's Faust, Part 1. The 
 German Text, witli English 
 notes, and introductory re- 
 marks, by A. M. Selss. Lon- 
 don, 1880, 8vo. 
 -Goethe's Faust : a Tragedy. 
 
 Translated by Theodore Martin. 
 
 Illustrated by A. v. Kreling. 
 
 London, 1880, fol. 
 — Faust [the First Part], from 
 
 the German of Goethe, by T. E. 
 
 Webb. (Dublin University 
 
 Press Series.) Dublin, 1880, 
 
 8vo. 
 — Faust, a tragedy. Part 1. 
 
 Translated in the original 
 
 metres by Bayard Taylor. 
 
 Second edition. Leipzig, 1SS1, 
 
 8vo. 
 -Faust : a tragedy. Part 1. , 
 
 edited and annotated by F. H. 
 Hedge, metrical versions by 
 Miss Swanwick. Part II., 
 translated bv Miss Swanwick. 
 New York, 1882, 8vo. 
 — Goethe's Faust. [Part 1. 
 The text, with English notes
 
 BIBLIOGRAPHY. 
 
 and verse translations, by E. 
 J. Turner and E. D. A. Mors- 
 head. Germ. London, 1882, 
 8vo. 
 
 — Marlowe's Faustus. Goethe's 
 Faust from the German, by 
 John Anster. With an intro- 
 duction by Henry Morley. 
 London, 1883, 8vo. 
 
 — Goethe's Faust, translated by 
 Anna Swanwick. New York, 
 1883, 16mo. 
 
 — Faust : a tragedy. Trans- 
 lated by Bayard Taylor. With 
 explanatory notes. (Chandos 
 Classics.) London [1886], 8vo. 
 
 — Goethe's Faust. Translated 
 from the German by J. Anster. 
 (Routledge's World Library. ) 
 London, 1886, 12mo. 
 
 — Faust, a dramatic poem by 
 Goethe. Translated into English 
 verse by Sir Theodore Martin. 
 Part 1. Eighth edition. Edin- 
 burgh, 1886, 12mo. 
 
 — Faust, a dramatic poem by 
 Goethe. Translated by Sir 
 Theodore Martin. Edinburgh, 
 1886, 12mo. 
 
 — The Tragedy of Faust, trans- 
 lated into English verse by F. 
 Claudy. Washington, 1886, 
 8vo. 
 
 — Faust. [Part I.] A Tragedy. 
 Translated in the original 
 metres by Bayard Taylor. Lon- 
 don [1886], 8vo. 
 
 Ward, Lock, & Co.'s "Popular 
 Library of Literary Treasures." 
 
 Faust, with an introduction 
 
 and notes by Jane Lee. Part 1 
 followed by an appendix on 
 part II. (Macmillan's Series of 
 Foreign School Classics.) Lon- 
 don, 1886, 8vo. 
 
 — 1. Marlowe's Faustus. 2. 
 Goethe's Faust, the first and 
 
 second parts complete, from the 
 German by J. Anster. With 
 an introduction by H. Morley. 
 London, 1887 [1886], 8vo. 
 One of the " Excelsior Series." 
 
 Faust. Translated in the 
 
 original metres, by Bayard 
 Taylor. Authorised edition. 
 London [1887], 8vo. 
 
 Part of "The People's Standard 
 Library." 
 
 Der Feier des fiinfzigsten Dienst- 
 jahrs Herrn C. G. von Voigt 
 gewidmet von den Grossher- 
 zoglichen Bibliotheken zu 
 Weimar und Jena. [Verses by 
 Goethe.] Weimar, 1816, 4to. 
 
 Zur Feier des zweyten Februars. 
 [Verses by Goethe.] Weimar, 
 1823, 4to. 
 
 Die Fischerinn, ein Singspiel. 
 [Weimar], 1782, 8vo. 
 
 Bei Allerhbchster Anwesenheit 
 Ihro Majestat Maria Feodor- 
 owna in Weimar. Als Festspiel 
 Charade, etc. [In verse.] 
 [Weimar?], 1818, 4to. 
 
 Bei Anwesenheit Ihro Majestat 
 Maria Feodorowna in Weimar. 
 Als Festspiel Gemalde. Dar- 
 stellung in zwei Abtheilungen 
 [and in verse.] [Weimar ?], 
 1818, 4to. 
 
 Die Geschwister. Ein Schauspiel 
 [in one act and in prose]. 
 Achte Ausgabe. Leipzig, 1787, 
 8vo. 
 
 The Sister, a drama, etc. 
 
 (Dramatic Pieces from the 
 German, etc.) Edinburgh, 1792, 
 8vo. 
 
 Gb'tter, Helden, und Wieland. 
 Eine Farce. Leipzig, 1774, 
 8vo. 
 
 Gotz von Berlichingen mit der 
 eisernen Hand. Ein Schauspiel 
 [in five acts, and in prose.
 
 BIBLIOGRAPHY. 
 
 XI 
 
 First edition]. Frankfurt-on- 
 the-Main], 1773, 8vo. 
 
 Another edition. [Hamburg], 
 
 1773, 8vo. 
 
 The Museum copy contains a MS. 
 Note by L. Tieck. 
 
 Goethe's Gotz von Ber- 
 
 lichingen. Edited by H. A. 
 Bull. (Macmillan's Series of 
 Foreign School Classics.) Lon- 
 don, 1883, 8vo. 
 
 Goetz of Berlichingen with 
 
 the Iron Hand : a Tragedy- 
 translated from the German of 
 Goethe by Walter Scott. Lon- 
 don, 1799, 8vo. 
 -Gortz of Berlingen [Goetz 
 
 von Berlichingen] with the iron 
 hand. An historical drama of 
 the fifteenth century [in five 
 acts and in prose]. Translated 
 from the German of Goethe [by 
 Rose Lawrence, with a preface 
 by J. Currie]. Liverpool [1799], 
 8vo. 
 
 Der Gross-Cophta. Ein Lustspiel 
 in fiinf Aufzugen. Berlin, 1792, 
 8vo. 
 
 Hermann und Dorothea. Berlin, 
 1798, 8vo. 
 
 Zweite verbesserte Auflage. 
 
 [With illustrations.] Bruns- 
 wick, 1799, 8vo. 
 
 Goethe's Hermann und 
 
 Dorothea. With corresponding 
 English Hexameters on opposite 
 pages, by F. B. Watkins. Germ, 
 and Eng. London, 1875 [1874], 
 8vo. 
 
 Herman and Dorothea. A 
 
 poem, from the German by T. 
 Holcroft. [With illustrations.] 
 London, 1801, 8vo. 
 
 Herman and Dorothea, trans- 
 lated from the Hexameters of 
 Goethe [by W. Whewell]. 
 [London? 1840?], 8vo. 
 
 — Herman and Dorothea. 
 Translated into English hex- 
 ameters, from the German hex- 
 ameters of Goethe. With an in- 
 troductory essay. [By Charles 
 Tomlinson.] London, 1849, 8vo. 
 — A new edition, revised. Lon- 
 
 don, 1887, 8vo. 
 -A translation of the Hermann 
 
 and Dorothea of Goethe in the 
 old English measure of Chap- 
 man's Homer. By M. Winter. 
 With notes. Dublin, 1850, 
 12mo. 
 
 — Herman and Dorothea. From 
 the German of Goethe, by J. 
 Cochrane. Oxford [1853], 8vo. 
 
 — Hermann and Dorothea. 
 Translated by T. C. Porter. 
 New York, 1854, 8vo. 
 
 — Goethe's Hermann and 
 Dorothea. Translated by H. 
 Dale. Dresden, 1859, 8vo. 
 
 — Goethe's Hermann and 
 Dorothea : translated into 
 English verse [by J. Cart- 
 wright]. London, 1862, 8vo. 
 
 — Goethe's Hermann aud 
 Dorothea. Translated [in verse] 
 by E. Frothingham. With 
 illustrations. Boston [Mass.], 
 1870, 8vo. 
 
 — Goethe's Hermann and 
 Dorothea. Translated by H. 
 Dale. With illustrations by 
 W. Kaulbach and L. Hofmann. 
 Munich [1874], 4to. 
 
 — Goethe's Hermann and 
 Dorothea, translated into Eng- 
 lish hexameter verse by M.J. 
 Teesdale. London, 1874, 8vo. 
 
 Second edition. London, 
 
 1875, 8vo. 
 Jery und Bately. 
 Achte Ausgabe. 
 8vo. 
 
 Ein Singspiel. 
 Leipzig, 1790,
 
 Xll 
 
 BIBLIOGRAPHY. 
 
 Erste Nackricht von dem Fort- 
 gang des neuen Bergbaues zu 
 Ilmenau, etc. (Signed J. W. 
 Goethe and C. G. Voigt.) 
 Weimar, 1785, 8vo. 
 
 Iphigenie auf Tauris. Eiu 
 Scbauspiel [in five acts, and in 
 verse]. Achte Ausgabe. Leip- 
 zig, 1787, 8vo. 
 
 Goetbe's Ipbigenie auf 
 
 Tauris. With notes, vocabu- 
 lary, and interlinear transla- 
 tion of the first scenes. By M. 
 Behr. London, 1850, 12mo. 
 
 Iphigenie auf Tauris. Anno- 
 tated by E. A. Oppen. {German 
 Classics.) London, 1868, 8vo. 
 
 Iphigenia in Tauris. Edited 
 
 with notes in English by Henry 
 Attwell. Germ. London, 
 1885, 8vo. 
 
 Iphigenia in Tauris : a 
 
 tragedy. [ Translated by 
 
 William Taylor.] London, 
 1793, 8vo. 
 
 Iphigenia in Tauris. From 
 
 the German by G. L. Hartwig. 
 Berlin, 1841, 8vo. 
 
 Iphigenia in Tauris, a drama 
 
 in five acts. Translated from 
 the German by G. J. Adler. 
 New York, 1850, 12mo. 
 
 Iphigenia in Tauris, from the 
 
 German of Goethe. With 
 (translations from the Italian 
 and) original poems. Liverpool, 
 1851, 12mo. 
 
 Privately printed. 
 
 Iphigenia in Tauris. Trans- 
 lated from the German into 
 English blank verse by P. M. 
 E. [i.e., Phillis Marion Ellis]. 
 London, 1883, 8vo. 
 
 Only 50 copies ; privately printed. 
 
 Die Leiden des jungen Werther's. 
 2 Thle. Leipzig, 1774, 8vo. 
 
 — The Sorrows of Werter ; a 
 German story. 2 vols. Lou- 
 don, 1779, 12mo. 
 
 — Second edition. 2 vols. Lon- 
 don, 1780, 8vo. 
 
 — Third edition. 2 vols. Lon- 
 don, 1782, 16mo. 
 — A new edition. London, 
 
 1785, 16mo. 
 — The Sorrows of Werter ; a 
 
 German story. Translated 
 
 from the French edition of M. 
 
 Aubry [or rather of Count F. 
 
 W. K. Schmettau?] by J. 
 
 Gifford. 2 vols. London, 
 
 1789, 8vo. 
 — The Sorrows of Werter ; 
 
 translated from the German of 
 Goethe, by W. Render. (Ap- 
 pendix containing an account 
 of a conversation which the 
 translator had with Werter, a 
 few days preceding his death). 
 London, 1801, 12mo. 
 — The Sorrows of Werter; 
 translated by F. Gotzberg. 
 London, 1802, 8vo. 
 — The Sorrows of Werter. 
 
 Translated from the German. 
 By Dr. Pratt. The second 
 edition. London [1813], 8vo. 
 
 — The Sorrows of Werter. Lon- 
 don [1815 ?], 12mo. 
 
 — The Sorrows of Werter. 
 [Translated by S. J. Pratt.] 
 Chiswick, 1823, 16mo. 
 
 — The Sorrows of Werter. A 
 new edition. Belfast, 1844, 
 12mo. 
 
 — The Sorrows of Werter. 
 {Illustrated Literature of all 
 Nations, No. 14.) London 
 [1852], 4to. 
 — Classic Tales : comprising 
 
 the most esteemed Works of 
 Imagination. Rasselas, Vicar of 
 Wakefield . . . Sorrows of
 
 BIBLIOGRAPHY. 
 
 xin 
 
 Werter, etc. London, 1852, 
 8vo. 
 
 The Sorrows of Werther, from 
 
 the German of Goethe [trans- 
 lated by F. Gotzberg]. 
 (CasselTs National Library, vol. 
 xxxvi.) London, 18S6, 8vo. 
 
 Essay on Novels, a 
 
 poetical epistle. With six 
 sonnets from Werter. By 
 Alexander Thomson. Edin- 
 burgh, 1793, 4to. 
 
 Bey Allerhbchster Anwesenheit 
 Ihro Majestat der Kaiserin 
 Mutter Maria Feodorowna in 
 Weimar. Maskenzug. Stutt- 
 gard, 1819, 8vo. 
 
 Maskenzug zum 30sten Januar 
 1809. [In verse.]— [1809], 8vo. 
 
 J. W. von Goethe. . . . Versuch 
 die Metamorphose der Pflanzen 
 zu erklaren. Gotha, 1790, 8vo. 
 
 Die Mitschuldigen. Ein Lust- 
 spiel [in three acts and in verse]. 
 Achte Ausgabe. Leipzig, 1787, 
 8vo. 
 
 Nachricht von dem ilmenauischen 
 Bergwesen. (Goethe und die 
 lustige Zeit in Weimar, von A. 
 Diezmann.) Leipzig, 1857, 8vo. 
 
 Die Natiirliche Tochter. Trauer- 
 spiel [in five acts and in verse]. 
 Tubingen, 1804, 16mo. 
 
 Neueroffnetes moralisch - poli- 
 tisches Puppenspiel. Leipzig 
 und Frankfurt, 1774, 8vo. 
 
 Goethe's Novel. Translated from 
 the German. London, 1837, 
 12mo. 
 
 Paliiophron und Neoterpe. Ein 
 Festspiel zur Feier 24 Octobers 
 1800. An die Herzogin Amalia. 
 Nach einer kleinen theatra- 
 lischen Vorstellung gesprochen. 
 (Kleinc Schriftcn, Bdch. 1.) 
 Weimar, 1801, 12mo. 
 
 Palaophron and Neoterpe ; a 
 
 Masque. From the German of 
 Goethe, by the translator of 
 Herman and Dorothea, etc. [J. 
 C. Mellish?]. Weimar, 1801, 
 4to. 
 Pandora. Ein Taschenbuch fur 
 das Jahr 1S10. Wien und 
 Triest [1810], 16mo. 
 
 Pflanzen und Gebirgsarten von 
 Marienbad gesammelt und 
 beschrieben von seiner konig- 
 lichen Hoheit, dem Prkizen 
 Friedrich, und von J. W. von 
 Goethe, etc. Prag, 1837, 8vo. 
 
 Philipp Hackert. Biographisehe 
 Skizze, meist nach dessen 
 eigenen Aufsatzen entworfen 
 von Goethe. Tubingen, 1811, 
 8vo. 
 
 Gothe's Eeinecke Fuchs. Ein 
 Gedicht in zwblf Gesangen. 
 Berlin [1794], 8vo. 
 
 Reynard the Fox ; after the 
 
 German version of Goethe. By 
 T. J. Arnold. With illustra- 
 tions from the designs of 
 W. v. Kaulbach. London, 
 I860 [1859], 4to. 
 
 Reynard the Fox, after the 
 
 German version of Goethe, with 
 illustrations by J. Wolf. 
 London, 1853[-55], 8vo. 
 
 Reynard the Fox. After the 
 
 German version of Goethe, by 
 A. D. Ainslie. London, 1SS6, 
 8vo. 
 
 -Reynard the Fox after the 
 
 version of Goethe, by T. J. 
 Arnold. With sixty illustra- 
 tions from the designs of W. 
 von Kaulbach, and twelve 
 engravings by J. Wolf. Lon- 
 don, 1887 [1886], 8vo. 
 Goethe's Roman Elegies, trans- 
 lated into English verse, in the
 
 XIV 
 
 BIBLIOGRAPHY. 
 
 original metre. By L. Noa. 
 Boston [1876], Svo. 
 
 Sammlung zur Kenntniss der 
 Gebirge von und um Karlsbad 
 Angezeigt UDd erlautert von 
 Goethe. Karlsbad, 1807, 8vo. 
 
 Scherz, List und Rache. Ein 
 Singspiel. Achte Ausgabe. 
 Leipzig, 1790, 8vo. 
 
 Stella. Ein Schauspiel fiir 
 Liebende in fiinf Akten. Berlin, 
 1776, 8vo. 
 
 Stella, translated from the 
 
 German [by Benjamin Thomp- 
 son]. London, 1798, 8vo. 
 
 The Tale. Translated by T. 
 Carlyle. [With preface signed 
 0. Y.—i.e., Oliver York.] 
 Boston, 1877, 16mo. 
 
 Torquato Tasso. Ein Schauspiel 
 [in five acts and in verse]. 
 Leipzig, 1790, 8vo. 
 
 Torquato Tasso ; a dramatic 
 
 poem, from the German of 
 Goethe, with other German 
 poetry. Translated by C. Des 
 Voeux. London, 1827, Svo. 
 
 Second edition. Weimar, 
 1833, 8vo. 
 
 Torquato Tasso, from the 
 
 German of Goethe and other 
 poems, translated and original. 
 By M. A. H. London, 1856, 
 8vo. 
 
 Goethe's Torquato Tasso. 
 
 Translated into English verse 
 [by C. — i.e., J. Cartwright]. 
 London, 1861, 8vo. 
 
 Der Triumph der Empfindsam- 
 keit. Eine dramatische Grille 
 [in six acts and in prose]. 
 Leipzig, 1787, 8vo. 
 
 Ueber Kunst und Alterthum. 
 
 6 Bde. Stuttgard, 1816-32, 8vo. 
 
 Each Bd. is in 3 pts. separately 
 
 paged, excepting Bd. 6, which has a 
 
 continuons pagination throughout. 
 
 Die Wahlverwandtschaften. Ein 
 Roman. 2 Thle. Tubingen, 
 1809, Svo. 
 
 Was wir bringen. Vorspiel bey 
 Erbffnung des neuen Schauspiel- 
 hauses zu Lauchstadt. Tubin- 
 gen, 1802, 8vo. 
 
 West-oestlicher Divan. Stuttgard, 
 1819, 8vo. 
 
 Goethe's West - Easterly 
 
 Divan. Translated, with intro- 
 duction and notes, by J. Weiss. 
 Boston, 1877, 16mo. 
 
 Wilhelm Meisters Lehrjahre. Ein 
 Roman. 4 Bde. Berlin, 
 1795-96, 16mo. 
 
 Wilhelm Meister's Ap- 
 prenticeship. A novel. From 
 the German of Goethe. [Trans- 
 lated by Thomas Carlyle.] 3 
 vols. Edinburgh, 1824, 8vo. 
 
 Wilhelm Meister's Ap- 
 prenticeship and Travels. 
 [Translated by Thomas Carlyle.] 
 A new edition, revised. Lon- 
 don, 1842, 12mo. 
 
 Wilhelm Meister's Ap- 
 prenticeship. A novel from the 
 German of Goethe translated by 
 R. D. Boylan. (Bohn's Standard 
 Library.) London, 1855, 8vo. 
 
 Wilhelm Meister's Ap- 
 prenticeship. From the German 
 by Eleanor Grove. (Tauchnitz 
 Collection of British Authors, 
 vols, xxv., xxvi.) 2 vols. Leip- 
 zig, 1873, 12mo. 
 
 Wilhelm Meisters Wanderjahre 
 oder die Entsagenden. Ein 
 Roman. Th. 1. Stuttgard 
 und Tubingen, 1821, 8vo. 
 
 This novel was finished in 1823, and 
 appeared in 3 vols, in the " Werke," 
 1830, Bde. 21-23. 
 
 Wilhelm Meister's Travels. 
 
 (German Romance, vol iv.) 
 Edinburgh, 1827, 8vo.
 
 BIBLIOGRAPHY. 
 
 xv 
 
 "Wilhelm Meister's Travels. 
 
 Translated [by A. H. Gunlog- 
 son] from the enlarged edition 
 of the German, and edited by 
 E. Bell. (Bohn's Standard 
 Library.) London, 1882, 8vo. 
 
 "VVinkelmann und sein Jahrhund- 
 ert. In Briefen und Aufsatzen 
 herausgegeben von Goethe. 
 Tubingen, 1805, 8vo. 
 
 Aus Goethe's Knabenzeit, 1757- 
 59. Mittheilungen aus einem 
 Original-Manuscript der Frank- 
 furter Stadt-bibliothek. Erlau- 
 tert und herausgegeben von H. 
 Weismann. Frankfurt a. M., 
 1846, 16mo. 
 
 Zur Farbenlehre. Nebst einem 
 Hefte mit sechzehn Kupfer- 
 tafeln. 2 Bd. Tubingen, 1810, 
 8vo. 
 
 Theory of Colours ; trans- 
 lated from the German, with 
 notes, by C. L. Eastlake. Lon- 
 don, 1S40, 8vo. 
 
 Zur Naturwissensehaft iiberhaupt, 
 besonders zur Morphologie. 2 
 Bde. Stnttgard und Tubingen, 
 1817-1823, 8vo. 
 
 IV. POEMS. 
 
 Gbthe's neueste Gedichte. Mit 
 Kupfern. Berlin, 1800, 8vo. 
 
 Goethe's Gedichte. Tubingen, 
 1812, 8vo. 
 
 Goethe's Gedichte. 2 Thl. Stutt- 
 gart und Tubingen, 1815, 12mo. 
 
 Goethe's Gedichte. Neue Auflage. 
 2 Thl. Stuttgart und Tubingen, 
 1821, 8vo. 
 
 Goethe's Gedichte. 2 Thl. Stutt- 
 gart, 1829, 8vo. 
 
 Goethe's altestes Liederbuch. 
 Herausgegeben von L. Tieck. 
 Berlin, 1844, Svo. 
 
 Goethe's Gedichte, erlautert und 
 auf ihre Veranlassungen, Quel- 
 len und Vorbilder zuriickge- 
 fiihrt, nebst Variantensanim- 
 lung und Nachlese, von H. 
 Viehoff. 3 Thl. Diisseldorf 
 und Utrecht, 1S46-53, 16mo. 
 
 Goethe's sammtliche Gedichte. 
 Exitische Textrevision von H. 
 Kurz. 2 Bd. Hildburghausen, 
 1869, 8vo. 
 
 Goethe's Gedichte, erlautert von 
 H. Viehoff. Zweite Auflage. 
 2 Bd. Stuttgart, 1869-70, 16mo. 
 
 Goethe's Gedichte. Mit einem 
 bisher noch nicht gedruckten 
 Sonett und Epigramme. Fur 
 deutsche Frauen ausgew'ahlte 
 von A. Lutze. Coethen, 1870, 
 fol. 
 
 Goethe's Gedichte. Diamant- 
 Ausgabe mit Illustratiouen. 
 Zweite Auflage. Berlin, 1870, 
 16mo. 
 
 Gedichte. Mit Zeichnungen von 
 L. Pietsch, F. Piloty, etc. Ber- 
 lin, 1871, 8vo. 
 
 Goethe's Minor Poems. Selected, 
 annotated, and rearranged by 
 A. M. Seise. Germ. London, 
 1875, 8vo. 
 
 Select Poems of Goethe, edited by 
 E. A. Sonnenschein and A. 
 Pogatscher. Germ. {Anno- 
 tated German Classics.) Lon- 
 don, 1883, 8vo. 
 
 Specimens of the German Lyric 
 Poets ; consisting of translations 
 in verse from the works of 
 Burger, Goethe, etc. Second 
 edition. London, 1823, 8vo. 
 
 Employment. [Poems translated 
 from the German of Schiller 
 and Goethe.] Bath, 1823, Svo. 
 
 The Song of the Bell, and other 
 poems from the German of 
 Goethe, Schiller, Burger, etc. 
 
 14
 
 XVI 
 
 BIBLIOGRAPHY. 
 
 Translated by J. J. Campbell. 
 Edinburgh, 1836, 8vo. 
 
 Select Minor Poems, from the 
 German of Goethe and Schiller. 
 {Specimens of Foreign Standard 
 Literature, ed. by George Ripley, 
 vol. iii.) Boston, 1839, 12mo. 
 
 The Drama of a Life. [In 10 
 scenes. In verse. Followed 
 by poems, and translations from 
 Goethe.] By John Edmund 
 Reade. [Bath], 1840, 8vo. 
 
 Designs and Border Illustrations 
 to Poems of Gbthe, Schiller, 
 Uhlaud, etc. With transla- 
 tions. London, 1841, fol. 
 
 German Ballads, Songs, etc. Com- 
 prising translations from 
 Schiller, Uhland, Burger, 
 Goethe, etc. London [1845], 
 12mo. 
 
 English Hexameter Translations 
 from Schiller, Gbthe, Homer, 
 etc. London, 1847, 8vo. 
 
 Metrical translations from the 
 German of Goethe, Schiller, 
 Uhland, Heine, and others, by 
 a German lady. Hamburg, 
 1852, 8vo. 
 
 The Poems of Goethe translated 
 in the original metres, with a 
 sketch of Goethe's life. By E. 
 A. Bowring. London, 1853, 8vo. 
 
 The Minor Poetry of Goethe. A 
 selection from his songs, ballads, 
 and other lesser poems. Trans- 
 lated by W. G. Thomas. Phila- 
 delphia, 1859, 4to. 
 
 Poems and Ballads. Translated 
 by W. E. Aytouu and Theodore 
 Martin. Edinburgh, 1859, 8vo. 
 
 Second edition. Edinburgh, 
 
 1860, 8vo. 
 
 Goethe's Minor Poems. Trans- 
 lated by E. Chawner, etc. Lon- 
 don [1866], 8vo. 
 
 The Poems of Goethe : translated 
 in the original metres, by E. A. 
 Bowring. Second edition, etc. 
 (Bohn's Standard Library. ) 
 London, 1874, 8vo. 
 
 Favourite Poems. Translated by 
 W. E. Aytoun and Theodore 
 Martin. Illustrated. Boston 
 1877, 16mo. 
 
 Goethe's Poems translated in the 
 original metres by P. Dyrsen. 
 New York, 1878, 8vo. 
 
 The Poems of Goethe, consisting 
 of his ballads and songs, and 
 miscellaneous selections, done 
 into English verse, by W. Gib- 
 son. London, 1883, 8vo. 
 
 V. TRANSLATIONS. 
 
 Benvenuto Cellini. Eine Ge- 
 schichte des xvi Jahrhunderts. 
 (Nach dem Italien'schen. Von 
 J. W. von Gothe.) 3 Bde. 
 Braunschweig, 1798, 8vo. 
 
 Another edition. Leben des 
 
 Benvenuto Cellini, etc. 2 Thl. 
 Tubingen, 1803, 8vo. 
 
 Mahomet. Trauerspiel in fiinf 
 Aufziigen, nach Voltaire. Tub- 
 ingen, 1802, 8vo. 
 
 Rameau's Neffe. .. Ein Dialog 
 von Diderot, tlbersetzt von 
 Goethe. Leipzig, 1805, 8vo. 
 
 Tancred. Trauerspiel in fiinf 
 Aufziigen, nach Voltaire, von 
 Goethe. Tubingen, 1802, 8vo. 
 
 Thomas Carlyle Leben Schillers. 
 Aus dem Englischen. Ein- 
 gleitet durch Goethe. Frankfurt 
 am Main, 1830, 8vo. 
 
 Die Vbgel. .. Nach dem Aristo- 
 phanes. Achte Ausgabe. Leip- 
 zig, 1787, 8vo.
 
 BIBLIOGRAPHY. 
 
 xvi 1 
 
 VI. MISCELLANEOUS. 
 
 Als Nicolai die Freuden des 
 junger Werthers geschrieben 
 hatte. [Satirical Verses on C. 
 F. Nicolai.] Berlin, 1837, 
 s. sh., 12mo. 
 
 Herr Nicolai auf "Werther's Grabe. 
 [A satire against C. F. Nicolai 
 as the author of a parody of 
 " Die Leiden des jungen 
 Werthers." Signed by J. W. G. 
 [i.e. Goethe.] [Berlin, 1837], 
 s. sh. fol. 
 
 Apotheose des Hochverdienstes 
 am 27 September 1816, 
 von dem Secretariat bei 
 Grossherzoglicher Kammer. 
 [Verses on the anniversary of 
 the 50th year of service of 
 C. G. von Voigt, by J. W. 
 von Goethe.] Weimar, 1816, 
 4to. 
 
 Der deutsche Gilblas, eingefiihrt 
 von Goethe. Stuttgart und 
 Tubingen, 1822, 8vo. 
 
 Von deutscher Baukunst. [In 
 Von deutscher Art und Kunst.] 
 Hamburg, 1773, 8vo. 
 
 Der junge Feldjager in franzosis- 
 chen und englischen Diensten 
 wahrend des Spanisch-Portu- 
 giesischen Kriegs von 1806-1816, 
 (Des jungen Feldj'agers Kriegs- 
 kamerad, etc. Des jungen 
 Feldj'agers Landsmann, etc. 
 Des jungen Feldj'agers Zeit- 
 genosse, etc. Eingefiihrt durch 
 J. W. von Gothe. 6 Bdchen. 
 Leipzig, 1826-31, 12mo. 
 
 The Young Rifleman's Com- 
 rade : a narrative, etc. [Trans- 
 lated from the German of " Des 
 jungen Feldjagers Kriegs- 
 kamerad," etc.] London, 1826, 
 12mo. 
 
 Observations on Leonardo Da 
 
 Vinci, a picture of the Last 
 Supper. Translated from the 
 German, with an introduction 
 and notes by G. H. Noehden, 
 J. Booth, etc. London, 1821, 4to. 
 
 Positiones juris quas . . . publico 
 defendet J. W. Goethe. Argen- 
 torati, 1771, 4to. 
 
 Prolog von Goethe, gesprochen 
 im Konigl. Schauspielhause 
 vor Darstcllung des dramati- 
 schen Gedichts Hans Sachs, von 
 Deinhardstein. Berlin, 1828, 
 8vo. 
 
 Rede bey Eroffnung des neuen 
 Bergbaues zu Ilmenau. 
 
 [Weimar? 1784], 4to. 
 
 Das Romische Denkmal in Igel 
 und seine Bildwerke. . . . mit 
 einem Vorworte von Goethe. 
 Weimar, 1829, 4to. 
 
 Das Tagebuch, 1810. Wien, 
 1879, 8vo. 
 
 The authorship of this work is 
 doubtful. 
 
 Taschenbuch auf das Jahr 1804. 
 Herausgegeben von Wieland und 
 Goethe. Tubingen [1804], 8yo. 
 
 A tribute to the memory of Ulrica 
 of Hutten. Translated from 
 the German of Goethe, by A. 
 Aufrere, illustrated with re- 
 marks by the translator, etc. 
 London, 1789, 8vo. 
 
 Wieland's Andenken in der 
 Loge Amalia zu Weimar 
 gefeyert den 18 Februar 1813. 
 [Weimar, 1813], 4to. 
 
 Wilkommen ! [Poems, edited by 
 J. W. von Goethe.] Weimar, 
 1814, 8vo. 
 
 VII. LETTERS. 
 
 Goethe's Briefe in den Jahren 
 1768 bis 1832. Herausgegeben 
 von Dr. H. Dbring. Ein
 
 xvm 
 
 BIBLIOGRAPHY. 
 
 Supplementbandzu des Dichters 
 samnitlichen Werken. Leip- 
 zig, 1837, 8vo. 
 
 Gothe's Briefe, worunter viele 
 bisher ungedruckte. Mit 
 geschichtlichen Einleitungen 
 und Erlauterungen. Berlin, 
 1856, 16mo. 
 
 Briefwechsel zwischen Schiller 
 und Goethe in den Jahren 
 1794 bis 1805. 6 Thle. 
 Stuttgart, 1828-9, 8vo. 
 
 Kurzer Briefwechsel zwischen 
 Klopstock und Goethe im Jahre, 
 1776. Leipzig, 1833, 12mo. 
 
 Briefe von Goethe an Lavater. 
 Aus dem Jahren 1774-1783. 
 Herausgegeben von H. Hirzel. 
 Nebst einem Anhange (einer 
 Briefe an den Buchandler Reich) 
 und zwei Facsimile. Leipzig, 
 
 1833, 8vo. 
 
 Briefwechsel zwischen Goethe und 
 Zelter in den Jahren 1796 bis 
 1832. Herausgegeben von Dr. 
 F. W. Riemer. 6 Th. Berlin, 
 1833-34, 8vo. 
 
 Eine Correspondenz Goethe's rait 
 Madame Karschin. (Schriften in 
 bunter Reihe, etc., Herausge- 
 geben von T. Mundt.) Berlin, 
 
 1834, 8vo. 
 
 Schauspiele von Franz v. Elsholtz. 
 
 Zweite Vermehrte und mit 
 
 Goethe's Briefen liber " Die 
 
 Hofdame" versehene Ausgabe. 
 
 3 Thle. Leipzig, 1835, 8vo. 
 Goethe's Briefwechsel mit einem 
 
 Kinde [i.e., Elisabeth Brentano, 
 
 afterwards Frau Von Arnim]. 
 
 Seinem Denkmal. 3 Thle. 
 
 Berlin, 1835, 8vo. 
 Goethe's Correspondence with 
 
 a Child. 3 vols. London ; 
 
 Berlin [printed], 1837-39, 8vo. 
 Theater-Briefe von Goethe und 
 
 freuiidschaftliche Briefe von 
 
 Jean Paul. Nebst einer 
 Schilderung Weimar's in seiner 
 Bluthezeit. Berlin, 1835, 8vo. 
 
 Briefwechsel zwischen Goethe 
 und Schultz. Bonn, 1836, 8vo. 
 
 Goethe's Briefe an die Grafin 
 Auguste zu Stolberg. [Edited 
 by A. von Binzer.] Leipzig, 
 1839, Svo. 
 
 Ungedruckte Briefe von Schiller, 
 Goethe und Wieland. Breslau, 
 
 1845, 8vo. 
 
 Briefe Schillers und Goethes an 
 A. W. Schlegel, aus den Jahren 
 1795 bis 1801 und 1797 bis 
 1824, nebst einem Briefe 
 Schlegels an Schiller. Leipzig, 
 
 1846, 8vo. 
 
 Briefe und Aufsatze von Gothe 
 aus den Jahren 1766 bis 1786. 
 Zum erstenmal herausgegeben 
 durch A. Scholl. Weimar, 
 1846, 8vo. 
 
 Briefe von und an Gothe. Des- 
 gleichen Aphorismen und 
 Brocardica. Herausgegeben von 
 F. W. Riemer. Leipzig, 1846, 
 8vo. 
 
 Briefe von Goethe und dessen 
 Mutter an Friedrich Freiherm 
 von Stein. Nebst einigen 
 Beilagen. Herausgegeben von 
 J. J. H. Ebers und A. Kahlert. 
 Leipzig, 1846, 12mo. 
 
 Briefwechsel zwischen Gothe und 
 F. H. Jacob herausgegeben von 
 M. Jacob. Leipzig, 1846, 12mo. 
 
 Briefe aus dem Freundeskreise von 
 Goethe, Herder, Hopfner und 
 Merck. Eine selbstandige Folge 
 der beiden in den Jahren 1835 
 und 1838 erschienenen Merck- 
 ischen Briefsammlungen. Aus 
 den Handschriften heraus- 
 gegeben von Dr. K. Wagner. 
 Leipzig, 1847, 8vo. 
 
 Goethe's Briefe an Frau von
 
 BIBLIOGRAPHY. 
 
 XIX 
 
 Stein aus den Jahren 1776 bis 
 1826. Zum erstenmal heraus- 
 gegeben durch A. Schbll. 
 [With a biographical sketch of 
 Frau von Stein.] 3 Bd. 
 Weimar, 1848-51, 8vo. 
 
 Goethe's Briefe an Leipziger 
 Freunde. Herausgegeben von 
 Otto Jahn. Leipzig, 1849, 
 12mo. 
 
 Briefwechsel zwischen Goethe und 
 Reinhard in den Jahren 1807 
 bis 1832 [with a preface by C. 
 von Reinhard]. Stuttgart, 
 1850, 8vo. 
 
 Briefwechsel zwischen Goethe und 
 Knebel (1774-1832). [Edited by 
 G. E. Guhrauer.] 2 Thle. 
 Leipzig, 1851, 8vo. 
 
 Briefwechsel und miindlicher 
 Verkehr zwischen Gothe und 
 dem Rathe Griiner. Leipzig, 
 1853, 8vo. 
 
 Briefwechsel zwischen Goethe und 
 Staatsrath Sclmltz. Heraus- 
 gegeben und eingeloitet von H. 
 Diintzer. Leipzig, 1853, 8vo. 
 
 Der Aktuar Salzmann, Goethe's 
 Freund. . . . EinLebens-Skizze, 
 nebst Briefen von Goethe, Lenz, 
 L. Wagner, etc. Heraus- 
 
 gegeben von A. Stober. Miil- 
 hausen, 1855, 8vo. 
 
 Aus Weimars Glanzzeit. Unge- 
 druckte Briefe von und iiber 
 Goethe und Schiller, nebst einer 
 Auswahl ungedruckter vertrau- 
 licher Schreiben von Goethe's 
 Collegen, Geh. Rath von Voigt. 
 Zum funfzigsten Jahrestage des 
 Todes Schillers herausgegeben 
 von A. Diezmann. Leipzig, 
 1855, 8vo. 
 
 Goethe und Werther. Briefe 
 Goethes, meistens aus seiner 
 Jugendzeit, mit erlauternden 
 Documenten. Herausgegeben 
 
 von A. Kestner. Zweite 
 Auflage. Stuttgart, 1855, 8vo. 
 
 Briefe an Herder. (Aus Herders 
 Nachlass, Bd. i.) Frankfurt 
 a. Main, 1856, 8vo. 
 
 Briefe des Grossherzogs Carl 
 August und Gothes an Dober- 
 einer. Herausgegeben von O. 
 Schade. Weimar, 1856, 8vo. 
 
 Freundschaftliche Briefe von 
 Goethe und seiner Frau an N. 
 Meyer. Aus den Jahren, 1800 
 bis 1831. Leipzig, 1856, 8vo. 
 
 Vier Briefe von Goethe an die 
 Marquise Branconi. Heraus- 
 gegeben von A. Cohn. [Berlin], 
 1860, 8vo. 
 
 Briefwechsel des Grossherzogs 
 Carl August von Sachsen- 
 Weimar-Eisenbach mit Goethe 
 in den Jahren von 1775 bis 
 1823. 2 Bde. Weimar, 1863, 
 8vo. 
 
 Briefwechsel zwischen Goethe und 
 Kaspar Graf von Sternberg 
 (1820-1832). Herausgegeben 
 von F. T. Bratranek. Wien, 
 1866, 8vo. 
 
 Goethe's Verkehr mit Gliedern 
 des Hauses der Freiherrn und 
 Grafen von Fritsch [containing 
 several letters from Goethe]. Von 
 W. Freiherr v. Biedermann. 
 Leipzig, 1868, 8vo. 
 
 Goethe's Briefe an C. G. von 
 Voigt. Herausgegeben von 
 O. Jahn. Leipzig, 1S68, 8vo. 
 
 Goethe's Briefe an F. A. Wolf. 
 Herausgegeben von M. Bernays. 
 Berlin, 1868, 8vo. 
 
 Goethe's Briefe an Eichstadt. Mit 
 Erlauterungen herausgegeben 
 von W. Freiherrn von Bieder- 
 mann. Berlin, 1872, 8vo. 
 
 Neue Mittheilungen aus J. W. 
 von Goethe's handschriftlichen
 
 XX 
 
 BIBLIOGRAPHY. 
 
 Nachlasse. 3 Till. Leipzig, 
 1874-76, 8vo. 
 
 Thl. 1 and 2 contain " Naturwis- 
 senschaftliche Correspondenz ; " 
 Thl. 3, " Briefwechsel mit den 
 Gebriidern von Humboldt." 
 
 Briefe von Goethe, Schiller, etc., 
 an Karl Morgenstern, heraus- 
 gegeben von F. Sintenis. Dor- 
 pat, 1875, 8vo. 
 
 Briefe von Goethe an Johanna 
 Fahlmer. Herausgegeben von 
 L. Urlichs. Leipzig, 1875, 8vo. 
 
 Briefwechsel zwischen Goethe 
 und Mariannevon Willemer 
 (Suleika). Herausgegeben mit 
 Lebensnachrichten und Erlau- 
 terungen von T. Creizenach. 
 Stuttgart, 1877, 8vo. 
 
 Goethe Briefe aus F. Schlosser's 
 Nachlass. Herausgegeben von 
 J. Frese, etc. Stuttgart, 1877, 
 8vo. 
 
 Goethe's Briefe an Soret. Her- 
 ausgegeben von H. Uhde. 
 Stuttgart, 1877, 8vo. 
 
 Ungedrucktes. Zum Druck 
 
 befdrdert von A. Cohn. [A 
 collection of tbe letters of 
 Schiller, Goethe, etc.] Berlin, 
 1878, 8vo. 
 
 Goethe und der Komponist P. C. 
 Kayser. Von C. A. H. Burk- 
 hardt. [Contains 24 letters 
 from Goethe to Kayser.] Leip- 
 zig, 1879, 8vo. 
 
 Briefe Goethe's an Sophie von La 
 Roche und Bettina Brentano, 
 nebst dichterischen Beilagen 
 herausgegeben von G. von 
 Loeper. Berlin, 1879, 8vo. 
 
 Briefwechsel zwischen Goethe und 
 K. Gbttling in den Jahren 
 1824-1831. Herausgegeben und 
 mit einem Vorwort begleitet 
 von K. Fischer. Miinchen, 
 1880, 8vo. 
 
 Jugendbriefe Goethea. Ausge- 
 wahlt und erlautert von Dr. W. 
 Fielitz. Berlin, 1880, 8vo. 
 
 Goethe und Grafin O'Donell. 
 Ungedruckte Briefe nebst dich- 
 terischen Beilagen heraus- 
 gegeben von Dr. R. M. Werner. 
 Berlin, 1884, 8vo. 
 
 Goethes Liebesbriefe an Frau von 
 Stein, 1776 bis 1789. Heraus- 
 gegeben mit Uebersichten und 
 Anmerkungen von H. Duentzer. 
 Leipzig, 1886, 8vo. 
 
 Correspondence between Schiller 
 and Goethe, from 1794 to 1805, 
 translated by G. H. Calvert. 
 Vol. 1. New York, 1845, 12mo. 
 
 Correspondence between Schiller 
 and Goethe, from 1794 to 1805. 
 Translated from the third edi- 
 tion of the German, with notes. 
 By L. D. Schmitz. (Bohn's 
 Standard Library.) 2 vols. 
 London, 1877-9, 8vo. 
 
 Goethe's Letters to Leipzig 
 Friends. Edited by 0. Jahn. 
 Translated by R. Slater, Jun, 
 London, 1866, 8vo. 
 
 Goethe's Mother. Correspondence 
 of C. E. Goethe with Goethe, 
 etc. Translated from the 
 German by Alfred S. Gibbs. 
 New York [1880], 8vo. 
 
 Early and Miscellaneous Letters 
 of J. W. Goethe, including 
 Letters to his Mother. With 
 notes and a short biography by 
 Edward Bell. (Bohn's Standard 
 Library.) London, 1884, 8vo. 
 
 Correspondence between Goethe 
 and Carlyle. Edited by C. E. 
 Norton. London, 1887, 8vo. 
 
 Goethe's Letters to Zelter, with 
 extracts from those of Zelter to 
 Goethe, selected, translated, 
 and annotated by A. D.
 
 BIBLIOGRAPHY. 
 
 xxi 
 
 Herausgegeben von 
 
 Berlin, 
 
 Coleridge. {BoTin's Standard 
 Library.) London, 1887, 8vo. 
 
 VIII. SELECTIONS. 
 
 Gedankenharmonie aus Goethe 
 und Schiller. Lebens - und 
 Weisheitsspriiche aus Goethe's 
 und Schiller's Werken. Ge- 
 sammelt und herausgegeben von 
 R. Gottschall. Hamburg, 1862, 
 16mo. 
 
 Geistesworte aus Goethe's Briefen 
 und Gesprachen. Fortsetzung 
 der Geistesworte aus Goethe's 
 Werken 
 
 L. von Lancizolle 
 1853, 16mo. 
 
 Goethe-Buch. Goethe'sche Lebens- 
 und Weisheitsspriiche zur 
 Einfuhrung in des Dichters 
 Denk-und Sinnesweise nach den 
 Tagen des Jahres zusammenge- 
 stellt und mit Commentar, etc. 
 Leipzig, 1881, 8vo. 
 
 Goethe's Erziihlungen Gewachs- 
 nen Madchen zu eigen gemacht 
 von F. Siegfried, etc. Leipzig, 
 1874, 8vo. 
 
 Goethe Gedenk-Buch. [Quota- 
 tions for every day in the year.] 
 Achern, [1880], 8vo. 
 
 Gothe's Genius. [Selections in 
 prose and verse.] (Miniatur- 
 Bibliothch der Deutsclien Clas- 
 siker, vol. iv.) 3 Bdchen. 
 Hildburghausen, 1829, 16mo. 
 
 Goethe in Briefen und Ge- 
 sprachen. Sammlung der brief- 
 lichen und miindlichen, Bemer- 
 kungen und Betrachtungen 
 Goethe's iiber "Welt und Mens- 
 chen, Wissenschaft, Literatur 
 und Kunst, etc. Berlin, 1852, 
 8vo. 
 
 Goethe's Opinions on the World, 
 
 Mankind, Literature, Science, 
 and Art. Translated by 0. 
 Wenckstern. London, 1853, 
 8vo. 
 
 Goethe's Philosophie. Eine voll- 
 standige, systematisch geord- 
 nete Zusammen-stellung seiner 
 Ideen iiber Leben, Liebe, Ehe, 
 Kunst und Natur aus seinen 
 Werken. Herausgegeben von 
 F. K. J. Schutz. 7 Bde. Ham- 
 burg, 1825, 26, 8vo. 
 
 Goethe's Prosa. Auswahl fur 
 Schule und Haus. Heraus- 
 gegeben von Dr. J. W. Schaefer. 
 2 Bde. Stuttgart und Augs- 
 burg, 1859, 8vo. 
 
 Gothe iiber Art und Unart, Freud 
 und Leid der Jugend und ihrer 
 Erzieher [selections from his 
 works], mit illustrationen von 
 J. F. E. Meyer. Cutin, 1851, 
 8vo. 
 
 Gothe-und Schiller-Spriiche, etc. 
 Breslau, 1843, 8vo. 
 
 Goethe's vaterlandische Gedanken 
 und politisches Glaubensbe- 
 kenntniss. Frankfort a. M., 
 1853, 12mo. 
 
 Lieder und Worte von Goethe, 
 etc. Altenburg, 1870, 8vo. 
 
 Law's New German Series. Buch- 
 heim'sDeutsche Prosa. Goethe's 
 Prosa, consisting of selections 
 from G.'s Prose Works, etc. 
 By C. A. Buchheim. London, 
 1876, 8vo. 
 
 Many colored threads from the 
 writings of Goethe. Selected 
 by 0. A. Cooke. With an 
 introduction by A. McKenzie. 
 Boston [Mass., 1885], 8vo. 
 
 The Roman Martyr : a youthful 
 essay in dramatic verse by 
 Nominis Umbra. With trans- 
 lations (from Goethe) by the 
 editor. London, 1859, 8vo.
 
 XX11 
 
 BIBLIOGRAPHY. 
 
 Selections from the dramas of 
 Goethe and Schiller, translated, 
 with introductory remarks, by 
 A. Swanwick. London, 1843, 
 8vo. 
 
 Sprachbilder, aus Goethe's Werken 
 gesammelt, etc. Wien [1886], 
 8vo. 
 
 Vom Morgen zum Abend ; Worte 
 von Goethe, Ruckert, Uhland 
 und Andern, etc. Berlin 
 [1865], 4to. 
 
 The Wisdom of Goethe. By J. S. 
 Blackie. [Translated from the 
 German.] Edinburgh, 1883, 
 8vo. 
 
 Worte der Liebe. Aus unseren 
 Dichtern Schiller, Goethe ge- 
 sammelt, etc. Von E. von 
 BeckendorfF und E. Leistner. 
 Leipzig [1874], 16mo. 
 
 IX. APPENDIX. 
 Biography, Criticism, etc. 
 
 [The Foreign Literature upon 
 Goethe and his Works being very 
 extensive, it has been only pos- 
 sible to include English works in 
 the following list.} 
 
 Arnold, Matthew. — Mixed Essays. 
 London, 1879, 8vo. 
 
 A French Critic on Goethe, pp. 
 274-314. 
 
 Bancroft, G. — Literary and His- 
 torical Miscellanies. New 
 York, 1855, 8vo. 
 
 The Age of Schiller and Goethe, 
 p. 167, etc. 
 
 Bell, James. — Letters from 
 Wetzlar, written in 1817, 
 developing the authentic par- 
 ticulars on which the Sorrows 
 of Werter are founded, etc. 
 London, 1821, 8vo. 
 
 Blackie, John Stuart.— The Wis- 
 dom of Goethe. [With an 
 estimate of the character of 
 Goethe, by J. S. B.] Edin- 
 burgh, 1883, 8vo. 
 
 Boyesen, Hjalmar H. — Goethe 
 and Schiller : their lives and 
 works ; including a commentary 
 on Goethe's Faust. New York, 
 1879, 8vo. 
 
 Buchanan, Robert — A Look Round 
 Literature. London, 1887, 8vo. 
 The Character of Goethe, pp. 54- 
 95 
 
 Calvert, George H. — First Years 
 in Europe. Boston, 1866, 8vo. 
 Weimar, pp. 165-198. 
 
 Goethe. His Life and Works. 
 
 An Essay. Boston, 1872, 8vo. 
 
 Brief Essays and Brevities. 
 
 Boston, 1874, 8vo. 
 Goethe's Faust, pp. 123-128. 
 -Coleridge, Shelley, Goethe. 
 
 Biographic Aesthetic Studies. 
 Boston [1880], 8vo. 
 Carlyle, Thomas.— The Life of 
 Friedrich Schiller, etc. London, 
 1825, 8vo. 
 References to Goethe. 
 
 Goethe. Boston, 1877, 12mo. 
 
 Reprinted from the " Critical and 
 Miscellaneous Essays." 
 
 Essays on Goethe. New 
 
 York [1881], 4to. 
 
 Reprinted from the " Critical and 
 Miscellaneous Essays." 
 Dawson, George. — Shakespeare 
 and other lectures. London, 
 1888, 8vo. 
 
 Faustus, Faust, and Festus, pp. 
 342-392. 
 
 De Quincey, Thomas. — Works. 
 
 Edinburgh, 1863, 8vo. 
 Goethe's Wilhelm Meister, vol. 
 
 xii., pp. 191-229; Goethe, vol. xv., 
 
 pp. 143-179. 
 Diintzer, Heinrich. — Goethe's 
 
 Leben. Mit authentischen 
 
 Illustrationen. Leipzig, 1880, 
 
 8vo.
 
 BIBLIOGRAPHY. 
 
 XXlll 
 
 Diintzer, Heinrich. — Life of 
 Goethe. Translated by T. W. 
 Lyster. With authentic illus- 
 trations and facsimiles. 2 vols. 
 London, 1883, Svo. 
 
 Eckermann, Johann P. — Ge- 
 sprache mit Goethe in den letzten 
 Jahren seines Lebens, 1823- 
 1832. 2Thle. Leipzig, 1836-48, 
 Svo. 
 
 Conversations with Goethe 
 
 from the German of Eckermann 
 (Specimens of Foreign Standard 
 Literature, ed. by George Pdpley, 
 vol. iv). Boston, 1839, 12mo. 
 
 Conversations with Goethe 
 
 and Soret. Translated from 
 the German by John Oxenford. 
 
 2 vols. London, 1850, Svo. 
 Conversations of Goethe with 
 
 Eckermann and Soret. Trans- 
 lated from the German by J. 
 Oxenford. (Bonn's Standard 
 Library.) London, 1874, Svo. 
 Eliot, George. — Essays and Leaves 
 from a Note- Book. Edinburgh, 
 1884, Svo. 
 
 Three Months in Weimar, pp. 
 290-321. 
 
 Emerson, Ralph Waldo. — The 
 Works of R. W. Emerson. 
 London, 18S3, Svo. 
 
 Goethe ; or, The Writer, vol. iv., 
 pp. 453-476. Appeared originally in 
 Emerson's "Representative Men," 
 1850. 
 
 Encyclopaedia Britannica. Ency- 
 clopaedia Britannica. Ninth 
 edition. Edinburgh, 1879, 4to. 
 Goethe, by Oscar Browning, 
 vol. x. 
 
 Falk, Johannes D. — Goethe aus 
 nahern persbnlichen Umgange 
 dargestellt. Leipzig, 1832, Svo. 
 
 Characteristics of Goethe. 
 
 From the German of Falk, Von 
 Muller, etc., by Sarah Austin. 
 
 3 vols. London, 1833, 8vo. 
 
 Fuller, Margaret. — Life without 
 
 and life within ; or, reviews, 
 
 narratives, etc. Boston, 1874, 
 
 Svo. 
 
 Goethe, pp. 23-60. 
 Goethe, J. \V. — Goethe-Jahrbuch. 
 
 7 Bde. Frankfort a. Main, 
 
 1880-6, 8vo. 
 Schriften der Goethe-Gesell- 
 
 schaft. 2 Bde. Weimar, 1885-6, 
 
 Svo. 
 Publications of the English 
 
 Goethe Society. 2 pts. Lon- 
 don, 1886, 8vo. 
 
 Godwin, Parke. — Out of the Past, 
 etc. New York, 1870, 8vo. 
 Goethe, p. 341, etc. 
 
 Gostwick, Joseph. — German 
 Culture and Christianity, etc. 
 London, 1882, 8vo. 
 Goethe, pp. 267-317. 
 
 Gostwick, Joseph, and Harrison, 
 Robert. — Outlines of German 
 Literature. Second edition. 
 London, 1883, 8vo. 
 
 Goethe, pp. 225, 226, 241, 242, 25C- 
 303, 439-443. 
 
 Grimm, Herman. — The Life and 
 Times of Goethe. Translated by 
 S. H. Adams. Boston, 1880, 
 8vo. 
 
 Griswold, Hattie Tyng.— Home 
 Life of Great Authors. Chicago, 
 1887, 8vo. 
 Goethe, pp. 9-23. 
 
 Haeckel, E. H. P. A.— Naturliche 
 Schbpfungsgeschichte. Gemein- 
 verstandliche wissenschaftliche 
 Vortrage iiber dieEntwickelungs- 
 lehre im Allgemeinen und 
 diejenige von Darwin, Goethe 
 und Lamarck, etc. Berlin, 
 1868, Svo. 
 
 The History of Creation ; or, 
 
 the development of the earth 
 and its inhabitants by the action 
 of natural causes. The trans 
 lation revised by E. R. Lan.
 
 XXIV 
 
 BIBLIOGRAPHY. 
 
 kester. 2 vols. London, 1876, 
 8vo. 
 
 Hay ward, A. — Goethe, by A. 
 Hayward. (Foreign Classics for 
 English Readers, ed. by Mrs. 
 Oliphant.) Edinburgh, 1878,8vo. 
 
 Hedge, Frederic H. — Prose Writers 
 ofGermany. Newedition. Phila- 
 delphia [1871], 8vo. 
 Goethe, pp. 264-364. 
 
 Hedge, F. H — Hours with Ger- 
 man Classics. Boston, 1886, 8vo. 
 Goethe, pp. 254-343. 
 Helmholtz, H. — Populare Wissen- 
 schaftliche Vortrage. Braun- 
 schweig, 1865, 8vo. 
 
 Uher Goethe's naturwissenschaft- 
 liche Arbeiten, Hft. i., pp. 33-53. 
 
 ■ Popular Lectures on Scientific 
 
 Subjects. Translated by E. 
 Atkinson. London, 1873, 8vo. 
 On Goethe's Scientific Researches. 
 Translated by H. W. Eve, pp. 33-59. 
 Hillard, George Stillman. — Six 
 Months in Italy. 2 vols. Lon- 
 don, 1853, 8vo. 
 Goethe, vol, ii., pp. 302-310. 
 Holloway, Laura C. — The Mothers 
 of Great Men and Women, etc. 
 New York, 1884, 8vo. 
 
 The Mother of Goethe, pp. 266- 
 283. 
 Hosmer, James K. — Short History 
 of German Literature. St. 
 Louis, 1879, 8vo. 
 Goethe, pp. 330-414. 
 Hutton, Richard Holt. — Essays, 
 theological and literary. 2 vols. 
 London, 1871, 8vo. 
 
 Goethe and his Influence, vol. ii., 
 pp. 3-100. 
 
 Second edition. 2 vols. 
 
 London, 1877, 8vo. 
 
 Goethe and his Influence, vol. ii., 
 pp. 1-79. 
 Japp, Alexander Hay. — German 
 Lite and Literature, in a series 
 of biographical studies. London 
 [1880], 8vo. 
 Goethe, pp. 269-379. 
 
 Jeffrey, Francis. — Contributions 
 to the Edinburgh Review. Lon- 
 don, 1853, 8vo. 
 
 "Wilhelm Meister's Apprentice- 
 ship," Aug. 1825, pp. 120-142. 
 
 Lazarus, Emma. — Alide : an epi- 
 sode of Goethe's Life. Phila- 
 delphia, 1874, 8vo. 
 
 Lewes, George Henry. — The life 
 and works of Goethe : with 
 sketches of his Age and Con- 
 temporaries from published and 
 unpublished sources. 2 vols. 
 London, 1855, 8vo. 
 
 Second edition. Partly re- 
 written. London, 1864 [1863], 
 8vo. 
 -Third edition, revised accord- 
 
 ing to the latest documents. 
 London, 1875, 8vo. 
 
 — Third edition. Copyright 
 edition. 2 vols. Leipzig, 1882, 
 8vo. 
 
 The Story of Goethe's 
 
 Life. Abridged from his " Life 
 and Works of Goethe." Lon- 
 don, 1873, 8vo. 
 -Female Characters of Goethe. 
 
 From the original drawings of 
 W. Kaulbach. With explana- 
 tory text by G. H. Lewes. 
 London [1874], fol. 
 
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 1810. 
 Rastlose Liebe. Gedichte von 
 
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 Drei deutsche Lieder. By G. B. 
 
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 Zwblf Lieder von Goethe. By G. 
 
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 Lieder von Goethe. By G. Weber, 
 
 1820.
 
 BIBLIOGRAPHY. 
 
 XXIX 
 
 Wilhelm Meister's Lehrjahren. 
 
 By F. A. Weppen (Siebcn 
 
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 Vier Gedichte von Goethe, etc. 
 
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 Zwolf Lieder von Goethe. By W. 
 
 von Schwertzell, 1825. 
 Vier Lieder von Goethe, etc. By 
 
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 VI. Gedichte von Goethe, etc. 
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 VIII. Gedichte von Goethe, etc. 
 
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 Neun Gesange zu Goethe's Faust. 
 
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 1830. 
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 By L. van Beethoven, 1835. 
 Vier Gesange. By L. van Beet- 
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 Drei Balladen. By J. C. G. 
 
 Loewe, 1835. 
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 Gesange und Lieder aus der Tra- 
 
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 1840. 
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 Tafelges'ang. Sechs Gedichte von 
 
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 Gesang der Geister iiber den Was- 
 
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 1850. 
 
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 H. Pierson, 1856. 
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 Claudine, Opera. By J. H. Franz, 
 
 1865. 
 Scenen aus Gothe's Faust fur 
 
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 Rinaldo, Cantate. By J. Brahms, 
 
 1869. 
 Rinaldo, Gedicht von Goethe. By 
 
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 Die Gedichte aus "Wilhelm 
 
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 Gesellige Lieder von Gbthe. By 
 
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 Zwei Terzette. Gedichte von 
 
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 1875. 
 Sechs Lieder, Op. 14 (Nos. 2-5 
 
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 von Sahr, 1877. 
 Drei Gesange, Op. 72 (Nos. 2, 3 
 
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 Wuerst, 1878. 
 10 Goethe 'schen Dichtungen, etc. 
 
 By L. Schlottmann, 1878. 
 Fiinf Lieder. Op. 44 (Nos. 3, 4 
 
 written by Goethe). By B. 
 
 Scholz, 1879. 
 Sechs Lieder, etc. Op. 60 (Nos. 
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 F. Siebmann, 1880. 
 Vier Gesange, etc. (Nos. 1, 2,
 
 xxx 
 
 BIBLIOGRAPHY. 
 
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 Holter, 1881. 
 Mahomet's Gesang. By E. 
 
 Fluegel, 1882. 
 Sechs Duette, etc. (Nos. 2, 4 
 
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 Gliick, 1882. 
 Mignon's Requiem, Cantata. By 
 
 R. Schumann, 1882. 
 Pandora. By H. Huber, 1883. 
 Sechs Lieder von Goethe. By K. 
 
 Hiibner, 1883. 
 Neun Lieder, etc. (Nos. 5, 6 
 
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 Jadassohn, 1883. 
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 1883. 
 Vier Gedichte von Goethe, etc. 
 
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 Sechs Gedichte, etc. By S. Bagge, 
 
 1885. 
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 Pandora. By E. Lassen, 1886. 
 Faust. Musikdrama nach Goethe's 
 
 Faust, I. Theil. By H. Zoellner, 
 
 1887. 
 
 " Ach neige du Schmerzens 
 reiche." — Marguerite. By C. 
 Huener, 1877. 
 
 "Ach, um deine feuchten 
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 " Ach ! wer bringt die schonen 
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 {Sechs Lieder No. 2), 1860 ; E. 
 Drobisch {Sechs Lieder, No. 4), 
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 Krigar (Vier Gesdnge, No. 3), 
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 " All my peace is gone." 
 (Gretchen am Spinnrade. Mar- 
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 'Aller Berge Gipfel ruh'n in 
 
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 Rubinstein (Song and Duets, 
 
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 ' An dem reinsten Fruhling- 
 
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 Viardot (SecJis Lieder. Op. 8, 
 
 No. 6), 18S4. 
 ; And is it true that I have lost 
 
 thee?"— Absence. By C. A. 
 
 Dance, 1861. 
 ! And shall I then regain thee 
 
 never ? " — Absence. By Sir J. 
 
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 ; And wilt thou then no more be 
 
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 1 Aussbhnung." By H. Huber, 
 
 1879. 
 'Ein Blick von deinem Augen," 
 
 By J. Brahms (Lieder, Op. 47, 
 
 No. 5,) 1869; A. Bungert 
 
 (Junge Lieder, Op. 2, No. 6), 
 
 1872. 
 ' Ein Blumenglockchen vom 
 
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 (Acht Duette, Op. 6, No. 2), 
 
 1884. 
 : A boy a little rose espied." By 
 
 M. W. Balfe, 1860. 
 ; A boy espied in morning light."' 
 
 — The Wild Rose-bud. By J. 
 
 Williams, 1870. 
 : Die Braut von Korinth." By 
 
 J. F. Christman, 1800 ; B. 
 
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 1735. 
 
 Brightly was the sunset glow- 
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 Una calma profonda." By L. 
 
 Mancinelli, 1878. 
 
 Chi mi rende i di felici." By 
 
 L. Mancinelli, 1878. 
 
 Colma, ein Gesang Ossians." 
 
 By J. R. Zumsteeg, 1825. 
 
 Da droben an jenem Berge," 
 
 By C. Fink (Filnf Lieder, Op.
 
 BIBLIOGRAPHY. 
 
 XXX i 
 
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 " Damm'rung senkte sich von 
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 " Darthula's Grabgesang." By 
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 "Durch Fold und Wald zu 
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 ''Einst ging ich meinen Madchen 
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 " Die erste Walpurgisnacbt." By 
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 " Es furchte die Gbtter das 
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 11 Es ist ein Schnee gefallen." — By 
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 1884. 
 
 " Es klingt in den gewohnten 
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 "Es war ein Kind." By R. 
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 " Es war ein Konig in Thule." — 
 By E. Duerer (Drei Lieder, Op. 
 11, No. 2), 1871 ; F. H. Himmel, 
 1810 ; M. V. White, 1878. 
 
 " Es war ein Ratt' im Kellernest," 
 1840. 
 
 "Est ist doch meine Nachbarin 
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 By H. von Herzogeuberg 
 (Gesdnge, Op. 44, No. 1), 1885. 
 
 " Fullest wieder, Busch und 
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 F. Hiller (Seclis Lieder, Op. 
 204, No. 1), 1885; A. Hoffmann 
 (Zekn Lieder, Op. 5, No. 1), 
 1884 ; G. King (Vier Gesange, 
 No. 4), 1886 ; J. Mathieux 
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 " Fur Manner unszu plagen." By 
 B. Klein (Fiin/ Lieder, Op. 
 46, No. 5), 1850. 
 
 " Gesiing der Parzen." By J. 
 Brahms, 1883. 
 
 "Gestern liebt'ich." By C. F. 
 Rungenhagen (Seeks deutsche 
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 "Gottes ist der Orient." By J. 
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 Op. 13, No. 4), 1865. 
 
 "Der Gott und die Bajadere." 
 By B. Klein, 1830. 
 
 "Die Grenzen der Menschheit." 
 By A. Wallnoefer, 1879. 
 
 "Hab'ich tausendmal ge- 
 schworen." By J. Brahms. 
 
 15
 
 XXXI 1 
 
 BIBLIOGRAPHY. 
 
 {Lieder, etc., .Op. 72, No. 5), 
 1876. 
 
 Harzreise im Winter." By J. 
 Brahms, 1876. 
 
 Heart, my heart, what means 
 this feeling ? " — New Love, New 
 Life. By D. Hume, 1881. 
 Herz, Mein Herz, was soil das 
 geben?" By F. Ries (Drei 
 Zweistimmige Gesange, Op. 14, 
 No. 2), 1869; C. F. Zelter 
 (Zelter's Sdmmtliche Lieder, 
 Heft 4), 1820. 
 
 1 Hier sind wir versammelt " By 
 A. Neithardt (Sechs Lieder, Op. 
 126, No. 3), 1850. 
 
 ! Hoch auf dem alten Thurme 
 steht." By E. Naumann (Seclis 
 Lieder, Op. 6, No. 6), 1860; 
 M. Renner (Vier Gesange, No. 
 4), 1883. 
 
 1 Ich bin der wohlbekannte 
 Sanger." By E. Naumann 
 (Sechs Lieder, Op. 6, No. 5), 
 1860 ; L. Schlottmann, 1880. 
 
 ' Ich dacht' ich habe keinen 
 Schmerz." By H. von 
 
 Herzogenberg (Deulte, etc., Op. 
 38, No. 2), 1883. 
 
 'Ich denke Dein." By A. G. 
 Barham, 1874; J. Milchert 
 (Drei Lieder, Op. 27, No. 1), 
 1855 ; E. Denner {Drei Lieder, 
 Op. 11, No. 3), 1862 ; H. 
 Fielding (Six Songs, No. 3), 
 1860 ; W. H. Gratton, 1847 ; 
 J. Hine, 1848 ; T. Kirch ner, 
 1883 ; E. Lassen (Sechs Lieder, 
 Op. 62, No. 1), 1878 ; C Mac- 
 leane, 1861 ; C. Ritter (Zwolf 
 Liedtr, Op. 4, No. 3), 1857 ; R. 
 Schumann (4 Duos, etc., Op. 
 78, No. 3), 1869; D. F. E. 
 Wilsing (Fiinf Lieder, Op. 5, 
 No. 1), 1850. 
 
 ' Ich ging im Walde so fur mich 
 
 bin." By J. J. Haakman (Zwolf 
 Lieder, Op. 1, No. 2), 1885 ; F. 
 J. von der Heijden, (Fiinf 
 Lieder, No. 1), 1883 ; T. 
 Leschetizky (Sechs Gesange, Op. 
 26, No. 2), 1861 ; A Lewinsohn 
 (Drei Lieder, Op. 2, No. 1), 
 1886 ; C. F. Rungenhagen 
 (Sechs deutsche Lieder), 1810. 
 
 ; Ich hab'ihn gesehen." By O. 
 Nicolai, 1835. 
 
 ; Ich hab'mein Sach auf Nichts 
 gestellt." By F. Huenten 
 (Sechs Lieder, No. 6), 1840. 
 
 1 Ihr verbliihet siisse Rosen." By 
 W. Fink (Vier Lieder, Op. 4, 
 No. 3), 1865 ; H. von Herzogen- 
 berg (Sieben Lieder, Op. 41, 
 No. 5), 1883 ; B. Hopffer 
 (Zwolf Lieder, Op. 5, No. 5), 
 1870 ; L. Schlottmann, 1880. 
 
 1 Im Felde schleich' ich still 
 und wild." By L. Heritte- 
 Viardot (Sechs Lieder, Op. 8, 
 No. 2), 1884 ; F. H. Himmel, 
 1810 ; H. Michelis (SechsLieder, 
 No. 3), 1880 ; C. Reinthaler 
 (Sechs Gesange, Op. 17, No. 5), 
 1866. 
 
 ' In alien guten Stunden erhort." 
 By L. van Beethoven, 1830. 
 
 ' In the blush of evening mute." 
 — The Convent. By R. Taylor, 
 1880. 
 
 ! I think of thee." — Thy name 
 shall bloom, By C. Guynemer, 
 1840 ; R. H. Waithman, 1870. 
 
 [ Kam' der liebe Wohlbekannte." 
 By P. TJnlauf (Fiinf Lieder, Op. 
 26, No. 3), 1886. 
 
 ; Kannst du nicht besanftigt 
 werden ? " By F. Gladstanes, 
 1835. 
 
 • Kennst du das Land ? " — Ifignon's 
 Song. By L. van Beethoven, 
 1843; C. Blum, 1840; E. 
 Clare, 1845 ; E. Deurer (Drei
 
 BIBLIOGRAPHY. 
 
 xxxni 
 
 Licdcr, Op. 11, No. 1), 1871 ; 
 
 E. Haensler, 1810; U. K. 
 
 Hartree {Three Songs, No. 3), 
 
 1881; Hauptrnann, 1848; A. 
 
 Klughardt (Zwei Gesange, Op. 
 
 1 i, No. 1), 1870 ; H. Monpon, 
 
 1850 ; J. F. Reichardt, 1820 ; 
 
 H. Riese, 1820 ; A. Romberg, 
 
 1820; F. Schubert, 1858; L. 
 
 G. P. Spontini, 1830; C. F. 
 
 Zelter, 1830. 
 ! A King of ancient Thule." By 
 
 W. Hay, 1875. 
 1 Kleine Blumen, kleine Blatter." 
 
 By F. Gernsbeim (6 Liecler, Op. 
 
 29, No. 3), 1874. 
 ' Know'st thou the land 1 " By 
 
 Adrian, 1862 ; L. van Beet- 
 hoven, 1856. 
 1 Lass mein Aug 'den Abschied 
 
 sagen." By F. W. Grund, 1845. 
 1 Lasset euch im edlen Kreis." 
 
 By W. Schreiber, 1820. 
 ' Die Leidenschaft bringt Leiden. " 
 
 By F. Hegar (Drei Gesange, 
 
 Op. 10, No. 1), 1878 ; W. 
 
 Sturm, 1883. 
 ' Let mine eye the farewell make 
 
 thee."— The Parting. By B. 
 
 Smith, 1863. 
 'Liebchen, kommen diese 
 
 Lieder." By H. Wichmanu 
 
 (10 Liederschen, No. 10), 1850. 
 ' Liebliches Kind, kannst du mir 
 
 sagen." By J. Brahms (Lieder, 
 
 Op. 70, No. 3), 1876 ; M. Bruch, 
 
 (Lieder, On. 49, No. 1), 1882. 
 ' Eine Lilie moeht'ich pfltick 
 
 en. By G. Gutkind, 1860. _ 
 ' Meeresstille und gliickliche 
 
 Fahrt." By L. van Beethoven, 
 
 1820 and 1876. 
 •Meine Ruh'ist hin." By F. 
 
 Schubert ; L. Spohr (Sechs 
 tfsche Lieder, No. 3), 1815 ; 
 
 C. Weitzmann, 1835. 
 ' Des Menschen Seele gleicht dem 
 
 W'asser." By F. Hiller, 1847 
 and 1860 ; B. Klein, 1840 ; J. 
 C. G. Loewe, 1850. 
 Mit vollem Athemziigen sang 
 ich Natur aus dir." By H. 
 Yerazi (Mannlieimer Monat- 
 schrift, iii. Jahrgang) 1780. 
 My rest is gone." — Margaret's 
 song in Faust. By F. Steers, 
 1837. 
 
 Nun verlass ich diese Hutte." 
 By K. Danysz (Zwei Lieder, 
 No. 1), 1881. 
 
 Nur wer die Sehnsucht kennt." 
 By L. van Beethoven, 1S25 and 
 1835 ; B. Dersen (Sechs 
 Lieder, Op. 2, No. 1), 1884. 
 E. Jonas (Zwei Lieder, Op. 
 29, No. 2), 1879 ; W. Speier, 
 1835 ; P. Tschaikowsky, 
 1881 ; D. F. E. Wilsing (Fiinf 
 Lieder, Op. 5, No. 5), 1850. 
 
 ; 0'er the meadows." By B. 
 Smith, 1863. 
 
 ! O gieb vom weichen Pfiihle." 
 By M. Blummer (Seelis Lieder, 
 Op. 10, No. 1), 1860 ; A. 
 Levinsohn (Drei Lieder, Op. 6, 
 No. 3), 1886; J. Mathieux 
 (Drei Duetten, etc., No. 3), 
 1850 ; C. Reinecke (Sechs 
 Lieder, Op. 178, No. 3) ; C. 
 Reinthaler (Fiinf Gedichte, Op. 
 3, No. 1), 1860; G. Rheiu- 
 berger (7 Lieder, etc., Op. 3, 
 No. 7), 1863. 
 
 ' O' Madchen, Madchen." By E. 
 Philp, 1868. 
 
 ' On the brow of yonder moun- 
 tain" — The Shepherd's Lament. 
 By H. Smart, 1872. 
 
 'O schbnes Madchen du." By 
 M. P. Viardot (Vier Lieder, 
 No. 1), 1880. 
 
 • Quella terra conosci " — Canzone 
 di Mignon. By P. M. Costa, 
 1881.
 
 XXXIV 
 
 BIBLIOGRAPHY. 
 
 " Der Ruf des Herrn, des Vaters 
 tbnt." By A. Blomberg, 1875. 
 
 " Sah ein Knab' ein Roslein 
 stehen." By A. Compton, 
 1874 ; M. Ernemann {Seeks 
 Heeler, Op. 13, No. 4), 1850; 
 N. W. Gade {Eight duettinos, 
 Op. 9, No. 5), 1849 ; A. 
 Hollaender {Seeks Lieder, Op. 
 28, No. 1), 1882 ; S. Jadassohn 
 {Seeks Ckor Lieder, Op. 67, No. 
 2), 1882 ; A. Kleffel {Zckn 
 Ziceistimmige Lieder, No. 6), 
 1875; J. Milder, 1830; R. 
 Philipp {Seeks Lieder, No. 3), 
 1880 ; B. Raniann (Drei Lieder, 
 Op. 50, No. 1), 1878 ; W. F. 
 Scherer, 1876. 
 
 " Dem Schnee, dem Regen, dem 
 Wind entgegen " — Rastlose 
 Liebe. By B. Hopffer {Zivolf 
 Lieder, Op. 9, No. 1), 1870 ; 
 
 B. Klein (Fiinf Lieder, Op. 46, 
 No. 4), 1850 ; J. Kniese {Ackt 
 Duette, etc., Op. 6, No. 8), 
 1884 ; C. Kreutzer, 1830 ; E. 
 Naumann {Seeks Lieder, Op. 6 
 No. 4), I860 ; O. Nicolai, 
 1840 ; G. Weber {Fiinf Zweis- 
 timmige Lieder, No. 5), 1878 ; 
 
 C. F. Zelter {Zelter's Sdmmt- 
 licke Lieder, Heft 4), 1820. 
 
 "Seht der Felsenquell freudehell." 
 By J. C. G. Loewe, 1850. 
 
 " So hab ich wirklich dich ver- 
 loren?" By W. H. Callcott 
 {Vocal Gems of Germany, vol. 
 iii.) 1844. 
 
 "The soul of man is like the 
 waters." By F. Schubert, 1880. 
 
 " Der Strauss den ich gepfliicket." 
 By C. J. Curschmann, 1840, 
 1848, 1851 ; J. J. Haakman 
 {Zivolf Lieder, Op. 1, No. 4), 
 1885 ; A. Levinsohn {Drei 
 Lieder, Op. 1, No. 2), 1886; 
 
 H. Wichmann {Seeks Lieder, 
 Op. 3, No. 5), 1845. 
 Tage der Wonne kommt ihr so 
 bald." By L. Dahmen, 1868 ; 
 H. von Herzogenberg, Op. 41, 
 No. 4, 1883. 
 
 ; There was a King in Thule." 
 By F. Hueffer {Seven Songs, 
 No. 7), 1873; S. B. Mason, 
 1873. 
 
 : Through the turf, through 
 pebbles flowing. " From Faust. 
 J. Hine, 1857. 
 
 : Der Thiirmer der schaut zu 
 Mitten der Nacht." By W. H. 
 Veit, 1840. 
 
 [ Tiefe Stille herrscht im Wasser." 
 By C. J. Brambach (2 Chore, 
 No. 1), 1881 ; C. Gollmick, 
 1840 ; M. Roeder {Seeks Lieder, 
 No. 5), 1878 ; E. H. Seyffardt 
 ( Vier Lieder, Op. 5, No. 3), 
 1883. 
 
 ''Tis I am the Gipsy King." 
 Bv E. Ransford, 1861 ; W. 
 West, 1862. 
 
 ' Trocknet nicht Thranen der 
 ewige Liebe" — "Der du von 
 dem Himmel bist " — " Ueber 
 alien Gipfeln ist Ruh ? " By A. 
 J. Becher (Acht Gedichte, No. 
 2, 4, 5), 1840. 
 
 ' Trocknet nicht, trocknet nicht 
 Thranen der ewige Liebe." By 
 L. Hoffmann, 1840 ; S. Warter- 
 esiewicz {Seeks Gcsdnge, No. 2), 
 1874. 
 
 ' Ueber alien Gipfeln ist Ruh." 
 By L. Ehlert {Fiinf Lieder, No. 
 5), 1860 ; A. Hollaender {Seeks 
 Lieder, No. 6), 1S78 ; F. Kempe 
 {Drei deutscke Lieder, No. 3), 
 1863 ; E. Naumann (Sechsvier- 
 stimmige Lieder, Op. 7, No. 5), 
 1850; E. Naumann {Losckioitzer 
 Liederbuck, No. 2), 1868 ; V.
 
 BIBLIOGRAPHY. 
 
 XXXV 
 
 E. Nessler (Seeks Licdcr, Op. 
 
 76, No. 5), 1875 ; R. Radecke 
 
 (Vier Terzette, Op. 27, No. 2), 
 
 1850 ; B. Ramann (Dreistim- 
 
 mige Licder, Op. 58, No. 1), 
 
 1882 ; F. Ries (Seeks Lieder, 
 
 Op. 8, No. 5), 1869 ; C. Stoer 
 
 (Lieder, No. 10), 1883 ; D. F. 
 
 E. Wilsing (Filnf Lieder, Op. 5, 
 
 No. 3), 1850. 
 
 UberThal und Fluss getragen." 
 
 By A. Levinsohn (Drei Lieder, 
 
 Op. 1, No. 3), 1886. 
 
 Ui'm Bergli bin i gesasse." By 
 
 L. Gill (Neun Lieder, No. 9), 
 
 1874 ; A. Jensen (Seeks Lieder, 
 
 Op. 57, No. 6), 1877. 
 
 Und frische Nahrung, neues 
 
 Blut." By R. Emmerich (Seeks 
 
 Gesange, Op. 45, No. 6), 1875 ; 
 
 W. Taubert. 1882. 
 
 Unter alien Gipfeln ist Ruh'." 
 
 By F. Reichel (Vier Terzetten, 
 
 Op. 6, No. 1), 1874. 
 
 Up yonder on the Mountains." 
 
 By 0. M. Hewke, 1870. 
 
 ! Ein Veilchen auf der Weise 
 stand." By A. H. Dendy,1856 ; 
 J. C. W. A. Mozart, 1850 ; A. 
 Staeger (Seeks Licder, No. 4), 
 1884 ; D. F. E. Wilsing (Filnf 
 Lieder, Op. 5, No. 4), 1850. 
 
 ' Verfliesset, vielgeliebto Lieder." 
 By B. Hopfler, (Zwolf Lieder, 
 Op. 6, No. 12). 1870. 
 
 1 Viele Gaste wiiusch ich heut." 
 By C. F. Zelter, 1832. 
 
 1 A violet on the mead." By H. 
 Glover, 1861. 
 
 ' Von dem Berge zu den Flugeln." 
 By C. Reinthaler (Filnf 
 Gedichte, Op. 3, No. 5), 1860. 
 
 'Die Walpurgisnacht." By J. 
 C. G. Loewe, 1830. 
 
 ' Warum doch erschallen." By J. 
 Brahms (Quartette, Op. 92, No. 
 
 4), 1884 : A. von Goldschmidt, 
 
 1881. 
 
 Was hilft euch Schonheit junges 
 
 Blut." By W. S. Rockstro 
 
 (Lyra Anglo-Germanica, No. 9), 
 
 1852. 
 
 ; Das Wasser rauscht." By C. F. 
 Curschraann, 1845 ; E. Degele, 
 1873; H. W. Ernst, 1852; L. 
 Steinmann, 1840 ; F. H. Fruhn, 
 1840. 
 
 ; Wenn zu der Regenwand." By 
 J. Brahms (Luetic, Op. 61, No. 
 3), 1S74. 
 
 1 Wer nie sein Brod mit Thranen 
 ass." By A. Diabelli, 1830 ; F. 
 Vanderstucken (Drei Gesange, 
 No. 2), 1879. 
 
 : Wer reitet so spat" — Erlkonig 
 By L. Berger, 1830 ; S. Mend 
 heim, 1830 ; C. G. Reissiger, 
 1840; W. S. Rockstro (Lyra 
 Anglo-Germanica, No. 16), 1853; 
 C. H. Zoellner, 1825. 
 
 ■ West-oestliche Divan."— By C. 
 Eberwein, (Lieder, etc.), 1836. 
 
 ' Where the Rose is fresh and 
 blooming." By H. G. Deacon, 
 1865. 
 
 '• Who longs in solitude to live." 
 The Harper's Song (Wilhelm 
 Mcister). By H. P. Greenwood, 
 1884. 
 
 ' Wie Feld und Au." By A. von 
 Goldschmidt (22 Liedcn, No. 
 22), 1883 ; F. Hegar ( Vier 
 Lieder, Op. 7, No. 3), 1875. 
 
 ' Wie herrlich leuchtet mir die 
 Natur." By E. F. C. Albert 
 (Zekn Licder, Op. 3, No. 5), 
 1886 ; L. van Beethoven (VIII. 
 Licder, Op. 52, No. 4), 1835 ; 
 G. Huberti, 1886 ; W. Jacoby 
 (Ein-und Ziceistimmige Licder, 
 No. 2), 18S2 ; E. Lassen (Seeks 
 Lieder, Op. 85, No. 6), 1886 ;
 
 XXX VI 
 
 BIBLIOGRAPHY. 
 
 E. Naumann [Seeks vicrstimmige 
 Lieder, Op. 7, No. 6), 1850. 
 
 11 Wie Kommt's dass du so traurig 
 bist." By J. Brahms, {Lieder, 
 Op. 48, No. 5), 1869 ; 0. 
 Tiehsen (Sieben Gedkhte, Op. 6, 
 No. 5), 1860; H. Wichmann 
 (10, Luderchen No. 6), 1850. 
 
 11 Wie mit innigem Behagen." — 
 Suleika. By G. Meyerbeer, 
 1840. 
 
 ""Wie stehet von schonen 
 Blumen." By F. von Holstein 
 (Acht Lieder, Op. 48, No. 1), 
 1882. 
 
 " Wir singen und sagen von 
 Grafen so gem." C. Schneider, 
 1875. 
 
 " Zwischen Weizen und Korn." 
 By A. Bungert, 1884 ; C. P. L. 
 Delibes, 1883 ; B. Hopffer, 
 (Zicolf Lieder, Op. 9, No. 2), 
 1870 ; B. Klein (Fiinf Lieder, 
 Op. 46, No. 1), 1850. 
 
 Magazine Akticles. 
 
 Goethe, J. W. von. — Edinburgh 
 Review, vol. 26, 1816, pp. 304- 
 337 ; vol. 28, pp. 83-103.— 
 North American Review, by E. 
 Everett, vol. 4, 1817, pp. 217- 
 262.— Blackwood's Edinburgh 
 Magazine, vol.il 6, 1824, pp. 369- 
 385 ; vol. 46, 1839, pp. 476-493, 
 597-613 ; vol. 47, 1840, pp. 31-45, 
 607-620 ; vol. 56, 1844, pp. 54-68, 
 417-432 ; vol. 57, 1845, pp. 165- 
 180. — Westminster Review, vol. 
 1, 1824, pp. 370-383.— North 
 American Review, by G. Ban- 
 croft, vol 19, 1824, pp. 303-325. 
 — United States Literary 
 Gazette, vol. 2, 1825, pp. 81-90. 
 — Foreign Review, vol. 2, 1828, 
 pp. 80-127.— Christian Ex- 
 aminer, by C. C. Felton, vol. 
 
 Goethe, J. W. von. 
 8, 1830, pp. 187-200.— Fraser's 
 Magazine, by Thomas Carlvle 
 vol 5, 1832, p. 206. — Foreign 
 Quarterly Review, by Thomas 
 Carlyle, vol. 10, 1832, pp. 1-44 
 vol. 12, pp. 81-109 ; vol. 14 
 pp. 131-162 ; vol. 16, pp 
 328-360. — Tait's Edinburgh 
 Magazine, vol. 1, 1832, pp. 314 
 320.— Dial, by Margaret Fuller 
 vol. 2. 1841, pp. 1-41.— Demo 
 cratic Review, vol. 10, N.S 
 1842, pp. 5S1-594 ; vol. 19, pp 
 443-446 ; vol. 20, pp. 14-21 ; vol 
 24, pp. 66-69. — British and 
 Foreign Review, vol. 14, 1843 
 pp. 78-135. — Southern Quarterly 
 Review, vol. 11, 1847, p. 441, etc 
 — Eclectic Review, vol. 12 N.S 
 1856, pp. 447-472.— Edinburgh 
 Review, vol. 106, 1857, pp. 194 
 226 ; same article, Littell'i 
 Living Age, vol. 54, pp. 769 
 787. — Littell's Living Age, vol 
 61, 1859, pp. 181-187.— Radical 
 by A. E. Kroeger, vol. 2, 1867 
 pp. 273, etc., 332, etc.— Black 
 wood's Edinburgh Magazine 
 vol. 112, 1872, pp. 675-697 
 same article, Littell's Living 
 Age, vol. 116, pp. 3-19 ; and 
 Eclectic Magazine, vol. 17 N.S. , 
 pp. 172-188.— Every Saturday 
 vol. 1, 1872, p. 1, etc.— Le 
 Correspondant, by Leo Quesnel 
 torn. 109, 1877, pp. 492-520.- 
 Contemporary Review, by Prof, 
 J. R. Seeley/vol. 46, 1884, pp 
 161-177, 488-506, 653-672.— 
 Catholic World, by Rev. J, 
 Gmeiner, vol. 45, 18S7, pp. 145 
 151. 
 
 and Bettina. National Quar 
 
 terly Review, by C. White, vol, 
 41, 1879, p. 74, etc. 
 
 Few Words for Bettina,
 
 BIBLIOGRAPHY. 
 
 XXXVll 
 
 Goethe, J. W. von. 
 
 Blackwood's . Edinburgh Maga- 
 zine, vol. 58, 1845, pp. 357-365. 
 
 and Carlyle. Contemporary 
 
 Review, by Prof. Max Muller, 
 vol. 49, 1886, pp. 772-793.— 
 Atlantic Monthly, June, 1887, 
 pp. 849-852. 
 — and Dumas. Nation, by H. 
 
 James, Jun., vol. 17, 1873, pp. 
 292-294. 
 
 — and Eckermann. Dublin 
 University Magazine, vol. 37, 
 1851, pp. 732-749.— Canadian 
 Monthly, by A. M. Machar, 
 vol. 3, 1879, pp. 230-241 and 
 386-395. 
 
 — and Frederika Brion. Once 
 a Week, vol. 11, 1864, pp. 
 358-364. 
 
 — and the Germans. Black- 
 wood's Edinburgh Magazine, 
 vol. 45, 1839, pp. 247-256. 
 
 — and German Fiction. Journal 
 
 of Speculative Philosophy, by 
 F. G. Fairfield, vol 9, 1875, pp. 
 303-311. 
 
 — and the Grand Duke of 
 Weimar. Revue Contempo- 
 raine, by A. Buchner, torn. 41, 
 1864, pp. 699-734. 
 
 — and his Contemporaries. 
 Westminster Review, vol. 24, 
 1836, pp. 197-231.— Dublin 
 University Magazine, vol. 8, 
 1836, pp. 350-366. 
 
 — and his Critics. Fraser's 
 
 Magazine, vol. 36, 1847, pp. 
 481-493. 
 
 — and his Works. Monthly 
 Repository, by H. Crabb Rob- 
 inson, vol. 6, N.S., 1832, pp. 
 289-308, 361-371, 460-469, 
 505-520, 595-603, 681-689, 
 742-756. 
 
 ■ — and Mendelssohn. Bentley's 
 Miscellany, vol. 49, 1861, pp. 
 
 Goethe, J. W. von. 
 63-71. — Every Saturday, vol. 9, 
 1870, p. 247, etc. ; vol. 17, 
 1874, p. 365, etc.— Temple Bar, 
 vol. 42, 1874, pp. 165-176. 
 
 and Mill ; a Contrast. West- 
 minster Review, vol. 46, N.S., 
 1874, pp. 38-70. 
 
 and Minna Herzlieb. Con- 
 
 temporary Review, by A. 
 Hamilton, vol. 27, 1876, pp. 
 199-221 ; same article, Littell's 
 Living Age, vol. 128, pp. 
 554-567. 
 -and Music. Le Correspond- 
 
 ant, by C. Pautrier, torn. 122, 
 1881, pp. 1117-1129. 
 — and Religion. Theological 
 Review, by J. F. Smith, vol. 
 6, 1869, pp. 76-98. 
 -and Schiller, Cliaracteristicsof. 
 
 Dublin University Magazine, 
 vol. 87, 1876, pp. 684-688. 
 
 Dwight's Versions from 
 
 Goethe and Schiller. North 
 American Review, by G. S. 
 Hillard, vol. 48, 1839, pp. 
 505-514. — Christian Examiner, 
 by G. Bancroft, vol. 26, 1839, 
 pp. 360-378.— Boston Quarterly 
 Review, vol. 2, 1839, pp. 
 187-205. 
 
 -Friendship of Goethe and 
 
 Schiller. New Englander.by W. 
 H. Wynn, vol. 32, 1873, pp. 
 718-737. 
 
 Weimar under Schiller 
 
 and Goethe. Contemporary 
 Review, by H. Schutz Wilson, 
 vol. 29, 1877, pp. 271-288; 
 same article, Littell's Living 
 Age, vol. 132, pp. 550-560. 
 -and Shakespeare. British 
 
 Quarterly Review, by David 
 Masson, vol. 16, 1852, pp. 512- 
 543 ; same article, Littell's
 
 XXXV111 
 
 BIBLIOGRAPHY. 
 
 Goethe, J. W. von. 
 
 Living Age, vol. 36, pp. 
 605-617. 
 
 - Female Characters of 
 
 Goethe and Shakespeare. North 
 British Review, vol. 8, 1848, 
 pp. 265-296 ; same article, 
 Eclectic Magazine, vol. 14, pp. 
 1-18. 
 
 and Suleika. Western, by 
 
 L. F. Soldau, vol. 1, 1875, 
 pp. 621-626. 
 
 and Washington. Christian 
 
 Examiner, by C. A. Bartol, vol. 
 60, 1856, pp. 317-326. 
 — and Werther. Littell's Liv- 
 ing Age, vol. 43, 1854, pp. 
 334-336. — National Review, 
 vol. 1, 1855, pp. 197-209.— 
 Revue Contemporaine, by A. 
 Baschet, torn. 16, 1854, pp. 441- 
 464. — Revue Contemporaine, by 
 Sainte-Beuve, torn. 20, 1855, 
 pp. 148-165. 
 
 — Aphorisms of. American 
 Monthly Magazine, vol. 1, N.S., 
 1836, pp. 448-452. 
 
 — as a Man of Science. West- 
 minster Review, by G. H. Lewes, 
 vol. 2, N.S., 1852, pp. 479-506 ; 
 same article, Eclectic Magazine, 
 vol. 27, pp. 460-475. 
 
 as a Naturalist. Revue Con- 
 temporaine, by Ernest Faivre, 
 torn. 4, 1858, pp. 837-856 ; torn. 
 5, pp. 326-343, 681-698; vol. 
 7, pp. 39-68 ; vol. 8, pp. 263- 
 278 ; vol. 9, pp. 464-480.— La 
 Critique Francaise, by M. 
 Hemerdinger, 1862, pp. 125-131. 
 
 — Autobiographical Sketclies. 
 London Magazine, vol. 7, 1823, 
 pp. 68-73. 
 
 — Character and Moral Influence 
 of. Edinburgh Review, vol. 
 106, 1857, pp.' 194-226. 
 
 —Characteristics of. National 
 
 Goethe, J. W. von. 
 Review, vol. 2, 1856, pp. 241- 
 296 ; same article, Littell's 
 Living Age, vol. 50, pp. 1-31. 
 
 Mrs. Austin's Character- 
 istics of. Edinburgh Review, 
 vol. 57, 1833, pp. 371-403.— 
 Monthly Review, vol. 2, N.S., 
 1833, pp. 307-317.— Littell's 
 Museum of Foreign Literature, 
 vol. 23, p. 500, etc. 
 
 Carus on. Foreign Quarterly 
 
 Review, vol. 32, 1844, pp. 
 182-189. 
 
 Conversations of. New 
 
 Monthly Magazine, vol. 91, 
 1851, pp. 256-259. 
 
 Conversations with. 
 
 Foreign 
 
 Quarterly Review, vol. 18, 1837, 
 pp. 1-30. — Boston Quarterly 
 Review, vol. 3, 1840, pp. 20-57. 
 — Westminster Review, vol. 50, 
 1849, pp. 555-568 ; same article, 
 Eclectic Magazine, vol. 16, pp. 
 460-468. — Dublin University 
 Magazine, vol. 37, 1851, pp. 
 732-749. 
 
 — Cornelia, the Sister of. 
 Victoria Magazine, by P. P. 
 Andre\ vol. 6, 1866, pp. 97-105. 
 -Correspondence with a Child. 
 
 Monthly Review, vol. 3, N.S., 
 1837, pp. 386-392.— Dial, vol. 
 2, 1842, pp. 313-356.— Tait's 
 Edinburgh Magazine, vol. 9, 
 N.S., 1842, pp. 157-167. 
 
 Correspondence with the Duke 
 
 of Saxe Weimar. National 
 Review, vol. 18, 1864, pp. 1-19. 
 
 Das Marchen (from The Ger- 
 man Emigrants). Journal of 
 Speculative Philosophy, by 
 Gertrude Garrigues, Oct. 1883, 
 pp. 383-400. 
 
 — Death of. New Monthly 
 Magazine, vol. 34, 1832, pp. 
 508-512.
 
 BIBLIOGRAPHY. 
 
 XXXIX 
 
 Goethe, J. W. von. 
 
 Poem on Death of. 
 
 Dublin University Magazine, by 
 T. Irwin, vol. 50, 1857, pp. 
 333-337. 
 -Edinburgh Review on. Black- 
 
 wood's Edinburgh Magazine, 
 vol. 4, 1818, pp. 211-213. 
 -Egmont. American Review, 
 
 by D. P. Noyes, vol. 1, 1845, 
 pp. 183-194. 
 
 — Elective Affinities. American 
 Review, vol. 3, 1812, pp. 51-69. 
 -Falk's Character of. New 
 
 Monthly Magazine, vol. 38, 
 1833, pp. 302-304. 
 -Faust. London Magazine, 
 
 vol. 2, 1820, pp. 125-142.— 
 Blackwood's Edinburgh Maga- 
 zine, by R. P. Gillies, vol. 7, 
 1820, pp. 236-258.— New Edin- 
 burgh Review, by Thomas 
 Carlyle, vol. 2, 1822, pp. 316- 
 334. — Quarterly Review, vol. 
 34, 1826, pp. 136-153.— Dublin 
 University Magazine, vol. 2, 
 1833, pp. 361-385. — West- 
 minster Review, vol. 25, 1836, 
 pp. 366-390.— Foreign Quarterly 
 Review, vol. 25, 1840, pp. 
 90-113. — Dublin University 
 Magazine, vol. 64, 1864, pp. 
 537-542 ; same article, Eclectic 
 Magazine, vol. 1, N.S., pp. 
 97-102.— Baptist Quarterly, by 
 J. L. Lincoln, vol. 3, 1869, pp. 
 278-309.— Old and New, vol. 4, 
 1871, pp. 471-480.— Journal of 
 Speculative Philosophy, by 
 Anna C. Brackett (from the 
 German of Rosenkranz), vol. 
 9, 1875, pp. 48-61, 225-239, 
 401-406. — Canadian Monthly, 
 vol. 9, 1876, pp. 123-129. 
 
 And Marlowe's Faust. 
 
 Contemporary Review, by Chas. 
 Grant, vol. 40, 1881, pp. 1-24. 
 
 Goethe, J. "W. von. 
 
 Anster's Translation of 
 
 Faust. Edinburgh Review, vol. 
 
 62, 1835, pp. 36-45.— Dublin 
 
 University Magazine, vol. 6, 
 
 1835, pp. 96-118. 
 
 -Blackie's Translation of 
 
 Faust. St. James's Magazine, vol. 
 9, 4th Series, 1881, pp. 98-103. 
 
 Blackie and Syme's 
 
 Translations af Faust. Fraser's 
 Magazine, vol. lu, 1834, pp. 
 88-96. 
 
 Brooks's Translation of 
 
 Faust. New Englander, by 
 Mrs. C. R. Corson, vol. 22, 
 1863, pp. 1-21.— Christian Ex- 
 aminer, by F. H. Hedge, vol. 
 63, 1857, pp. 1-18. 
 
 Decline and Fall of Dr. 
 
 Faustus. Contemporary Re- 
 view, by Elizabeth R. Pennell, 
 vol. 51, 1887, pp. 394-407. 
 
 English Translations of 
 
 Faust. Cornhill Magazine, vol. 
 26, 1872, pp. 279-294.— Lit- 
 tell's Living Age, vol. 115, 
 1872, pp. 412-421. 
 
 Facts and Fancies about 
 
 Faust. Modern Review, by H. 
 S. Wilson, vol. 1, 1880, pp. 
 771-791 ; vol. 2, pp. 148-171. 
 
 Faust and the Devil. 
 
 Fraser's Magazine, vol. 23, 
 1841, pp. 269-283, 464-477. 
 
 Faust and its English 
 
 Critics. London Quarterly Re- 
 view, vol. 55, 1880, pp. 11S-148. 
 
 Faust and Margaret. 
 
 Journal of Speculative Philos- 
 ophy, by Anna C. Brackett (from 
 the German of K. Rosenkranz) 
 vol. 10, 1S76, pp. 37-43. 
 
 Faust and Minor Poems. 
 
 Dublin University Magazine, 
 vol. 7, 1836, pp. 278-302.
 
 xl 
 
 BIBLIOGRAPHY. 
 
 Goethe, J. W. von. 
 
 Faust for English 
 
 Readers. St. Paul's Magazine, by 
 E. J. Hasell, vol. 11, 1872, pp. 
 694-714 ; vol. 12, pp. 403-429. 
 
 Faust in the German 
 
 Puppet Shows. Fraser's Maga- 
 zine, vol. 37, 1848, pp. 32-40. 
 
 Faust set to Music. All 
 
 the Year Round, vol. 9, 1863, 
 pp. 439-443. — Contemporary 
 Review, by Frank Sewall, vol. 
 52, 1887, pp. 370-380. 
 
 Gower's Faust. London 
 
 Magazine, vol. 6, N.S., 1826, 
 pp. 164-173. 
 
 Hayivard's Translation 
 
 of Faust. Fraser's Magazine, 
 vol. 7, 1833, pp. 532-554.— 
 Edinburgh Review, vol. 57, 
 
 1833, pp. 137-143. 
 
 -Klingemanri s 
 
 Faust. 
 
 Blackwood's Edinburgh Maga- 
 zine, by R. P. Gillies, vol. 13, 
 1823, pp. 649-660. 
 
 Letters on Faust. Jour- 
 nal of Speculative Philosophy, by 
 H. C. Brockmeyer, vol. 1, 1867, 
 pp. 178-187; vol 2, pp. 114-120. 
 
 Martin's Translation of 
 
 Faust. North British Review, 
 vol. 44, 1866, pp. 95-123. 
 
 Poetical Translations of 
 
 Faust. Blackwood's Edinburgh 
 Magazine, vol. 47, 1840, pp. 
 223-240. 
 
 Sacred Poetry of Faust. 
 
 Dublin Review, vol. 9, 1840, 
 pp. 477-506. 
 
 -Second Part of Faust. 
 
 Dublin University Magazine, 
 vol. 2, 1833, pp. 361-385 ; vol. 
 64, 1864, pp. 537-542.— Foreign 
 Quarterly Review, vol. 12, 1833, 
 pp. 81-109. — Fraser's Magazine, 
 vol. 68, 1863, pp. 497-512.— 
 Journal of Speculative Philo- 
 
 Goethe, J. W. von. 
 
 sophy, by K. Rosenkrantz, vol. 
 1, 1867, pp. 65-79; vol. 11, pp. 
 113-122. — Lippincott's Maga- 
 zine, by W. H. Goodyear, vol. 
 19, 1877, pp. 223-229.— West- 
 minster Review, vol. 69, N.S., 
 1886, pp. 313-354. 
 
 Taylor's Translation of 
 
 Faust. Nation, by J. R. Den- 
 nett, vol. 12, 1871, pp. 201-203. 
 — Broadway, vol. 4, 3rd Series, 
 1872, pp. 159-166. 
 
 Translations of Faust. 
 
 Westminster Review, vol. 25, 
 1863. pp. 366-390. 
 
 Female Characters of. North 
 
 British Review, vol. 8, 1848, 
 pp. 265-296. 
 
 French Critic on (Scherer.) 
 
 Quarterly Review, by M. Arnold, 
 vol. 145, 1878, pp. 143-163; 
 same article, Littell's Living 
 Age, vol. 136, pp. 451-461. 
 -Funeral of; a Poem translated 
 
 from the German of Harring. 
 
 Democratic Review, by A. H. 
 
 Everett, vol. 2, 1842, pp. 471- 
 
 474. 
 Genius and Influence of. 
 
 Edinburgh Review, by H. 
 
 Merivale, vol. 92, 1850, pp. 
 
 188-220 ; same article, Eclectic 
 
 Magazine, vol. 21, 1856, pp. 
 
 98-115, and Littell's Living Age, 
 
 vol. 26, pp. 365-379. 
 Genius, Theories, and Works. 
 
 Dublin University Magazine, 
 
 vol. 60, 1862, pp. 671-681; 
 
 same article, Eclectic Magazine, 
 
 vol. 58, 1863, pp. 295-304. 
 -Goetz von Berlichingen. 
 
 Blackwood's Edinburgh Maga- 
 zine, vol. 16, 1824, pp. 369 385. 
 — Gossip about, in Frankfort. 
 Littell's Living Age (from the 
 Spectator), vol. 143, 1879, pp.
 
 BIBLIOGRAPHY. 
 
 xli 
 
 Goethe, J. W. von. 
 
 440-443 ; and Eclectic Maga- 
 zine, vol. 31, N.S., 18S0, pp. 
 190-193. 
 
 Grimm on. Nation, by J. 
 
 M. Hart, vol. 25, 1877, p. 199. 
 
 Helena. Foreign Review, by 
 
 Thomas Carlyle, vol. 1, 1828, 
 pp. 429-468. 
 
 Helena translated by 
 
 Theodore Martin. Fraser's Maga- 
 zine, vol. 57, 1858, pp. 63-93. 
 
 Hermann and Dorothea 
 
 translated. Democratic Review, 
 vol. 13, N.S., 1848, pp. 261, 
 etc., 356-364, 450-460, 542-553. 
 — Fraser's Magazine, vol. 41, 
 1850, pp. 33-40. 
 
 House of, at Frankfort. 
 Scribner's Monthly, by A. S. 
 Gibbs, vol. 11, 1875, pp. 113- 
 122, 
 
 in his Old Age. New Quar- 
 terly Magazine, by E. B. 
 de Fonblanque, vol. 7, 1877, 
 pp. 435-459 ; same article, 
 Littell's Living Age, vol. 132, 
 pp. 432-494. 
 
 Iphigenia translated. Dub- 
 lin University Magazine, vol. 
 23, 1844, pp. 303-314.— Demo- 
 cratic Review, vol. 24, 1849, 
 pp. 460-468 ; vol. 25, pp. 68- 
 76, 358-363. 
 
 Lcwes's Life and Works of. 
 
 Fraser's Magazine, vol. 52, 1S55, 
 pp. 639-645 ; same article, Lit- 
 tell's Living Age, vol. 48, pp. 148- 
 153, and Eclectic Magazine, vol. 
 37, pp. 200-206.— Westminster 
 Review, vol. 9, N.S. 1856, pp. 
 273-278.— New Quarterly Re- 
 view, vol. 5, 1857, pp. 11-16. — 
 Bentley's Miscellany, vol. 39, 
 1856, pp. 96-110. — British 
 Quarterly Review, vol. 23, 1856, 
 pp. 468-505. — Democratic Re- 
 
 Goethe, J. W. von. 
 view, vol. 6, N.S., 1856, pp. 157- 
 160. — Christian Review, vol. 
 21, 1856, pp. 412-424.— Littell's 
 Living Age, vol. 48, 1856, 
 pp. 91-95. — Putnam's Monthly 
 Magazine, vol. 7, 1856, pp. 
 192-203.— Christian Observer, 
 vol. 74, 1874, pp. 247-258.— 
 
 Maxims and Reflections from. 
 
 Fraser's Magazine, vol. 13, N.S., 
 1876, pp. 338-348 ; same article, 
 Eclectic Magazine, vol. 23, N.S., 
 pp. 745-754, and Littell's Living 
 Age, vol. 129, pp. 117-125. 
 
 Memoirs of. New Monthly 
 
 Magazine, vol. 5, 1822, pp. 521- 
 527 ; vol. 10, pp. 473-478. 
 
 Menzel's View of. Dial, vol. 
 
 1, 1841, pp. 340-347. 
 -Mother of. Appleton's Jour- 
 
 nal of Literature, vol. 7, 1872, 
 pp. 692, 693.— Fraser's Mag- 
 azine, by J. W. Scherer, vol. 
 10, N.S., 1874, pp. 399-406.— 
 Lippincott's Magazine of Lit- 
 erature, by A. S. Gibbs, vol. 
 24, 1879, pp. 547-556. 
 
 — Native Place of. United 
 States Review, Feb. 1855, pp. 
 132-137. 
 
 — on Art and Antiquity. Lon- 
 
 don Magazine, vol. 1, 1820, pp. 
 523-525. 
 
 — on Hamlet. London Society, 
 by H. S. Wilson, vol. 28, 1875, 
 pp. 308-316. 
 
 — Philosophy of [Caro's). 
 Contemporary Review, by E. 
 Dowden, vol. 6, 1867, pp. 49- 
 61 ; same article, Eclectic Maga- 
 zine, vol. 6, N.S., pp. 693- 
 701. — Eclectic Magazine (from 
 the Saturday Review), vol. 5, 
 N.S., 1867, pp. 712-717. 
 -Poems and Ballads of. Black- 
 
 wood's Edinburgh Magazine,
 
 \'.:\ 
 
 EIBLIOGRAPHY. 
 
 :he, J. TV. von. 
 
 L 56, 1844, p 54-68, 417- 
 
 - — Fraser"s iougazine, by A. 
 H. Clough, to 1 .. 59, 1559, pp. 
 710-717 ; same article, Eclectic 
 Magazine, voL 49, 1S60, pp. 
 53-59. — Berkley's Miscellany, 
 vol. 45, 1859, pp. 401-405.— 
 London Magazine, vol. 12, 1 
 pp. 121-145. — Littell's Living 
 Age, vol. 61, 1559, pp.lSl-". - " 
 
 Posthumous Works. Dublin 
 
 Universitv Magazine, vol. 2, 
 1 :3, pp."361-£-'. 
 
 Tr_ xrfhrus Dublin Uni- 
 
 • Magazine, voL 36, 1S50, 
 pp. 520-530. 
 
 Recent Works on. Nation, 
 
 -. W. Higginson, vol. 32, 
 pp. 408-410. 
 — Relation of. to Christianity. 
 " nal Magazine, voL 1, p. 
 
 — Religion of. Macmillan's 
 E zine, by A. Schwartz, vol. 
 573 pp. 128-137. 
 Seherer on. Quarterly Re- 
 
 . bv Matthew Arnold, vol. 
 pp. 143-163 ; re- 
 printed in Mixed Essays, I 
 — 'fie Biography of 
 
 (Faivre's). North British Re- 
 view, by Sir D. Brewster, vol. 
 pp. ] "-133. 
 \al Romances. Journal of 
 
 :'.ative Philosophy, by C. 
 
 Rosenkrantz, vol. 2, 1S6S, pp. 
 120-128, 215-225; voL 4. pp. 
 145-152, 268-273 
 
 — Sorrows of Werte*. Western, 
 
 vol. 5 N.S., 1579, pp. 345-352.' 
 French Criticism •: 
 
 Sorrows of Wetter. London 
 Lane, vol. 1, 1520, pp. 
 
 49-5.. 
 Origin Hi f 
 
 Temple Bar, by C. E. Mee:kerke, 
 
 Goethe, J. "VT. von. 
 vol. 47, 1576, pp. 244-250; 
 same article, Littell's Living 
 Age, voL 130, pp. 172-176. 
 
 Story of the Snake. Journal 
 
 of Speculative Philosophy, by 
 Anna C. Brackett (from the 
 German of C. Rosenkrantz), voL 
 5, 1571, pp. 219-226. 
 
 The TaU; translated. Fraser's 
 
 Magazine, by Thomas Carlyle, 
 vol. 6, 1532," pp. 257-278, 
 - Torquato Tasso. Monthly 
 
 Review, vol. 6. N.S., 1527, pp. 
 182-197. — Fraser's Magazine, 
 vol. 13, 1536, pp. 526-539.— 
 Blackwood's Edinburgh Maga- 
 zine, voL 58, 1545, pp. 87-85. 
 — Chambers's Edinburgh Jour- 
 nal, voL 16, 1552, pp. 87, 88. 
 
 Scenes and Passages from 
 
 the Tasso. New Monthly 
 Magazine, vol. 40, 1534, pp. 1-8. 
 
 — I \eary of Colours. Quarterly 
 Review, vol. 10, 1814, pp. 427- 
 441. — Edinburgh Review, vol. 
 72, 1840, pp. 99-131. — 
 Fortnightlv Review, by John 
 Tyndall, vol. 27, N.S., 1880, 
 | . 471-49C : the same 
 appeared also in the Popnlar 
 Science Monthlv, vol. 17, 1850, 
 pp. 215-224, 312-321. 
 
 — Visit to, in Weimar. Hours 
 at Heme, voL 1, 1565, pp. 145- 
 151. 
 
 ■Visit to the Home of. New 
 
 Monthly Magazine, voL 104, 
 L855, pp. 203-206 ; same article, 
 Hell's Living Age, voL 46, 
 pp. 39-41. 
 
 — Weimar under Schiller and 
 
 ■:. Contemporarv Review, 
 bv H. S. Wilson, vol.*29, 1577, 
 pp. 271-258. 
 
 — West-Eastern Divan. Black-
 
 BIBLIOGRAPHY. 
 
 xliii 
 
 Goethe, J. "W. von. 
 
 wood's Edinburgh Magazine, 
 vol 132, pp. 742-756. 
 
 Wilhelm Meister. Black- 
 wood's Edinburgh Magazine, 
 vol. 15, 1824, pp. 619-632.— 
 London Magazine, vol. 10, 1824, 
 pp. 189-197, 291-307.— Edin- 
 burgh Review, by F. Jeffrey, 
 vol. 42, 1825, pp. 409-449.— 
 Southern Review, vol. 3, 1829, 
 pp. 353-385. — Southern Literary 
 Messenger, vol. 17, 1851, pp. 
 431-443. — North American 
 Review, by Henry James, Jun., 
 vol. 101, 1865, pp. 281-285.— 
 Atlantic Monthly, by D. A. 
 Wasson, vol. 16, 1865, pp. 273- 
 282, 448-457. 
 
 Goethe, J. W. von. 
 
 Wisdom of. Temple Bar, vol. 
 
 70, 1884, pp. 262-272. 
 
 Words of JFisdom from. 
 
 Blackwood's Edinburgh Maga- 
 zine, vol. 130, 1881, pp. 785-792. 
 
 Works. Le Correspondant, 
 
 by V. de Laprade, torn. 71, 
 1867, pp. 122-140. 
 ■Works of, explained by his 
 
 Life. Le Correspondant, by A. 
 Mezieres, torn. 81, 1870, pp. 
 629-653; 1011-1040; torn. 82, 
 pp. 599-626; torn. 83, pp. 35-62. 
 — Youth of. Sharpe's London 
 Magazine, vol. 8, 1849, pp. 155- 
 162, 237-240.— Western, by 
 Ellen M. Mitchell, vol. 2, 1870, 
 pp. 347-3:.^. 
 
 X. CHRONOLOGICAL LIST OF WORKS. 
 
 
 Von deutscher Baukunst . 
 
 1773 
 
 Faust. Ein Fragment 
 
 1790 
 
 Gbtz von Berlichingen 
 
 1773 
 
 Torquato Tasso . 
 
 1790 
 
 Die Leiden des jungen 
 
 
 Scherz, List und Rache 
 
 1790 
 
 Werthers 
 
 1771 
 
 Versuch die Metamorphose 
 
 
 Clavigo .... 
 
 1774 
 
 der Pflanzen zu er- 
 
 
 Gotter, Helden und 
 
 
 klaren . 
 
 1790 
 
 Wieland . . . 
 
 1774 
 
 Jery und Bately 
 
 1790 
 
 NeuerbfFnetes moraliseh- 
 
 
 Beitriige zur Optik . 
 
 1791-2 
 
 politisches Puppenspiel 
 
 1774 
 
 Der Gross-Cophta 
 
 1792 
 
 Erwin und Elniire . 
 
 1775 
 
 Der Biirgergeneral 
 
 1793 
 
 Stella .... 
 
 1776 
 
 Reinecke Fuchs . , 
 
 1794 
 
 Claudine von Villa Bella . 
 
 1776 
 
 Wilhelm Meisters Lehr- 
 
 
 Die Fischerinn . 
 
 1782 
 
 jahre 
 
 1795-6 
 
 Rede bey Erbffnung des 
 
 
 Benvenuto Cellini 
 
 1793 
 
 neuen Bergbaues zu 
 
 
 Hermann und Dorothea . 
 
 1793 
 
 Ilmenau 
 
 1784 
 
 Neueste Gedichte 
 
 1800 
 
 Die Vbgel 
 
 1787 
 
 Was wir bringen 
 
 1802 
 
 Der Triumph der Euipfind- 
 
 
 Tancred . 
 
 1802 
 
 samkeit .... 
 
 1787 
 
 Mahomet . . . . 
 
 1802 
 
 Die Mitschuldigen . 
 
 1787 
 
 Die niiturliche Tochter 
 
 1S04 
 
 Iphigenie auf Tauris . 
 
 1787 
 
 Taschenbuch auf das Jahr 
 
 
 Die Geschwister 
 
 1787 
 
 1804 . 
 
 1804 
 
 Egmont . . 
 
 1788 
 
 Rameau's Neffe . 
 
 1S05-
 
 xliv 
 
 BIBLIOGRAPHY. 
 
 Winkelmann und sein Jakr- 
 
 hundert . . . 1805 
 
 Faust [Theil I.] . . 1808 
 
 Die Wahlverwandtschaften 1S09 
 
 Pandora .... 1810 
 
 Zur Farbenlehre . . 1810 
 Aus meinem Leben, Dicht- 
 
 ung und Wabrheit 1811-22 
 Philipp Hackert. Bio- 
 
 graphiscbe Skizze . 1811 
 
 Gedicbte .... 1812 
 
 Willkommen ! . . . 1814 
 
 Des Epimenides Erwacben 1815 
 (Aus 
 
 Alter- 
 
 1816-17 
 
 Italianiscbe Reise 
 
 meinem Leben) 
 Ueber Kunst und 
 
 tbum. . . 1816-32 
 Zur Natur - Wissenschaft 
 
 uberhaupt, besonders 
 
 zur Morpbologie . 1817-23 
 West-Oestlicher Divan . 1819 
 Wilhelm Meisters Wander- 
 
 jahre, Th. 1 . . 1821 
 (Completed and published in 1830.) 
 Die Campagne in Frank- 
 
 reich. (Aus meinem 
 
 Leben.) . . .1822 
 Wilhelm Meisters Wauder- 
 
 jabre .... 1830 
 (Vol. 1 originally appeared 
 in 1821.) 
 
 Faust [Theil II.] 
 Das Tagebuch, 1810 
 
 1833 
 1879 
 
 Briefwecbsel zwischen 
 
 Schiller und Goethe 1828-9 
 
 Kurzer Briefwechsel zwisch- 
 en Klopstock und 
 Goethe . . . 1833 
 
 Briefe von Goethe an Lavater 1833 
 
 Briefwechsel zwischen 
 
 Goethe und Zelter . 1833-4 
 
 Briefwechsel mit einem . 
 
 Kinde . . .1835 
 
 Briefwechsel zwischen 
 
 Goethe und Schultz . 1836 
 
 Goethe's Briefe in den Jahren 
 
 1768-1832 . . . 1837 
 
 Briefe an die Grafin Auguste 
 
 zu Stolberg. . . 1839 
 
 Briefe Schillers und Goethes 
 
 an A. W. Schlegel . 1846 
 
 Briefe von Goethe und dessen 
 Mutter an Friedrich 
 Freiherrn von Stein . 1846 
 
 Briefe von Goethe, 1766- 
 
 1786 .... 1846 
 
 Briefwechsel zwischen 
 
 Goethe und F. H. 
 Jacob .... 1846 
 
 Goethes Briefe an Leipziger 
 
 Freunde . . . 1849 
 
 Briefwechsel zwischen 
 
 Goethe und Reinhard . 1850 
 
 Briefwechsel zwischen 
 
 Goethe und Knebel . 1851 
 
 Briefwechsel zwischen 
 
 Goethe und Griiner . 1853 
 
 Briefe des Grossherzogs 
 Carl August und 
 Goethe an Dobereiner. 1856 
 
 Briefe an Herder . . 1856 
 
 Briefe von Goethe und 
 
 seiner Frau an N.Meyer 1856 
 
 Briefwechsel des Grossher- 
 zogs Carl August von 
 Sachsen - Weimar- 
 Eisenbach mit Goethe 1863 
 
 Briefwechsel zwischen 
 
 Goethe und Kasper 
 Graf von Sternberg . 1866 
 
 Briefe an F. A. Wolf. . 1868 
 
 Briefe an C. G. von Voigt 1868 
 
 Briefe an Eichstadt . . 1872 
 
 Briefe an Johanna Fahlmer 1875 
 
 Briefe an Soret . . . 1877 
 
 Briefwechsel zwischen 
 
 Goethe und Marianne 
 von Willemer (Suleika) 1877 
 
 Briefwechsel zwischen 
 
 Goethe und K. Gottling 1880 
 
 Correspondence between 
 
 Goethe and Carlyle , 1887 
 
 Printed by Walter Scott, Felling, Newcastle -on-Tyna.
 
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