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as the blackest, in man's existence; gifted with what insight, with what grace and power of utterance, we shall not for the present attempt discussing. All these the reader will learn, who studies his writings with such attention as they merit; and by no other means. Of Goethe's dramatic, lyrical, didactic poems, in their thousandfold expressiveness, for they are full of expressiveness, we can here say nothing. But in every department of Literature, of Art ancient and modern, in many provinces of Science, we shall often meet him; and hope to have other occasions of estimating what, in these respects, we and all men owe him.

      Two circumstances, meanwhile, we have remarked, which to us throw light on the nature of his original faculty for Poetry, and go far to convince us of the Mastery he has attained in that art: these we may here state briefly, for the judgment of such as already know his writings, or the help of such as are beginning to know them. The first is his singularly emblematic intellect; his perpetual never-failing tendency to transform into /shape/, into /life/, the opinion, the feeling that may dwell in him; which, in its widest sense, we reckon to be essentially the grand problem of the Poet. We do not mean mere metaphor and rhetorical trope: these are but the exterior concern, often but the scaffolding of the edifice, which is to be built up (within our thoughts) by means of them. In allusions, in similitudes, though no one known to us is happier, many are more copious than Goethe. But we find this faculty of his in the very essence of his intellect; and trace it alike in the quiet cunning epigram, the allegory, the quaint device, reminding us of some Quarles or Bunyan; and in the /Fausts/, the /Tassos/, the /Mignons/, which in their pure and genuine personality, may almost remind us of the /Ariels/ and /Hamlets/ of Shakespeare. Everything has form, everything has visual existence; the poet's imagination /bodies forth/ the forms of things unseen, his pen turns them to /shape/. This, as a natural endowment, exists in Goethe, we conceive, to a very high degree.

      The other characteristic of his mind, which proves to us his acquired mastery in art, as this shows us the extent of his original capacity for it, is his wonderful variety, nay universality; his entire freedom from the Mannerism. We read Goethe for years, before we come to see wherein the distinguishing peculiarity of his understanding, of his disposition, even of his way of writing, consists. It seems quite a simple style that of his; remarkable chiefly for its calmness, its perspicuity, in short its commonness; and yet it is the most uncommon of all styles: we feel as if every one might imitate it, and yet it is inimitable. As hard is it to discover in his writings, – though there also, as in every man's writings, the character of the writer must lie recorded, – what sort of spiritual construction he has, what are his temper, his affections, his individual specialties. For all lives freely within him: Philina and Clanchen, Mephistopheles and Mignon, are alike indifferent, or alike dear to him; he is of no sect or caste: he seems not this man or that man, but a man. We reckon this to be the characteristic of a Master in Art of any sort; and true especially of all great Poets. How true is it of Shakespeare and Homer! Who knows, or can figure what the Man Shakespeare was, by the first, by the twentieth perusal of his works? He is a Voice coming to us from the Land of Melody: his old brick dwelling- place, in the mere earthly burgh of Stratford-on-Avon, offers us the most inexplicable enigma. And what is Homer in the /Ilias/? He is THE WITNESS; he has seen, and he reveals it; we hear and believe, but do not behold him. Now compare, with these two Poets, any other two; not of equal genius, for there are none such, but of equal sincerity, who wrote as earnestly and from the heart, like them. Take, for instance, Jean Paul and Lord Byron. The good Eichter begins to show himself, in his broad, massive, kindly, quaint significance, before we have read many pages of even his slightest work; and to the last he paints himself much better than his subject. Byron may also be said to have painted nothing else than himself, be his subject what it might. Yet as a test for the culture of a Poet, in his poetical capacity, for his pretensions to mastery and completeness in his art, we cannot but reckon this among the surest. Tried by this, there is no writer that approaches within many degrees of Goethe.

JOHANN WOLFGANG VON GOETHE

      Johann Wolfgang von Goethe was born in Frankfort on August 28, 1749. His parents were citizens of that imperial town, and Wolfgang was their only son. His father was born on July 31, 1710. He married, on August 20, 1748, at the age of thirty-eight, Catherine Elizabeth Textor. In December, 1750, was born a daughter, Cornelia, who remained until her death, at the age of twenty-seven, her brother's most intimate friend. She was married in 1773 to John George Schlosser. Goethe's education was irregular. French culture gave at this time the prevailing tone to Europe. Goethe could not have escaped its influence, and he was destined to fall under it in a special manner. In the Seven Years' War, which was now raging, France took the side of the empire against Frederick the Great. Frankfort was full of French soldiers, and a certain Comte Thorane, who was quartered in Goethe's house, had an important influence on the boy.

      Goethe, if we may believe his autobiography, experienced his first love about the age of fifteen in the person of Gretchen, whom some have supposed to be the daughter of an innkeeper at Offenbach. He worshipped her as Dante worshipped Beatrice.

      In the autumn of 1765 Goethe traveled to Leipsic. On the 19th of October he was admitted as a student. He was sent to Leipsic to study law, in order that he might return to Frankfort fitted for the regular course of municipal distinction. He intended to devote himself not to law, but to belles lettres. He attended Gellert's lectures on literature, and even joined his private class. His real university education was derived from intercourse with his friends. First among these was J. G. Schlosser, who afterwards married his sister. He had a great influence upon him, chiefly in introducing him to a wider circle of German, French, English and Italian poetry.

      But the person who had the strongest effect on Goethe's mental development was Adam Frederick Oeser, at this time director of the academy of arts in Leipsic.

      Goethe, from his earliest years, was never without a passion, and at Leipsic his passion was Kitty Schönkopf, the Aennchen of the autobiography, the daughter of the host at whose house he dined. She often teased him with her inconstant ways, and to this experience is due his first drama, "Die Laune des Verliebten," "Lovers' Quarrels," as it may be styled. A deeper chord is struck in "Die Mitschuldigen" (The Fellow Sinners), which forms a dismal and forbidding picture both of the time and of the experiences of the youth who wrote it. He had an opportunity of establishing his principles of taste during a short visit at Dresden, in which he devoted himself to the pictures and the antiques. The end of Goethe's stay at Leipsic was saddened by illness. One morning at the beginning of the summer he was awakened by a violent hemorrhage. For several days he hung between life and death, and after that his recovery was slow. He left Leipsic far from well on August 28, 1768.

      Goethe made an enforced stay of a year and a half. It was perhaps the least happy part of his life. His cure proceeded slowly, and he had several relapses. His family relations were not pleasant. His father showed but little sympathy with his aspirations for universal culture, and could imagine no career for him but that of a successful jurist. His sister had grown somewhat harsh and cold during his absence. Goethe's mother was always the same to him – a bright, genial, sympathetic friend. Goethe, during his illness, received great attention from Fräulein von Klettenberg, a friend of his mother's, a pietist of the Moravian school. She initiated him into the mystical writings of those abstracted saints, and she engaged him in the study of alchemy, which served at once to prepare him for the conception of Faust and for the scientific researches of his later days.

      He arrived at Strasburg April 2,1770. Goethe stayed in Strasburg till August 28, 1771, his twenty-second birthday, and these sixteen months are perhaps the most important of his life. During them he came into active contact with most of those impulses of which his after life was a development. If we would understand his mental growth, we must ask who were his friends. He took his meals at the house of the Fräulein Lauth in the Kramergasse. The table was mainly filled with medical students. At the head of it sat Salzmann, a grave man of fifty years of age. His experience and his refined taste were very attractive to Goethe, who made him his intimate friend. The table of the Fräulein Lauth received some new guests. Among these was Jung-Stilling, the self-educated charcoal-burner, who in his memoir has left a graphic account of Goethe's striking appearance, in his broad brow, his flashing eye, his mastery of the company, and his generosity. Another was Lerse, a frank, open character, who became Goethe's favorite, and whose name is immortalized in Götz von Berlichingen.

      Goethe's stay at Strasburg

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