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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 Höchst. 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 grandmother, 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 representations.

      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 specimens 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, Frankfort 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 connect 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 Römer, 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 coronation 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 pictures 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 Günther of Schwarzburg, Charles’s rival, in St. Bartholomew’s church. Growing up amid such 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 eighteenth century, held that rhyme was essential to poetry. 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 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 contents 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.

      About the time of his seventh birthday, the civilized world was stirred to its depths by the outbreak of the Seven Years’ War. Goethe’s maternal grandfather, 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 grandfather, for whose sayings he had always had unbounded reverence. 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 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 household 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 commissions 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 inconveniences 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 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 impressionable age, he passed under a wholly new and stimulating set of influences, and it was the recollection of these influences that made it impossible

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