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By Martin Swales, Erika Swales
The yr 1999 observed the 250th anniversary of the beginning of Johann Wolfgang von Goethe, Germany's maximum author. safely, literary students inside Germany and past paid tribute to this notable expertise. yet a couple of commentators additionally famous that Goethe is usually respected instead of learn, recognized of instead of identified. it's the target of this examine to supply a corrective to this situation. The authors be aware of the literary paintings and supply analyses that characterize an impassioned, yet on no account uncritical, advocacy -- one who seeks to cajole either educational critics and normal readers alike that Goethe is among the key figures of eu modernity. To an quantity that's almost distinctive in glossy literature, Goethe was once lively in an entire variety of literary genres. He used to be an exceptional poet, unmatched within the number of his expressive modes, and in his skill to mix highbrow sophistication withexperiential immediacy. He additionally wrote brief tales and novels all through his existence, starting from the The Sorrows of younger Werther, to The non-obligatory Affinities. He was once additionally a hugely expert dramatist, either within the historic mode and within the classical verse-drama. primarily else, Goethe is the writer of Faust: a workthat makes an attempt -- and achieves -- greater than the other glossy ecu drama.
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Extra resources for Reading Goethe: A Critical Introduction to the Literary Work (Studies in German Literature Linguistics and Culture)
Sample text
It cannot merely be dismissed as some strange chimera to which German literary scholarship succumbed because of the need for a riposte to, and redemption from, the problematic course of German history (der deutsche Sonderweg). Matters are nowhere near so simple as that, not least because the presence of a dynamic and multiple richness to Goethe’s creative achievement is indisputable. Yet it is crucially important, to see this richness as symptomatic of a generous and open approach to experience, a non-reductive acknowledgement of both mind and matter and their dialectical interplay.
Within the complex realm of human eros, then, natural desire is seen to work through a whole number of often uncomfortable, indeed seemingly “unnatural” configurations. Take the famous love poem “Warum gabst du uns die tiefen Blicke” (Why Did You Give Us the Deep Glances) of 1776. Goethe sent it to Charlotte von Stein as part of a letter, and it retained its utterly private character until it was first published in 1848. The poem quite simply embodies POETRY ♦ 47 the agony of unfulfilled desire, and the poetic, musical structure is so intense that literally every note counts.
And it rightly highlights the interplay of human and natural spheres (both animal and vegetable) that animates the poem. The point at which we would dissent from Trunz’s commentary is when he speaks of “völliges Einssein von Natur und Mensch in der Sprache” (complete oneness of nature and human being in language). The poem, we would suggest, is not so much concerned with identity and sameness as it is with modes and processes of reciprocity. That, surely, is enshrined in the particle “wie” (which can mean both “how” and “like”).