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Updated: May 8, 2025
In Goethe's Elegies and in his Travels in Italy we find the impressions of the artist only. He did not understand Rome. The eternal synthesis that, from the heights of the Capitol and St.
The four young noblemen had their engagements elsewhere, and proposed to separate without re-entering the drawing-room. As, in Goethe's theory, monads which have affinities with each other are irresistibly drawn together, so these gay children of pleasure had, by a common impulse, on rising from table, moved each to each, and formed a group round the fireplace.
He bows before the great law of the universe the young gallant is transformed into the mighty teacher; and this without one hard conceit without one touch of pedantry. It is but a flash of light; and where glowed the playful picture shines the solemn moral. The first five verses in the original of this poem are placed as a motto on Goethe's statue in the Library at Weimar.
It is Homeric only in its circumstantiality, in the repetition of the same epithets applied to the same persons, and in the Greek realism of Goethe's nature. The theme is very un-Homeric; it is thoroughly modern and German, "Germans themselves I present, to the humbler dwelling I lead you, Where with Nature as guide man is natural still."
"With regard to this conclusion, an intelligent and fair friend, related to us through esteem for Byron, has asserted that everything religious and moral in the world was put into the last three words of the piece." We have now heard enough from Goethe to prove that Mr. Arnold's interpretation of "so bald er reflectirt ist er ein Kind" is not Goethe's interpretation of Byron.
In this retreat, encouraged by the applause of his first confidants, he labored with joyous energy, recasting his Schroffenstein Family, working out the Broken Jug, meditating historical dramas on Leopold of Austria and Peter the Hermit, and expending the best of his untrained genius on the plan of a tragedy, Robert Guiscard, in which he strove to create a drama of a new type, combining the beauties of Greek classical art and of Shakespeare; with his Guiscard the young poet even dared hope to "snatch the laurel wreath from Goethe's brow."
No; the Goethean temper, the Goethean attitude, cannot be described as "cosmic," while that word implies a certain complete yielding to a vague earth-worship. There was nothing vague about Goethe's intimacy, if I may put it so, with the Earth. He and It seemed destined to understand one another most serenely, in a shrewd and deliberate conspiracy!
Shakespeare, the Pilgrim's Progress, Montaigne's Essays, Herbert Spencer, Goethe's Life, by Lewes, Marcus Aurelius, Martial, Wordsworth, The Egoist, Thoreau, Hazlitt, and Mitford's Tales of Old Japan! Where have I heard or read of that particular galaxy of stars before?" "Go on. You are on the right track," cried Courtenay, setting down the teacup and hastening to Elsie's side.
Goethe's novel, "Wilhelm Meister's Apprenticeship," may be classed with fictions intended to convey certain views of life; but its chief defect is, that the object of the writer remains in a mist, even at the end of the story. The "Elective Affinities," while it contains many beauties as a work of art, is objectionable in a moral point of view.
At this point we may recall Goethe's reply to the botanist, Wolff, who had ascribed the metamorphosis of plant-organs from root to blossom to a gradual stunting or atrophy of their vegetative force, whereas it was clear to Goethe that simultaneously with a physical retrogression, there is a spiritual progress in the development of the plant.
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