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Updated: May 8, 2025
We arrive here, above all things, too young; for youth loves to lean on tradition and to draw inspiration from what has gone before; youth finds nothing more difficult than to follow Goethe's advice about grasping that living life which shifts and fluctuates about us. Few writers are sufficiently detached to laugh at these people as they, together with ourselves, so often and so richly deserve.
In common with Gounod he now shares the honor of being one of the few French writers who hold a high rank among modern composers. "Mignon," an opera comique in three acts, words by Barbier and Carré, the subject taken from Goethe's "Wilhelm Meister," was first produced at the Opera Comique, Paris, Nov. 17, 1866, with the following cast: MIGNON Mme.
Add to this, the advantage we enjoy here of visiting the hospitals. . . The time passes delightfully with us of late, for Agassiz has received several baskets of books from Cotta, among others, Schiller's and Goethe's complete works, the Conversations-Lexicon, medical works, and works on natural history. How many books a man may receive in return for writing only one!
Though I could not boast of "being one with Nature," we had formed a friendly alliance, and I learned by my own experience the truth of Goethe's words, that it was the only book which offers valuable contents on every page. I was not yet familiar with life, but I had learned to look about with open eyes.
It was Goethe's poems, but she was not in the mood for reading, and she sat thinking till late at night. This was a new sentiment. She would digest it and test its practical truth. Take up the threads of life at home, Let not the stitches drop; The busy world will know 'tis done Though ne'er it pause nor stop. "Nothing can bring you peace but yourself.
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.
The same unrest which drove men of that epoch to Nature, haunted them to the end, because they had no systematic conception of her working and of human relations with her. In a word, there was no science. Byron was a warm admirer of the genius and art of Goethe, yet he never found out the central secret of Goethe's greatness, his luminous and coherent positivity.
And so a child in a red environment feels quietened because it experiences, though dimly, how its whole blood system is stimulated to the green production; bluish colours enliven it because it feels its blood answer with a production of light yellowish tones. From the latter phenomena we see once more the significance of Goethe's arrangement of his Farbenlehre.
Goethe's sketch of an Introduction into Comparative Anatomy, which he wrote in 1795, urged by A. von Humboldt, has remained, if I may believe those competent to judge, a fundamental stone of modern science.
Back in London for the winter, where his time was divided between Irving's house and his own neighbouring room in Southampton Street, he was cheered by Goethe's own acknowledgment of the translation of Meister, characteristically and generously cordial.
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