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Updated: May 8, 2025


Her merry willfulness and wit covered a warm heart and a vigorous mind; and both of her great idols understood her and took her seriously. Elisabeth Brentano was the daughter of Goethe's friend, Maximiliane de la Roche. She was born at Frankfort-on-the-Main in 1785, and was brought up after the death of her mother under the somewhat peculiar influence of the highly-strung Caroline von Günderode.

Marguerite enters through the street with her lantern and sings the romance of the King of Thule, which Berlioz calls a Chanson Gothique, one of the most original of his creations and, like the song in the next scene, "L'amour l'ardente flamme," which takes the place of Goethe's "Meine Ruh' ist hin," is steeped in a mood of mystical tenderness quite beyond description.

The prologue corresponds to Goethe's prologue in the heavens, the heavenly choirs being heard in the background of clouds, accompanied by weird trumpet-peals and flourishes in the orchestra, and closes with a finale of magnificent power. The first act opens in the city of Frankfort, amid the noise of the crowd and the clanging of holiday bells.

This is the position which she occupies in the history of German literature. From 'Goethe's Correspondence with a Child' Thou, who knowest love, and the refinement of sentiment, oh how beautiful is everything in thee!

German poetry abounds in specimens of the faithful way of handling nature; an excellent example is to be found in the stanzas called Zueignung, prefixed to Goethe's poems; the morning walk, the mist, the dew, the sun, are as faithful as they can be, they are given with the eye on the object, but there the merit of the work, as a handling of nature, stops; neither Greek radiance nor Celtic magic is added; the power of these is not what gives the poem in question its merit, but a power of quite another kind, a power of moral and spiritual emotion.

Even where Goethe's words are followed, in a literal translation, the meaning seems to have gone out of them; they are displaced, they no longer count for anything. The Walpurgis Night is stripped of all its poetry, and Faust's study is emptied of all its wisdom. The Witches' Kitchen brews messes without magic, lest the gallery should be bewildered.

Goethe was born at noonday on the 28th of August, 1749, in his father's house at Frankfort on the Maine. The circumstances of his birth were thus far remarkable, that, unless Goethe's vanity deceived him, they led to a happy revolution hitherto retarded by female delicacy falsely directed. From some error of the midwife who attended his mother, the infant Goethe appeared to be still-born.

He had read only one book Goethe's Faust and in this work there was not a page in which he had not underlined some passage, and made some remark in praise of Mozart or in disparagement of Weber. It was to this man that my brother-in-law confided the compositions which I had brought with me in order to learn his opinion of my abilities.

Nor, when once such thoughts have been stirred in us by such a sight, can we do better than repeat Goethe's sublime profession of a philosophic mysticism. This translation I made one morning on the Pasterze Gletscher beneath the spires of the Gross Glockner: To Him who from eternity, self-stirred, Himself hath made by His creative word!

The peculiar interest of Wolf's Lieder is that he gives each poetic figure its individual character. The Harpist and Mignon are traced with marvellous insight and restraint; and in some passages Wolf shows that he has re-discovered Goethe's art of presenting a whole world of sadness in a single word. The serenity of a great soul soars over the chaos of passions.

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