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Updated: May 8, 2025
The picture becomes different if we apply to the aural experience Goethe's theorem that, in so far as we are deluded, it is not by our senses but by our own reasoning. For we then realize that sounds never occur of themselves without some tone-colour, whilst physically 'pure' tones those that represent simple harmonic motions exist only as an artificial laboratory product.
For her New England soul there were no degrees in such guilt; and, perhaps there are really not so many as people have tried to think, in their deference to Goethe's greatness.
In Goethe's time, there were just one hundred sixty houses in the Frankfort Ghetto, and these were occupied by two thousand three hundred Jews. Goethe says that the practise of walling the Jews in was to facilitate taxation the Jews being honored by an assessment quite double that which Christians paid.
They, wondered just where it was he saw the young girl coming to meet him as the Grand-Duke's minister with an office-seeking petition from her brother, Goethe's brother author, long famed and long forgotten for his romantic tale of "Rinaldo Rinaldini."
For, before proceeding to business, the Emperor read to me Goethe's poem, Ilmenau, of which he thought I might like to be reminded before we sat down to our task.
We were not allowed to see the title-page. I turned over the music vacantly; the veiled enjoyment of music which one does not hear has something magical in it. And besides this, it seems that every composer has something different in the note forms. Beethoven looks differently from Mozart on paper; the difference resembles that between Jean Paul's and Goethe's prose.
What is useful in any review of Goethe's methods is the recognition of the fact, which it must bring, that the greatest master cannot produce a masterpiece in a new kind. The novel was too recently invented in Goethe's day not to be, even in his hands, full of the faults of apprentice work.
Goethe's fine and luminous feeling for practical life, which has given such depth of richness and wisdom to his best prose writing, fills us with a delightful sense of satisfaction and adequateness; and yet why should it not leave us with a mind eagerly open for the larger and more inventive romance, in which nature is clothed with some of that awe and might and silent contemplation of the puny destinies of man, that used to surround the conception of the supernatural?
Goethe's nature, however, was not at all a predominantly passionate one; so much the contrary, indeed, that one hardly escapes the impression all through his own record of his life that he felt through his overmastering intellect rather than his heart; and that he analyzed too well the processes of his own feelings ever to have been carried by them beyond the permission of his will, or out of sight of that æsthetic self-culture, that development, which really seems to have been his prevailing passion.
It was this, no doubt, that compelled Goethe's often expressed admiration, and even tempted him to write a sequel to Schikaneder's libretto. 'Die Zauberflöte' is in form a Singsgiel that is to say, the music is interspersed with spoken dialogue but there the resemblance to Hiller's creations ceases.
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