128. allein, i.e., in the wilderness. 133. This line explains the question: Ist denn die Welt nicht übrig? line 31. 2. Ausföhnung Written Aug. 16-18, 1823, before the parting from Ulrike at Marienbad, and dedicated to Frau Marie Szymanowska, the famous pianist. "Auf sie," says Kanzler Müller (Unterhaltungen mit Goethe, 71), "hat er die schönen gemütvollen Stanzen gedichtet, die er uns kürzlich vorgelesen und die seinen Dank dafür aussprechen, dass ihr seelen volles Spiel seinem Gemüte zuerst wieder Beruhigung schaffte, als die Trennung von Levetzows ihm eine so tiefe Wunde schlug." How deeply Goethe during this time was moved by music can be seen from his letter to Zelter (3, 331): "Die Stimme der Milder (a famous opera singer), das Klangreiche der Szymanowska, ja sogar die öffentlichen Exhibitionen des hiesigen Jägerchors falten mich auseinander, wie man eine geballte Faust freundlich flach lässt." The fist is used here probably as a picture of his wrath against fate which denied him the possession of Ulrike. 3. Aeolsharfen Written 1822, after his departure from Marienbad, where Ulrike remained behind. The poem is based upon Goethe's belief "an eine geistige Wirkung in die Ferne, vom gesammeltsten innersten Sinn ausgeführt" (Hildebrand, Grimm's Wb. IV, 2656). The Æolian harp (invented by Athanasius Kircher, 1602-80), which we frequently meet in the poetry of the 18th century, was also called 'Geisterharfe' on account of its mysterious tones, which sound as if spirits were whispering through it. As a whispering of love through the distance between the spirit of the poet and the spirit of the beloved one "ein Liebesflüstern in die Ferne wie auf Aeolsharfen" we must regard our poem, hence also the sub-title Ein Gespräch. Compare the letter to Frau von Stein, Jan. 28, 1781: "Der Wind geht von mir zu Ihnen und also bringt er Ihnen meine Gedanken, doch können auch die gegen den Wind gehen und also hoff ich Besuch von den Ihrigen." 6. verhaltnes Lebewohl, because he could not bear to take leave. 13-14. Her tears bring him back to her. Compare line.30: Du weinst, schon bin ich wieder da. 15-16. Compare Wanderers Nachtlied, p. 55 and note. 20. befeuern, by the stars. 22. He uses here and in the following 'Du,' as if it were a real dialogue. 30. Compare note to Wonne der Wehmut, p. 56. Similar dialogues we find among the Minnesingers where they are called 'Wechsel.' "Sie sind nicht immer Gespräche, sondern stellen zuweilen nur einander entsprechende oder widersprechende Gedanken zweier Liebenden dar." (Haupt, Minnesangs Frühling, 226 f.). 4. Dem aufgehenden Vollmonde Written at the castle of Dornburg, where Goethe, July 7, 1828, had gone to overcome his grief over the death of Duke Karl August (June 14). This poem like the Vollmondnacht, p. 114, was caused by the promise to think of each other at the time of full moon which Goethe and Marianne von Willemer gave each other in 1815. This and the following two poems are given here to show Goethe's greatness and youthfulness as a lyric poet when almost an octogenarian. Concerning Goethe's stay at Dornburg, see the interesting account by K. A. C. Skell, Goethe in Dornburg, and by E. Schuchardt, Goethe-Jahrbuch VII, 276 ff. 6. Und wenn mich am Tag die Ferne. Although these lines are printed as a separate poem in most editions of Goethe's poems, they are really the second and third strophes of a poem, Schwebender Genius über der Erdkugel, written Dec. 23, 1826. Since, however, Goethe published the two strophes as a separate poem in 1831, they may also here stand as such. 3. Nachts, how during the last period of his life he lived with the stars can be seen from Sprüche, p. 137. 6. des Menschen Loos, which consists in such longing as he described it in the previous lines and which he calls 'das Rechte' in the following. 8. schön, means both beautiful and good. 7. Erwiderung der Feier "Mit diesem Gedichte," says Goethe in a note, "suchte ich den vielfachen Ausdruck von Liebe und freundschaftlicher Neigung zur Feier meines siebzigsten Geburtstags nach allen Seiten hin dankbar zu erwidern." Comparing himself to the knight who, according to an old painting, appeared before the emperor to place in the latter's service his twenty-four sons, the poet represents himself in a vision as leading to God his fellowmen, whose intellectual father he has become. 10. Söhne und Töchter = seine Gemeinde (see following poem), die Edlen (see Königlich Gebet), seine Freunde (Höheres und Höchstes). 11-18. Compare the description of a future humanity which the dying Faust gives, Faust II, 11564 ff. 21. Compare Mahomets Gesang, p. 29, 1. 35: Bruder, nimm die Brüder mit, 1. 65. Und so trägt er seine Brüder, 8. Gutes zu erweisen. Taken from Zahme Xenien I. 9. Un Schiller Originally sent to Schiller as a letter, June 13, 1797. Goethe was then working on his Faust, hence the comparison of himself with Satan. The little poem is one of the most beautiful documents of what Schiller was to Goethe. Compare Zur Morphologie (33, 242): “Zehn Jahre waren verflossen und mehr, als meine Verbindung mit Schiller mich aus diesem wissenschaftlichen Beinhaus (Osteology) in den freien Garten des Lebens rief." See also Goethe's letter to Zelter (6, 55): "Schillern war eben diese Christustendenz angeboren, er berührte nichts Gemeines ohne es zu veredeln." 10. Epilog zu Schillers Glocke This poem, the most beautiful tribute which ever was paid by a great poet to his fellow-bard, was written soon after Schiller's death and spoken as an epilogue to Schiller's Song of the Bell, at the dramatic performance which was held in his memory at Lauchstädt, Aug. 10, 1805. The memorial was repeated May 10, 1815, when Goethe added the last strophe of the poem. 4. Karl Friedrich, son of Karl August and Maria Paulowna, the daughter of Emperor Paul of Russia. The young couple arrived at Weimar, Nov. 9, 1814, and Nov. 12 Schiller's Festspiel Die Huldigung der Künste was performed in their honor. 15. "Ich verlor in ihm die Hälfte meines Daseins," Goethe writes to Zelter in June 1805. See also Ferneres über mein Verhältnis zu Schiller XXVII, 312. 17. unser, concerning the deep meaning of this unser, see Hildebrand, Beiträge. z. d. Unterricht, 231 ff. 20. zur Wechselrede, see the interesting account of Schiller's manner of conversation which W. von Humboldt gives in the introduction to his correspondence with Schiller. 21. sicherstellig, see Humboldt: "Die Freiheit (des Gesprächs) that aber dem Gange der Untersuchung keinen Abbruch. Schiller hielt immer den Faden fest, der ihn zum Endpunkt führen musste." 29. schritt sein Geist, compare Goethe to Eckermann, Jan. 18, 2825: "Alle acht Tage war er ein anderer und vollendeterer; jedesmal wenn ich ihn wiedersah, erschien er mir vorgeschritten in Belesenheit, Gelehrsamkeit und Urtheil." 30. Ewige, the absolute, which reveals itself in the true, the good, and the beautiful. The trinity of these conceptions is during the 18th century always taken as a unity. See Hildebrand, Tagebuchblätter eines Sonntagsphilosophen, 180 ff. 31. in wesenlosem Scheine, the true meaning of this is made clear by the following lines from Die Natürliche Tochter: Der Schein was ist er dem das Wesen fehlt? Das Wesen wär es, wenn es nicht erschiene! 'Wesenloser Schein,' therefore, is 'Schein ohne Wesen,' which is 'das Gemeine.' The meaning of the latter word is 'das Gewöhn liche, das Alltägliche.' See Hildebrand, Vom deutschen Sprachunterricht, 229 ff. 32. Gartenzinne, reference to Schiller's Gartenhaus in Jena. 38. Schiller worked mostly during night-time, owing to the poor state of his health. 49. röter and 51 später, these were not considered imperfect rimes at Goethe's time, because the general pronounciation of röter was reter. See Hildebrand, Beiträge z. d. Unterricht, 351 ff. 63-64. Compare what Goethe wrote to Zelter concerning Schiller's 'Christustendenz' in the note to the preceding poem. 91-102. See Gespräche mit Eckermann, Apr. 1, 1827: “Ein grosser dramatischer Dichter, wenn er zugleich produktiv ist und ihm eine mächtige edle Gesinnung beiwohnt, die seine Werke durchdringt, kann erreichen, dass die Seele seiner Stücke die Seele seines Volkes werde." Goethe here does not mention Schiller, but he evidently had him in mind when he said this. 11. Angedenken First printed in the periodical Chaos, 1829. The poem seems a continuation of the lines, p. 127, l. 7: Denkt er ewig sich ins Rechte. 1. das Gute, compare Zahme Xenien: Und so haltet, liebe Söhne, Einzig euch auf eurem Stand; Leben ists dem Lebensband. 7. das Eine, compare Sprüche in Prosa, 687, and Parabase (II, 227): Und es ist das ewig Eine, Das sich vielfach offenbart, etc. 12. Fliegentod Written 1820 at Töplitz. Concerning Goethe's views regarding death, see the notes to the poems Wahrer Genuss, p. 4, Talismane, p. 110, and Selige Sehnsucht, p. 111. 7. Das Leben so sich in Genuß verliert. Compare the following passages in the drama Prometheus, where death is also described as 'Genuss': |