# 20. On the “Fragment” On Nature

When Knebel read the fragment "On Nature" in the 32nd edition of the Tiefurt Journal at the beginning of 1783, he wrote in his diary: "Goethe's fragment on nature made a deep impression on me. It is masterly and great. It encourages me in love." Like the other contributions to the journal, the essay was published without the author's name. Knebel was only able to attribute the ideas set down in it to Goethe. Other readers of the journal would probably have thought the same. Goethe himself opposed this opinion. He wrote to Knebel: "The essay in the Tiefurt Journal, which you mention, is not mine, and I have so far made a secret of who it is by. I cannot deny that the author has dealt with me and has often spoken to me about these matters... He has given me much pleasure himself and has a certain lightness and softness which I could perhaps not have given him." And Frau von Stein wrote to Knebel on March 28, 1783: "Goethe is not the author, as you believe, of the thousandfold picture of views of nature; it is by Tobler; sometimes it is not charitable to me, but it is rich!" If these passages from the letter had not existed, it would seem almost impossible today to raise the questions: "Is Goethe the author of this essay?" or "To what extent do the thoughts expressed in it belong to him?". If we are to say in a few words what has so far forced the conviction of Goethe's authorship on every connoisseur of Goethe's scientific development, it is the fact that the latter must necessarily have passed through the stage recorded in the essay in his progress towards his later views of nature. When Ernst Haeckel wanted to place a particularly characteristic work by Goethe at the head of his "Natural History of Creation" to prove that he was one of the first prophets of a unified (monistic) view of nature, he chose the essay "Nature". However, this is nothing other than what Goethe himself considered to be the right thing to say at a very old age, when the essay, which had long since disappeared from his memory, was presented to him. In 1828, he received it from the estate of Duchess Anna Amalia. He had no hesitation in describing the ideas expressed in it as his own, even though he could not actually remember writing it. In an explanatory note to the fragment, which he wrote in 1823, we read: "I do not actually remember writing these reflections, but they certainly correspond to the ideas my mind was forming at the time." And further above: "It is written by a well-known hand, which I used to use in my business in the eighties." This hand is that of Seidel, who also wrote the other Goethe contributions to the Tiefurt Journal. These historical testimonies also include a leaf that is in the Goethe Archive among Goethe's scientific manuscripts and is probably a note by Chancellor von Müller. (Written in pencil at the top in the margin in Eckermann's hand: Probably refers to the essay: Die Natur, in G. Werke 1890, vol. 40, We lift out the following passages from it: May 25, 1828. " The above essay, no doubt by Goethe, probably intended for the Tiefurter Journal, marked by Einsiedeln as No. 3 and thus dating from about the first eighties, but written before the metamorphosis of plants, as Goethe himself told me, was communicated to me by him on May 24, 1828. As he will have it printed, I have found no hesitation in copying it for the time being." ... May 30, 1828: "After a conversation, Goethe did not fully admit to it with complete conviction; and it also seemed to me that it was indeed his thoughts, but not written down by himself, but per traducem. The manuscript is Seidel's, the subsequent rent officer, and since he was privy to Goethe's ideas and had a tendency towards such thoughts, it is probable that those thoughts were written down by him collectively as coming from Goethe's mouth." The view that Seidel had a real share in the authorship will probably not be upheld by anyone; the quite unique harmony between the thoughts of the essay and the form in which they are expressed speaks against this. These are not transformed thoughts, they are thoughts that must have been conceived entirely as they are. In almost no sentence can one imagine that the content could be formulated more precisely or more beautifully. If the essay was not dictated by Goethe, but written by someone else after an oral communication, then it could only have been written by someone who was at such an educational level that he was able to grasp Goethe from all sides and write down his thoughts almost verbatim from memory in their artistically perfect form. Now the G. Chr. Chr. Tobler, mentioned by Frau von Stein, does indeed seem to have been such a man; Frau Herder wrote of him to Müller: "He was greatly honored and loved in this circle (of Goethe and the princely persons) and elevated as the most philosophical, most learned, most beloved man; in short, they spoke of him as a man of a higher kind." And J. G. Müller wrote in his diary when he met Tobler with Passavant in Münden in April 1781: "Tobler is entirely of Greek blood, his only ambition is to become more and more human, full of health and virility like a young tree; whom he loves, he loves completely. He does not have enough of the simple light sentences of Christianity. He is soon a Christian, soon a Greek..." Tobler only spent the summer of 1781 in Weimar. He stayed with Knebel, and Goethe spent a lot of time with him. In a letter from Goethe to Lavater dated June 22, 1781, the former says that he "grew very fond" of Tobler, and the diary contains the remark under August 2: "With Tobler about history on the occasion of Borromeo." This is evidence that intimate conversations about general views may have taken place between Goethe and Tobler, and that the latter may have put down on paper a version of Goethe's work that coincides with the fragment "Nature".

Tobler, however, could have played no other role than that of a reporter who adhered as closely as possible to the wording of what he had heard, and there are important internal reasons for this, which emerge from a consideration of the relationship of the essay in question to Goethe's later works on natural science. He himself says in the explanatory remark already quoted above: "I would like to call the level of insight at that time a comparative, which is urged to express its direction against a superlative that has not yet been reached. One sees the tendency to a kind of pantheism, in that an inscrutable, unconditional, humoristic, self-contradictory being is conceived as the basis of world phenomena, and may well be regarded as a game that is bitterly serious.

The fulfillment that it lacks, however, is the view of the two great driving wheels of nature: the concept of *polarity* and of *increase*, the former belonging to matter insofar as we think of it materially, the latter to it insofar as we think of it spiritually."

Goethe's scientific development presents itself to closer scrutiny as a progressive shaping of the maxims expressed in the essay "Nature". These propositions set out the general requirements according to which thinking must proceed in the exploration of particular areas of nature. All natural events correspond to these principles. Goethe later tries to find out how this happens in detail in various areas. The essay in question is a kind of life program that underlies all of Goethe's thinking about nature.

Wherever we start looking at Goethe's research, this is confirmed. In geology, Goethe, independently of other researchers, establishes the principle that the same laws that currently determine the formations taking place on the earth's surface were also valid in past epochs and that they have never suffered a violent interruption through exceptional upheavals and so on. This principle points back to the passage in the fragment: "It (nature) is forever creating new forms; what is there has never been, what was there will not come again - everything is new and yet always the same." "Even the most unnatural is nature. If you can't see it everywhere, you can't see it properly anywhere."

Almost like the plant from the seed, the doctrine of metamorphosis has developed from the following sentences in the fragment: "There is an eternal life, becoming and movement in it, and yet it does not move on. It transforms itself eternally, and there is not a moment of stasis in it." "It seems to have designed everything for individuality and does not care about individuals." "It has few driving forces, but they are never worn out, always effective, always manifold." In the first sentence the beginning of the idea of the transformation of the individual organs of a living being and the progressive development of the same is already made quite clear. One need only compare the following passage from "Metamorphosis" (1790) for proof: "If we look at all forms, especially the organic ones, we find that nowhere is there anything existing, nowhere is there anything at rest or closed off, but rather that everything fluctuates in constant motion." The above sentence on "individuality" is the germ of the idea of the type, which we encounter in Goethe's osteological works. In the "Lectures on the Type" (1796), Goethe says: "We have thus gained the right to assert without fear that all perfect organic natures, among which we see fish, amphibians, birds, mammals and, at the top of the latter, man, are all formed according to one archetype, which only in its very constant parts moves more or less back and forth and is still being formed and reshaped daily through reproduction." But this means nothing other than: nature creates individuals, but all individuality is based on the type; this is what ultimately matters and not the individuals. Indeed, the way in which nature proceeds to create a particular form out of the general form of the type is also indicated in the fragment. This way consists in the fact that one organ or one group of organs is particularly strongly developed, and the other parts of the type have to take a back seat, because nature has only a certain budget for each living being, which it must not exceed. Depending on the development of one or the other part of the type, one or the other form of living being is created. In the essay on the dispute between Geoffroy de Saint Hilaire and Cuvier in the French Academy, Goethe summarizes this rule in the words: "...that domestic nature prescribes for itself a budget, a budget in whose individual chapters it reserves to itself the most complete arbitrariness, but in the main sum remains completely true to itself, in that, if too much has been spent on one side, it deducts it from the other and places itself in the same position in the most decisive way." The fragment contains exactly the same concept: "If it (nature) gives one (a need) more, it is a new source of pleasure; but it soon comes into balance." The following are also two parallel lines of thought. Fragment: "She (nature) is the only artist, from the simplest material to the greatest contrasts"; and in the osteological lectures: "If we consider the various parts of the most perfect animals, which we call mammals, according to that type which has only been established in the most general way, we find that the circle of formation of nature is indeed limited, but that because of the quantity of parts and because of the multiple modifiability, the changes of form become possible to infinity." Even the core point of the theory of metamorphosis, that the infinite diversity of organic beings is based on a single primordial organism, can be found in the idea alluded to in the "Fragment": "Each of its (nature's) works has its own essence, each of its phenomena the most isolated concept, and yet everything is *one*."

No less remarkable is the fact that the point of view from which Goethe later viewed the deformities of organisms is already taken up in our essay. According to this assumption, the deviation from the normal form of a natural being is not a deviation from the general laws of nature, but only a mode of operation of these laws under special conditions. "Nature forms normally when it gives the rule to innumerable details, determines and conditions them; but the phenomena are abnormal when the details prevail and stand out in an arbitrary, even seemingly random way. But because the two are closely related and both the regulated and the irregular are animated by one spirit, there arises a fluctuation between the normal and the abnormal, because formation and transformation always alternate, so that the abnormal seems to become normal and the normal abnormal." This is the thought from the fragment in a more mature form (the essay to which the sentence belongs was written with regard to Jäger's work "Über die Mißbildung der Gewächse", which appeared in 1814): "Auch das Unnatürlichste ist Natur."

If we disregard Goethe's principles relating specifically to the realm of inorganic nature, we find Goethe's entire thought structure already prefigured in the fragment "Nature". In the general, abstract way in which these ideas are presented here, they appear like the proclamation of a new world view. They can only be ascribed to a spirit that wanted to find its own, new ways of explaining phenomena. The fulfillment of this proclamation is Goethe's special works on scientific subjects. Only here do those general propositions acquire their full value, their real meaning. In fact, we only fully understand them when we see them realized in Goethe's theory of metamorphosis, in his osteological studies and in his geological observations. If we had these latter without the general theoretical principles, we would have to supplement them ourselves. We would have to ask ourselves: how did Goethe conceive of nature as a whole in order to be able to form his own ideas about the plant and animal world? The answer to this question, however, can be given with nothing better and more satisfying than with the contents of the fragment "Nature". Goethe says in the "History of the Theory of Colors": "How anyone thinks about a certain case can only be fully understood when one knows how he thinks at all." We will only fully know what Goethe thought about an individual case in nature when we have learned from the fragment under discussion what views he had about nature in general.

This relationship seems more important than the question of whether the person who wrote the essay provided a direct dictation or a more or less literal report from memory.