19. “Goethe and Love” and “Goethe's Dramas”

From A. Z.

What the pagan belief in the gods was for Homer, what the ideas of Christianity were for Klopstock: an element through which their poems rise above an ordinary image of everyday reality and appear imbued with an ideal world, is for Goethe his conception of love in the broadest sense.

The chapter “Goethe and Love”¹ has already been dealt with in many ways; the merit of having shown that for Goethe love is not one characteristic of his being among others, but the fundamental trait of his entire poetry and thought, that it is his religion, that all his creations only receive the right appreciation when they are viewed from this point of view, is due to the writings of Schröer mentioned at the beginning.

While the character of Goethe's view of love naturally manifests itself above all in his relationships with the world of women, it merges more and more into that Spinozistic love of the world in which the individual forgets himself and finds his bliss in merging into the universe.

There is nothing easier than to cast Goethe's relationships with women in a false light. After all, it must particularly worry the world of women when one hears that Goethe loved passionately ten times in his life. But if one considers the essence of all these love affairs, one is soon rebuked of any accusation. There can be no question of a frivolous view of love that degrades women in Goethe's work. He seeks in women those aspects of the human spirit that are lacking in men: natural grace, perpetual freshness and childlikeness. For him, this is the "divine in woman", the "eternal feminine", to which he looks up adoringly and is absorbed in this adoration of the beloved being, forgetting his own self. In his imagination, the beloved is transfigured into a dream being, which of course only lives within him and goes far beyond reality. The latter was not enough to satisfy his powerful spirit. He sought a deepening of all sensations, exciting experiences that engaged the whole person. He had to create for himself what reality lacked. A love affair first had to take the form of poetic fiction in order to heap happiness and pain on the bosom of all mankind. Poetry and truth merge into one for him at such moments, love casts a poetic spell over the factual, he lives himself into an ideal situation, into a poetic dream and - a poetic creation naturally arises in his mind.

In the aforementioned writings, Schröer introduces us to the spirit of a series of Goethe's poems on the basis of the views presented. The essay "Goethe and Love" (pages 1 to 26) first shows us how one of the poet's most significant relationships, that with Lili, gave him the impetus for "Stella". This relationship even led to an engagement. But it was precisely this seriousness of the situation that woke Goethe from his reverie, he became aware of reality - and recognized the necessity of separating from Lili. As he contemplated his new happiness in love, the thought of tearing himself away from Friederike in Sesenheim, whom he had loved as a student in Strasbourg, must have loomed particularly vividly before his mind. This was the problem that "Stella" was supposed to solve: two women are attracted to one man, each of them claiming to be his. A side piece to Werther, where two men confront one woman.

In the second part of the essay: “Goethe and Marianne Willemer” (pages 27 to 63), we see how a relationship of the most tender nature inspired the poet, even in his old age, to write one of the greatest and most beautiful works of our literature, his "West-Eastern Divan".

The first volume of "Goethe's Dramas" contains Goethe's short youthful poems. A radically new arrangement of the dramas catches the eye here, in which everything that has emerged from the same need of the poet appears together, so that we receive an overall picture of Goethe's work and life, in which every smallest creation appears in its proper place, founded in Goethe's whole nature. The first volume comprises Confessions, Puppet Plays, Carnival Plays and Satires. Confessions are poetic confessions by Goethe, which were intended to free his troubled inner self when it emerged from an exciting, shattering experience depressed and often guilty. The lover's mood is a confession in which he repents for the folly he committed against Käthchen Schönkopf as a student in Leipzig; he had first loved her passionately, but then tortured her without need, even turning this torment of his beloved into an entertainment. We have seen in what sense "Stella" is a confession. But "Siblings" also belongs in this series. This small, soulful piece is a transfiguration of his noble relationship with the appeaser of his heart, Frau v. Stein, whose calm, resigned nature calmed his "Sturm und Drang", his passion, which he brought with him to Weimar.

The rest of this volume ("Das neu eröffnete Puppenspiel", "Satyros", "Hans-Wursts Hochzeit", "Prolog zu Bahrdt", "Götter, Helden und Wieland", "Triumph der Empfindsamkeit", "Die Vögel") shows us Goethe's selfless nature, which always seeks the genuine, the original in nature, in reality, in the struggle against the falsification of naturalness through fashion, pedantry, narrow-minded views, etc. The infatuation with nature, which degenerates into charlatanism, the intrusive parasitism, which pushes its way into outstanding personalities, interferes in all matters of the heart in order to serve its base purposes, are castigated in "Satyros" and "Pater Brey". Sensitivity, which was a disease of the time (Siegwart's fever), is dealt with in the "Triumph of Sensitivity". Klopstock's moralizing pathos is ridiculed in the moralistic Schuhu in "The Birds". Wieland's text is read in "Gods, Heroes and Wieland" because he presents the German public with a caricature of the old gods and heroes in his "Alceste" and in the "Teutscher Merkur". An overall picture of the literary conditions in Germany at the time is provided by "Das Jahrmarktsfest von Plundersweilen" and "Das Neueste aus Plundersweilen".

The second recently published volume of this drama edition contains Goethe's opera texts, preceded by a treatise on Goethe's relationship to music. The great lyricist, the passionate Goethe, in whom it always sang and sounded, could not remain without points of contact with this art. It is touching to see how he, without any real talent for music, set this art tasks that none of the many musicians with whom he had a close relationship were able to solve. "His intense participation in the development of this art is so powerful in his life that the unmusical Goethe often seems like the only musician in the desert, even in this respect going beyond his surroundings." He knew how to provide music with texts in such a way that Beethoven could say "no one can compose as well as he".

Both the smaller creations contained in the first volume and these Singspiele ("Erwin und Elmire", "Claudine", "Lila", "Jery und Bätely", "Die Fischerin", "Scherz, List und Rache", "Die ungleichen Hausgenossen", the second part of the "Zauberflöte") have so far attracted little attention from the educated public. They have taken a back seat to the poet's greater creations. Until now, Goethe scholars have known how to turn them into nothing more than objects of contemplation for literary historians. In this edition, the editor's loving devotion to the great poet makes them accessible to scholars. Everything appears in context, linked by the view of Goethe's powerful nature.

A complete presentation of Goethe's life and writings, imbued with the spirit that characterizes this edition, would be a national asset that would have a powerful promotional effect on the German people.