9. Christoph Martin Wieland

Wieland's significance

There are historical figures to whom posterity cannot quite do justice. They seem destined by fate to prepare the way for others. These others become the leaders of humanity. Their names will be inscribed in golden letters in the books of history. What they have produced will be gratefully remembered and will live on from generation to generation. But these leaders of humanity have teachers. And the names of the teachers are often obscured by the students. And that is only natural. For the teachers of great pupils need not be great. But even if they themselves are great, they easily fall into the general fate. - In the great age of German poetry at the end of the eighteenth century, this was the fate of three personalities: Klopstock, Herder and Wieland. They were completely eclipsed by the great triumvirate of Lessing, Schiller and Goethe. And it is not only their age that owes an immeasurable debt to them, but also Schiller and Goethe themselves. Herder was Goethe's teacher in the best sense of the word. And Goethe himself beautifully expressed Klopstock's attitude to the German people and their education: "Our literature would not have become what it is now without these mighty predecessors. With their appearance, they were ahead of their time and, as it were, dragged it after them" (Conversations with Eckermann: November 9, 1824). And Goethe also found the right words about Wieland's importance. "The whole of Upper Germany owes its style to Wieland. It has learned a great deal from him, and his ability to express himself properly is not the least of it" (Conversations with Eckermann: January 8, 1825). This is supplemented by Goethe's words in "Dichtung und Wahrheit". There he also speaks of the influence that he himself had experienced through Wieland. "How many of his brilliant productions fall into the period of my academic years. Musarion had the greatest effect on me, and I can still remember the place and the spot where I saw the first sheet that Oeser gave me. It was here that I thought I saw antiquity alive and new again. Everything that is plastic in Wieland's genius showed itself here in the most perfect way." - Such words clearly describe Wieland's position in German intellectual life. And no one can have a judgment of what was going on in this intellectual life during the second half of the eighteenth century who does not at least acquaint himself with Wieland's most important creations. If one takes a closer look at them, one finds how wonderfully they complement those of Klopstock, Lessing and Herder. Klopstock's cozy religiosity, Lessing's critical severity and Herder's philosophical height are complemented by Wieland's grace and gracefulness. And thus the latter was even closer to the immediate needs of man than the others. In a certain sense, he brought the ideas that those on the heights of humanity represented down into bourgeois thinking and feeling. What they showed in their holiday dress, he put on his everyday coat. It would be unfair to forget the essence of his character above the lighter dress. An impartial examination of his life and his creations can teach us this.

Boyhood

Wieland grew out of a school of thought that was widespread in Protestant regions in the middle of the eighteenth century. This was expressed in a certain unpretentious piety, which was less concerned with grasping high religious truths than with cultivating the mind and heartfelt intimacy. A "good man" must find the way to honest, sincere piety in his heart, so said this direction. It did not seek lofty doctrines, but the pure soul. This movement is called pietism. One must not close oneself off from either its light or its dark sides if one wants to understand the emergence of a spirit like Wieland's from it. In circles that cannot rise to particular spiritual heights, it promotes a true and healthy ideality and a direct judgment in questions that go beyond the everyday. But it also entails a certain narrow-mindedness. The pietist struggles to make an honest judgment; but he also easily regards this, his judgment, as the only authoritative one, and becomes - without actually wanting to - intolerant of others. - And this also characterizes the pietistic home from which Christoph Martin Wieland grew up - he was born on 5 September 1733 as the second son of the Protestant preacher from Oberholzheim in Upper Swabia, Thomas Adam Wieland. Both his father and his mother, Regina Katharina, were excellent people. When Christoph Martin was three years old, his father was transferred to nearby Biberach. The boy spent his early childhood there until he was fourteen. A sensible, precocious boy grows up in a small middle-class home, whose head is primarily concerned with the souls of his fellow human beings, under conditions that can perhaps be well described by saying that he learns to know the greatness of humanity from a small mirror, rather than in reality. The small mirror is the books. And the boy Wieland was a little bookworm. He absorbed the writings of Cornelius Nepos and Horace and was already busy turning out long Latin poems and German verses in his twelfth year. Among his works was a heroic poem about the destruction of Jerusalem.

At the age of fourteen, Wieland was able to swap the pietistic atmosphere of his father's house for that of the school in Kloster-Bergen (near Magdeburg). The pious Abbot Steinmetz ran this school. It was probably in the nature of things, given the boy's previous education, that he used the more ample opportunity here to get to know the world through reading. Horace, Xenophon, Cicero, Lucrez, the materialist writer of antiquity, Bayle, the influential doubter of the time, Wolff, the leading philosopher, and the mighty Enlightenment philosopher Voltaire occupied his lively mind. Under such influences, it was inevitable that some of the ideas he had received in his pious father's house or encountered at school would falter. Doubts about Christianity, as he had come to know it, sank into his soul. And it took all the fervent power of Klopstock's "Messiah" to give his mind the stability it needed at that time. The first three cantos of this poem had just been published at that time. Wieland read them, like so many others, with delight. The power of pious feeling that flowed from them was stronger than any ideas that could be aroused by doubters and enlighteners. - But the young man, who was not in a position to transform the material he had absorbed from the books into a secure judgment of his own through any kind of life experience, was assailed by much. He soon became acquainted with Haller's poems, which were based on the view of nature at the time, and with Breitinger's critical studies, which set completely new standards in the evaluation of artistic works. In addition, in 1749 he was allowed to stay temporarily with his relative in Erfurt, Wilhelm Baumer, who was a doctor and professor of philosophy. He introduced him to the most important philosophical doctrines and to Cervantes' "Don Quixote". In this way, the young Wieland was simultaneously introduced to the thought systems through which mankind sought to solve its great mysteries and to the humorous treatment of a rapturous idealism in "Don Quixote".

Student days

These circumstances determined the state of mind in which Wieland returned to his father's house in 1750 and in which he soon afterwards went to the University of Tübingen. It would be to completely misjudge Wieland's inner life if one were to attach too much importance to a love affair that entered his life at that time. It was with Sophie von Gutermann from Augsburg, who was visiting relatives in Biberach around this time. Although the relationship was an intimate one, it played no more of a significant role in Wieland's development than some later ones. Incidentally, it dissolved of its own accord when Sophie married la Roche, the electoral court councillor, in 1753. Even if this "infidelity" put him in a gloomy mood for a while, it did not have a profound effect on his development. In particular, it should not be attributed to this mood that he took a pious, moralizing direction in the following years. Rather, this had a completely different origin. When he was in Tübingen, he had little interest in the chosen science of law. Instead, he recently immersed himself in Klopstock's "Messiah" and added to this the study of Platonic idealism. He also became acquainted with Leibnizen's philosophical writings. From all this, he drew for himself an idealistic view of the world, which he expressed in the poem "The Nature of Things". His wonderful talent for form, which he had developed from Klopstock, was immediately revealed. The philosopher Meier from Halle, to whom Wieland sent the poem without naming himself, liked it so much that he immediately ordered it to be printed. Wasn't such recognition supposed to bring the young man, who had little stability, completely into the direction that had followed Klopstock at the time? And so it came about that the subsequent poems "Lobgesang auf die Liebe" and "Hermann" ran entirely along Klopstockian lines. - And that was what forged a direct personal relationship between Wieland and the critic of Klopstock's school, Bodmer.

Entrance into literary life. Wieland and Bodmer

This introduced Wieland to a school of thought that was particularly decisive for German educational life at the time. Among other names, it was also linked to Bodmer's. And it signified a kind of intellectual turnaround in Germany. Until the middle of the century, Gottsched, who worked in Leipzig, had been the guiding spirit in literature. His work was comprehensive. Whatever he said about any contemporary phenomenon was considered authoritative. His position was shaken by two events. One was that he refused to recognize Klopstock. The second was Lessing's rejection of his admiration of France. With regard to Wieland, the first event comes into consideration first. Bodmer had gained the upper hand over Gottsched as a critic. He stood up for Klopstock; and those who went along with Klopstock as a poet naturally gravitated towards the new critical direction, which in Bodmer and his followers enthusiastically advocated the Messiah poet. - It was therefore a great encouragement to Wieland when Bodmer judged the former's "Hermann" in the most favorable way. He virtually portrayed the young man as Klopstock's rival and thus provoked feelings of gratitude in the strongest possible way. As a result, Wieland not only continued to write in the Klopstockian manner, but also, after his return to Biberach in 1752, wrote a treatise on Bodmer's epic poem "Noah", in which he placed the revered man on an equal footing with Milton and Klopstock. How much Bodmer's poetry is really worth, and how much Wieland's judgment was biased, cannot be of interest in a consideration of the latter's development. What matters is that through this process the young Wieland moved to Zurich in 1752 at Bodmer's invitation, and that this stay became immeasurably important to him. He lived in Bodmer's house as a guest for a whole year. That was his first direct contact with life. Whatever one may think of Bodmer, he was in a certain sense a powerful personality, a whole man. For someone who had previously only got to know great people from books, getting to know such a personality meant a lot. It is a different thing to read about important things or to see them spring to life directly from a soul. - This vividness and immediacy matter much more than whether one or the other finds that the personality in question was not really a great one. - But Bodmer was a characteristic figure. He had gradually come to see the moral world view as the deeper foundation of art. The forms of poetry should lead man to his highest ideas. Beauty should be an expression of the highest truth. These views settled in Wieland's soul. And he increasingly came to advocate them quite vigorously himself. It may now please some to think little of this transitional stage in Wieland's development. It has also been suggested that the marriage of his beloved Sophie, which had just taken place, had made him world-weary and driven him into this moralizing manner. But one might mock the fact that he said at the time, in reference to the poet Uz, that "one should prefer even the worst church hymns to the most charming song of Uz an infinite number of times"; precisely in the direction that Wieland's creations later took, this point of passage in his development was infinitely important. He subsequently freed himself completely from any moralizing direction and became a master of a style devoted purely to beautiful forms. Grace and grace in the depiction of the sensual became one of his elements. The fact that he always retained his majesty and firmness is due to the fact that he had really learned to know moralizing judgement from his own life. As a result, he came to know it in a justified way as one-sidedness. You have to have gone through certain things yourself if you want to gain a correct relationship to them.

In 1754, Wieland accepted a position as court master. He gradually freed himself from Bodmer. He was particularly influenced by his reading of the Englishman Shaftesbury, who saw the morally good as a sister concept to the beautiful. Beauty is what pleases man; and the good is the beautiful in action. The fact that Wieland was able to gain an impression of such a world view shows the direction in which Bodmer's view had taken. This living-in had proved particularly fruitful for the development of very noteworthy pedagogical ideas in Wieland. His "Plan von einer neuen Art von Privatunterweisung", published in 1753, had brought him the above-mentioned position of tutor. In 1758, he added a "Plan for an academy to educate the minds and hearts of young people".

Wieland's thinking and outlook on life became increasingly free. His epic poem "Cyrus" appeared (as a fragment) in 1759. The ideas of the Enlightenment that were increasingly emerging at the time had taken hold of him in a particular form. He idealized the Persian king as a hero of freedom. For him, it was less a depiction of the historical Cyrus than the idea that an enlightened person has of a ruler who rules in the spirit of an age thirsting for freedom. Wieland also tried his hand at drama. His tragedy "Lady Johanna Gray" was performed to great acclaim in Winterthur in 1758 and even found favor in the eyes of the critical Lessing. - By this time, Wieland had already become known in wider circles as a writer. His outer life changed in 1759 when he exchanged his position as a tutor in Zurich for one in Bern. However, he gave this up after a short time and supported himself for a while by teaching various subjects on a freelance basis.

Wieland in Switzerland

In Bern, he met an intellectual lady, Mademoiselle Bondeli. She had also become famous as Rousseau's friend. The fact that Wieland became engaged to her is of less importance, as life broke off the engagement. However, it was important to him that in Bern he had the opportunity to engage in animated conversation with a witty personality who was at home in almost all areas of human knowledge and who was able to judge the world from a high point of view. Her image accompanied Wieland throughout his life; many of her features can be found in the female figures in his poems, and as an old man he made the beautiful judgment about her "that she was the most beautiful, brightest, most educated and in every respect most perfect female spirit, which was connected with a heart so regular, at the same time so tender and strong, so loving and so completely free of all weakness".

The time had come when Wieland had to think about finding a more stable position in life. His relatives and friends at home helped him in this. They made it possible for him to be appointed senator in Biberach on April 30, 1760. Such a senator was entitled to certain positions in the municipal office, which constituted a bread provision. Wieland received one in July of the same year as director of the chancellery. However, the appointment remained provisional for four years. Biberach was divided in religious terms. A Catholic and a Protestant party fought over the appointment of the posts, and Wieland only later became the definitive town clerk. In 1765, he married Dorothea von Hillenbrand from Augsburg, who had been brought to him through the efforts of her relatives. It was a marriage without enthusiasm, but the basis for a lasting happiness in life, a quiet, contented companionship, which lasted until his wife's death in 1801. The keynote of this companionship can be found in the words that Wieland wrote about his wife: "My wife is one of God's most excellent creatures in the world, a model of every feminine and domestic virtue, free from every fault of her sex, with a head without prejudice and a moral character that would do honor to a saint. The twenty-two years that I have now lived with her have passed without my once wishing that I were not married; on the contrary, she and her existence are so interwoven with mine that I cannot be away from her eight days without experiencing something akin to Swiss homesickness. Of the thirteen children she has borne me, ten are living, kind, good-natured creatures, healthy in soul and body, who, together with their mother, constitute the happiness of my life."

Shakespeare translation

During his time in Biberach, Wieland undertook one of the most important and influential deeds of his life. He began translating Shakespeare's plays in 1762. By 1766, he had succeeded in making twenty-two of these plays accessible to the German public. If one considers that until then Shakespeare had been virtually unknown in Germany and that since that time he had gained an influence on German intellectual life that can only be compared to that of Schiller or Goethe himself, one will see the fundamental importance of Wieland's work in the right light. Lessing therefore immediately paid tribute to it in the right way. And both Goethe and Schiller owe Wieland a debt of gratitude in this respect, for it was through him that Shakespeare was first and foremost communicated to them.

New artistic style

The petty circumstances in Biberahh were made somewhat more bearable for Wieland by the fact that the former Electorate of Mainz minister Count Stadion had settled in the neighboring castle of Warthausen in 1761, where the government councillor la Roche also lived with his wife Sophie. She was Wieland's former girlfriend. Wieland entered this house as a good friend and always welcome guest. French taste, a certain free, even light view of life and experience of the world was at home here. For the poet, who was also warmly befriended by Sophie la Roche, there was the most wonderful stimulation. What was said was very much in the spirit of the Enlightenment, in many respects had the character of doubtfulness and was based on Voltaire, Rousseau, the French encyclopaedists d'Alembert, Diderot and others. - As a result of all this, Wieland himself lost the heaviness that his lifestyle had still had due to his earlier circumstances. A purely artistic view of the world became more and more prevalent. Sobriety, immersed in grace and graceful beauty, became more important to him than a view of the supernatural heights of the ideal. Such an attitude places life higher than all reflection and contemplation about life. Even if man's reason is not sufficient to exhaust the actual depths of existence, this reason is there, and one abides by it. Even if sensuality is deceptive, this sensuality is given to man and he should rejoice in it. The confession that appears as the background behind Wieland's creations during his time in Biberach can be summarized in words such as these. In 1764 he published the novel "The Victory of Nature over Enthusiasm, or the Adventures of Don Sylvio of Rosalva". In 1765 his "Comic Tales", and in 1766 and 1767, in two volumes, the "History of Agathon". With "Don Sylvio" and the "Comic Tales" he now incurred the disgust of the Klopstockians, just as he had previously been accepted into their circle with joy. - And it was inevitable that the new style of his work would soon find uncalled-for imitators who were not interested in depicting the sensual in an artistic form, but simply in depicting the abject itself. Wieland had to expressly emphasize that he had nothing to do with such unartistic beginnings. - It cannot be said that in the two works mentioned the poet had already achieved what he obviously had in mind. For "Don Sylvio" he had the style of "Don Quixote" in mind. In this style, he wanted to protest against superstition and false idealism in favor of a healthy natural sense. In the "Comic Tales", material from Greek mythology is used to create graceful but nonetheless rather questionable descriptions.

Wieland's idiosyncrasy

Only a complete impartiality, which does not want to judge but to see into a person's soul with understanding, can do justice to Wieland in this point of his artistic development. The way in which he had to acquire a view of life was not suitable for creating a fixed center in his own personality. He had absorbed the thoughts of many people in the mirror of books. Such a way produces peculiar effects, especially in the case of great talent tending towards artistic perception. Man lets the various opinions of his fellow men pass by his mind more like pictures. Such strong inclinations, such firm judgments are not formed as is the case when life itself is the teacher. One is more partial to the one, less to the other; but one gives up one's whole personality to neither. This remains unstable. People who do not get to know much in this way arrive relatively quickly at a fixed view of life. Life forces such a view on them. After all, life usually only takes hold of people from one side. It makes them one-sided, but firm. People who develop like Wieland are different. They get to know life through its reflections in many people's minds. And every world view has a certain justification. Few people can think of anything that doesn't have some justification within certain limits. Anyone who has to deal with opinions about things rather than with the things themselves will easily have to let firmness take a back seat at the expense of versatility. It would only be worse if he lost all inner stability. But this was not even remotely the case with Wieland. The core of his being was rooted in the noble traits of the German bourgeoisie. - Indeed, in a certain respect, his entire significance was based on this. Through the easy flexibility of his style, he was able to conquer the refinement of French taste and the artistic transfiguration of sensuality in the sense of the Greek view of the world for German intellectual life, and yet remained related to this intellectual life in its popular character through his own essence. He never lost the German spirit over French grace and Greek grace.

But as a "man of books" he was unsparingly exposed to the impact of living people in the two cases in which he was confronted with a firm world view. So it was in Zurich with Bodmer, so it was in Warthausen with Stadion and the la Roches. There the moralism, here the worldly manner flowed into his own blood.

Wieland now felt the need to enlighten himself about his change. The poet does this through poetry. This became the novel, the "History of Agathon". However, he presents his own development in the guise of a process from the ancient Greek world of the fourth century BC. The idealist Agathon, who initially lives entirely in Platonic higher worlds, is contrasted with the worldly child Hippias. Hippias stands on the ground of a world view that is based purely on the satisfaction of human selfishness and material well-being. Although Agathon feels repelled by such a view, his contact with it does not remain without consequences for his development. He undergoes the transformation from an idealist who is turned away from the world to a man who surrenders to immediate reality. - In his search for reality, Wieland focused on Greekness. His transformation was not aimed at a common reality, but at an artistically ennobled one, one filled with spirit. Thus it is not arbitrary that he clothed his own path of development in Greek garb. Certainly others have seen Greekness differently. The way in which Wieland saw it corresponded to a necessity in his time. And Goethe, by his own admission, learned a great deal from Wieland in this respect. He also did in other respects. The "Agathon" created a new style of novel. And the seeds that were sown in it were later developed in Goethe's style in "Wilhelm Meister". Goethe also points to such things when he speaks of Wieland having given the German educated a style. In this way Wieland became a pathfinder. He himself bore the fruit of his striving in the beautiful sense when, in 1764, he conceived the plan for the work that was then printed in 1768: "Musarion, oder die Philosophie der Grazien", a poem in three books. Goethe's assessment of this work has already been mentioned above. It rightly bears the significant subtitle "Philosophy of the Graces".

"Musarion"

Wieland was increasingly confronted with an important question in life: does idealism have any value if it does not come from the innermost nature of man? And this main point was naturally linked to a series of secondary questions: does idealism not often only appear as an inwardly untrue enthusiasm? Should one not prefer the more or less sensual but true enjoyment of life, which moves in lower regions, to untrue idealism? These are the questions at the heart of the "Musarion". This is why Wieland contrasts the Stoic Cleanth and the Pythagorean Theophron with the Musarion, who is devoted to the graceful enjoyment of life. The former is untrue and phrase-like; the latter is true, even if it does not rise to supernatural heights. The grace of a free treatment of verse is poured over the whole. Wieland philosophizes in a playful manner, but the play is art, and philosophy is like a witty conversation. But the conversation is one conducted by a personality who is at the full height of the situation. - One must not for a moment disregard the fact that neither true idealism nor crude sensuality is opposed in the "Musarion". Those who can observe both without bias will not feel their feelings hurt in any direction.

The sensual in Wieland

A similar question and a similar attitude are expressed in the unfinished poem "Idris and Zenide", written between 1766 and 1767. Here too, in an artistically graceful manner, spiritually refined love is juxtaposed with the supernatural flight of fancy on the one hand and raw sensuality on the other. The fact that the poet at times through his choice of subject matter

as in "Nadine" has not been able to avoid the impression of lasciviousness, must certainly be admitted. However, it must not be assumed that the poet resorted to Greek paganism clothed in sensual forms in order to offer his readers a frivolous thrill of entertainment. Rather, he was concerned with a serious question of life, namely: what role does and may the sensual play in human existence? The poet's judgment should not depend on how this or that person views such a question. - Some of Wieland's later works also belong to the same period and soul direction: "Grazien" (published in 1770), the "Neue Amadis" (1771) and "Aspasia" (1773); according to the plan and also in the essential parts, they were written some time before their publication.

The departure of Count Stadion von Warthausen brought about a change in Wieland's life. What had made his work in Biberach bearable for the poet no longer applied. The count also died soon afterwards in 1768.

University teacher. Activity in Erfurt

Just as the thirty-six-year-old Wieland was beginning to find his work and surroundings rather dull, his life took a turn for the worse. At the court of the Elector of Mainz, attention had long been drawn to the writer, who dealt with the things that interested the worldly circles at the time with such great talent. Elector Emmerich Joseph ruled in Mainz. He saw in Wieland the right man to bring his declining University of Erfurt back to prominence and appointed him professor there. Wieland's acceptance of this appointment could not have been in doubt. He had long had pedagogical inclinations. This had become apparent in the two writings mentioned on the occasion of his stay in Switzerland. And so it was that our poet arrived in Erfurt as professor of philosophy in July 1769. - His work was extraordinarily important for the university. Even if Wieland was not a pioneer in the field of philosophy, he had nevertheless acquired a comprehensive knowledge of the great world questions and intellectual heroes within the limits that had once been set for him. And it always has an invigorating effect when someone is able to speak of these things to his listeners in such a way that they feel something of how the riddles of the world can be not just school questions, but questions of life. Wieland's lectures gave the university a new, fresh impetus. He spoke about philosophical, literary and historical matters. - And it is essential that the whole thing had an effect on Wieland's own style. He had to think things through again in a systematic context that had previously passed through his mind more fragmentarily. In addition, the times made certain demands on every thinker in this direction. It was the high tide of the Enlightenment. The effects of Rousseau, of the French Enlightenment and scientific materialists, of German free-spirited philosophy, had set thought in motion. Wieland's appointment to a philosophical chair coincided with an epoch in which humanity was intensively reflecting on its tasks, its purpose, its freedom and self-determination. It was natural that Wieland had to deal with all this. Rousseau had seen in the state of nature the only possibility of happiness and in all civilization only a development towards unhappy conditions. Whoever did not want to give in to despair at the progress of mankind or to indifference towards it, had to ask himself about the ways in which a higher development is possible. There was a feeling everywhere that mankind had progressed from a kind of immature state to maturity. Ancient beliefs had begun to waver. In an essay on the Enlightenment, Kant answered the question: "What is Enlightenment?" with the words: "Man, make bold to make use of your reason". All of these questions played a part in Wieland's thinking when he was preparing what he had to say to his Erfurt listeners. And they initially took on a form that corresponded to his inclination towards pedagogical tasks. This resulted in the novel "Der goldene Spiegel, oder die Könige von Scheschian", which was published in four volumes in 1772. In the guise of an oriental tale, he presents his thoughts on the best form of government and the education of the people. He shows what can lead to the ruin of a state and what can be a blessing. In the character of Danischmend, he embodies a statesman who also educates his prince. - Wieland wanted to create a thoroughly contemporary book. And he succeeded. For he made a great impression on many. The ideas of the time also play a role in the "Contributions to the Secret History of the Human Mind and Heart. Drawn from the Archives of Nature". The underlying idea is that the happy state of nature painted by Rousseau is an illusion. Humanity should not dream of a bliss that it once possessed and lost, but should see its task in the further development into the future.

The full wealth of Wieland's humor came to light in the prose work "Socrates mainomenos, oder die Dialoge des Diogenes von Sinope", which was published in 1770. Here he attempts to portray the cynical philosopher Diogenes in a more unbiased light than is usually the case. In Erfurt, he also put the finishing touches to the poem "The Graces", which in a certain respect contains a confession of faith by Wieland. The Graces are portrayed as the creators of sensual and spiritualized beauty. A feeling rather than a thought hovers over the whole. All the difficult questions of life are supposed to find their transfiguration in a lifestyle ennobled and made easy by beauty. And the same feeling is poured out over the "New Amadis", which was also begun in Biberach and completed here. Here, the characters of the heroes are distorted into the foolish, those of the heroines into the tawdry, in order to show the value of spiritualized as opposed to merely sensual beauty in light artistic play.

Calling to Weimar

As beneficial as Wieland's work in Erfurt was for the university, he found little inspiration for himself there. There was little intellectual activity to be found among the other professors, and they had not exactly welcomed Wieland with joy, as he "did not belong to the subject". There were therefore rays of hope in his life again when he was able to visit the la Roche family in Ehrenbreitstein near Koblenz on a journey in 1771 and make the acquaintance of Georg and Fritz Jacobi, as well as Johann Heinrich Merck in Darmstadt. All of these personalities later became friends of Goethe. In particular, Merck, who was very discerning and well versed in science and life, was a good advisor not only for Wieland but also for Goethe. Of particular importance, however, was the fact that Wieland was introduced to Duchess Anna Amalie of Weimar in November 1771 during one of his excursions there. She was in charge of the government on behalf of her son Karl August, who had not yet reached adulthood. With her own open eye, she recognized Wieland's importance. It suited her fine-minded, refined nature to have such a man close to her. She therefore soon suggested that he take over the education of the hereditary prince. And with Wieland's consent, the first of the four great personalities who would make this city the center of German intellectual life for decades to come moved to the princely court in Weimar. Goethe came in 1775, followed soon after by Herder and finally Schiller. From 1772 to 1775, Wieland was Karl August's tutor. From then on, he lived with a pension as a friend of the court and the Weimar intellectual greats, appreciated and loved by all. His princess had found in him what she was looking for and needed, a loyal friend and advisor who also appealed to her sense of beauty and her need for spiritual entertainment through the lightness of his art. The young hereditary prince gained complete trust in his teacher and retained it in the friendliest and most liberal manner when he outgrew his education and came to the government.

The combination of Wieland's graceful art and the court's need for entertainment resulted in a series of occasional poems by the poet for festive occasions. This placed his graceful muse in a not unworthy service; and it even resulted in something that was significant in a certain direction: Wieland's Singspiel. In "Aurora" and "Alceste", Wieland provided fine texts, which the talented composer Schweitzer then set to music. What was striven for there is significant because the ideal was to strive for a harmonious unison of poetry and music, an endeavor that led to such great success in the field of musical drama much later.

Wieland used his muse to accomplish what he was virtually predestined to do by all his talents: he founded a journal for German education in the "Teutscher Mercur". If anyone, he was now called to create such a center of German intellectual endeavor. The way he worked corresponded precisely to what the widest circles needed. He was not a cosmopolitan, but a man who lived at the height of education, who, through his own character, was rooted in the emerging German education, and who, through his immersion in French taste and the beauty of the old world, was able to broaden people's horizons. He may well have annoyed Goethe with the first issues of the "Mercur", who had expected great things in his youthful urge and now thought he was only looking at a medium level of education; however, Wieland met the needs of his time and satisfied them.

"History of the Abderites"

However, Wieland was not a man who flattered people's weaknesses. He showed this most clearly when he began his novel "Geschichte der Abderiten" in the second volume of "Mercur", although its completion was delayed until 1780. - The plot is also set in a distant place and time. It describes the goings-on in the small Thracian town of Abdera. The well-traveled, well-versed Democritus is placed in the midst of a population who, in their foolishness, understand nothing of his greatness and yet, in their naïve arrogance, judge everything the wise man says and does. The "Abderites" alone are suitable to give Wieland a permanent place in German literary history. Human narrow-mindedness, silliness, arrogance, lack of judgment, nosiness, etc. are portrayed here with the most delicious satire. Abdera is mentioned, but "all the world" is meant. Wieland had experienced enough of this kind of Abderitism in Biberach and Erfurt. This novel not only brilliantly portrays those who understand nothing in the narrowest of parochial politics and participate in everything in order to accomplish the most stupid things, but also those who are least aware of it. After all, they are often the ones who are up to their eyeballs in philistinism and philistinism. They see the philistine in everyone else; their arrogance and self-delusion protect them from discovering it in their own nature. Wieland portrays this type with inexhaustible humor. And the portrayal is really such that it fits all times and countries. All criticism of the unevenness of this novel, all criticism of the poor composition at this or that point should fall silent in the face of the delicious humor that permeates the whole, and above all in the face of the universality with which all sides of more or less open or secret philistinism come into their satirical own.

A number of other achievements date from Wieland's first Weimar period. The poem "An Psyche", later called "Die erste Liebe", and the story "Der Mönch und die Nonne auf dem Mittelstein", which was later called "Sixt und Klärchen", should be mentioned here. "Die erste Liebe" was written in 1774 for the wedding of the Weimar court maid Julie von Keller to the Gotha chief magistrate von Bechtolsheim. The young lady, who wrote the poem herself, was generally regarded as an extraordinarily charming figure. Wieland, however, put into the poem the feelings he had retained for Sophie la Roche, whom he had loved in his youth. He himself considered the poem to be one of his best. (Cf. his letter to Sophie la Roche of August ro, 1806.)

In the narrative poem "Sixt und Klärchen", which appeared in the "Teutschen Mercur" in 1775, Wieland draws on a legend linked to the two rocky peaks on the Mittelstein (or Mädelstein) near Eisenach. In these rocky peaks, the imagination can see two people embracing. Legend has it that they are a monk and a nun who were petrified here as punishment for their embrace. This is the only time that Wieland treats a German subject. Otherwise it is old-world or new but foreign material that he deals with. - Duchess Amalie was so pleased with Wieland's creation that he treated it again for her in the cantata "Seraphina", for which the Weimar composer Ernst Wilhelm Wolf provided the music. - In 1776, the poetic story "Gandaliin, oder Liebe um Liebe" was published, whose subtly ironic tone was extremely popular with Wieland's circle of friends.

Goethe in Weimar

While Wieland was gaining love and esteem in wider circles, especially in his immediate Weimar circle, Goethe appeared in Weimar in 1775 (November 7) at the invitation of Karl August. The first meeting of the two men in the city, where they were to live together as friends for a long time to come, was preceded by something that put Wieland to a hard test and showed his character and essence in the most beautiful light. Shortly before this, Goethe had written the wicked farce "Gods, Heroes and Wieland", in which Wieland had been mocked in the worst possible way. Goethe had probably not originally thought of publishing the mocking poem, but then allowed it to be published. The mockery was provoked by Wieland's imprudence. In 1773, Wieland had written letters to a friend about the German Singspiel "Alceste", in which he placed his Alceste above Euripides in certain respects. In this farce, Goethe bitterly rejected what he considered to be naïve vanity. Wieland had already shown greatness of character in that he brought the farce into the "Mercur" quite objectively and by fully recognizing its good qualities. He was so little swayed by it against Goethe that he did not in the least alter the opinion he had previously formed of the latter's poetic genius. Nevertheless, the way Wieland behaved both inwardly and outwardly at his first meeting with Goethe in Weimar was a masterpiece of strength of soul. The whole of this behavior is illuminated with a bright ray when one considers the letter that the man who had been so badly affected shortly before wrote to Jacobi on io. November 1775 to Jacobi: "Goethe arrived in Weimar on Tuesday, the 7th of this month at 5 o'clock in the morning. O, best brother, what can I tell you? How completely the man was after my heart at first sight! How enamored I became of him as I sat at table that very day at the side of the splendid youth! All I can tell you now, after more than one crisis that has been going on in me these days, is this: since this morning my soul has been full of Goethe, like a drop of dew from the morning sun." Soon afterwards, Wieland wrote to Zimmermann about Goethe: "In all observations and from all sides, he is the greatest, best, most glorious human being that God has created." - A beautiful friendship based on full mutual recognition, respect and love developed between the two personalities, which lasted for a long time. Goethe not only appreciated Wieland as a person and as a poet; he also enjoyed spending time in his house and was always able to emphasize to friends what wonderful times he had had with Wieland and his friends. In his poem "To Psyche", written in 1776, Wieland sketches a brilliant picture of Goethe, completely imbued with true understanding and the most devoted admiration. Both Wieland and Goethe were visiting the estate of Frau von Keller near Erfurt at the beginning of 1776 with the aforementioned Frau Julie von Bechtolsheim. This visit, during which Goethe probably read scenes from his "Faust", inspired Wieland to write the above-mentioned poem.

Poetic tales

As Goethe was particularly impressed by Wieland's poetic stories, he felt encouraged to write more of this kind. Through the "Winter Fairy Tale", written in 1776, the style and mood of the oriental fairy tale of "One Thousand and One Nights" found its way into German poetry. In contrast, the "Summer Fairy Tale", written a little later (1777), was borrowed from the legend of King Arthur and his Round Table. Wieland found the material in the "Bibliotheque universelle des Romans". This fairy tale is written in the tone of light artistic play, through which Wieland introduced the German public to a circle of legends that had been almost forgotten since the Middle Ages. Goethe and Merck, as well as others, held it in high esteem. The short poem "Hann und Gulpenheh, oder: Zuviel gesagt, ist nichts gesagt" (Hann and Gulpenheh, or: Too much said is nothing said), written in 1778, is based almost exactly on an oriental tale. The story comes from a Turkish novella collection "The Forty Viziers"; and Wieland found it in the "Bibliotheque universelle des Romans". - The poem "Der Vogelsang, oder die drei Lehren" is also from the same period. The material is borrowed from a translation of "One Thousand and One Nights", which Galland had published under the title "Contes Arabes". Here, Wieland has the opportunity to portray a king as he should not be. The content of the story is not unrelated to an essay that Wieland had published shortly before in "Mercur" on "The Divine Right of Authority". In it, he argued against what he considered to be the one-sided view that no power from above should impose a right on a people, but that all rights must emanate from the people themselves. Wieland, on the other hand, argued that the circumstances of life could not be governed by such abstract demands, but that the course of history meant that government fell to one or the other. - "Pervonte, or the Wishes" is adapted from an Italian folk tale. The first two parts were written in the spring of 1778, but the third was not added until 1795. Wieland also found this material in the "Bibliotheque universelle des Romans". But it is precisely this poem by Wieland that shows what free, rich imagination and complete mastery of form can make of a given material. At Wieland's funeral (1813), Goethe said to Falk about this creation: "The sculpture, the willfulness of the poem are unique, exemplary, indeed completely priceless. In these and similar products, it is Wieland's true nature, I would even say at its very best, that gives us pleasure."

"Oberon"

Wieland reached the pinnacle of his creativity in his "Oberon". This romantic epic was written between November 1778 and February 1780 and was published in "Mercur" in the first months of 1780. Two intellectual currents flowed together in this poetic work. One arose from Wieland's interest in the character of Oberon, the fairy or elf king in Shakespeare's A Midsummer Night's Dream. The second came from the "Bibliorh&que universelle des Romans" so often used by our poet. It is the story of a knight from the time of Charlemagne, Huon of Bordeaux. According to an old book of chivalry, it was incorporated into the aforementioned French library through an excerpt prepared by Count Tressan. - Wieland has now interwoven the quarrel and reconciliation of the ghost king Oberon with his wife Titania with the love and knightly adventure of the old Frankish hero, who travels to the Orient to conquer his wife under the greatest dangers and battles, and who then has to undergo the strongest tests of courage, privation and loyalty with the latter before he achieves his happiness. These tests are imposed on him by Oberon himself. For the test of his and his wife's fidelity must also lead to a turn for the better in the fate of Oberon and Titania. - In the most beautiful way, our poet develops these threads, half earthly, half supernatural, in true Romantic style. The whole can be followed like a grandly unfolding dream plot. For just as the dream creates and resolves conflicts, so it happens here. But the progress is always based, if not on an external, then all the more on an inner spiritual necessity and lawfulness. And this regularity is completely dramatic throughout the long twelve cantos. The treatment of verse and language is masterly in every respect. Goethe fully recognized all this and therefore wrote to Lavater after the poem was published: "Oberon will be loved and admired as a masterpiece of poetic art as long as poetry remains poetry, gold gold and crystal crystal." - Many have objected to the composition of the poem, believing that the poet has not fully succeeded in uniting the two plots linked to the couple Huon and Rezia on the one hand and Oberon on the other. Anyone who penetrates into the basic romantic character of the whole cannot make such an assertion. In such a style, the free interplay of motifs, the weaving in a dreamlike twilight, is not only possible, but quite appealing. And with such a style it is inadmissible to demand a strictly realistic motivation, an intellectual, dry clarity. Wieland also felt completely in his element during this work. He wrote to Merck on August 19, 1779: "My fifth and sixth cantos seem to me, entre nous, so good that it only annoys me not to be able to keep such a work until after my death. Then, I am sure, it would make a sensation from its rising to its passing." In a letter to a friend in Zurich, he calls Oberon the best thing that his head and heart have produced together since the former matured and the latter became calmer. When the work was published, Goethe even delighted his friend with a laurel wreath, to which he added the following significant lines: "When reading your Oberon, I would often have wished to testify my applause and pleasure to you quite vividly; there are so many things I have to tell you that I will probably never tell you. But, you know, the soul falls from the manifold into the simple when it thinks long; therefore, instead of everything, I send you here a sign, which I beg you to take in its primitive sense, as it is very significant. Receive from the hands of friendship what fellow and posterity will gladly confirm to you." It is by no means too much to say that many of the best of his age were quite in line with Goethe in their judgment of "Oberon".

In a style similar to that of Oberon, Wieland then worked on a story whose basis was taken from an Italian novel of the sixteenth century: "Clelia and Sinibald, a legend from the twelfth century." However, he was unable to reach the heights of the former work. - The short story "The Water Skid" was also begun at that time, but was probably not completed until 1795.

Through the latter creations, Wieland became the father of the important intellectual movement known as "German Romanticism". Even if he is less often mentioned in this context, in essence he certainly belongs in this direction with some of his finest achievements.

Between all these works lies the three-act Singspiel "Rosamund", which was intended for performance on the Mannheim stage in 1777. In order to attend the latter, Wieland traveled to Mannheim in the winter of 1777 to 1778 and, to his deepest satisfaction, was able to meet the admirer of his muse, Goethe's mother, Frau Rat in Frankfurt am Main, who was a friend of his. - This was a very fruitful time for Wieland's work. The light dramatic works "La Philosophie endormie" and "Pandora" were also written during these years. The inspiration for the essay "Einige Lebensumstände Hans Sachsens", which was written in 1776, came from his correspondence with Goethe.

Wieland and older schools of thought

Lavater's "Physiognomics" prompted Wieland to write "Thoughts on the Ideals of the Ancients" in 1777. In such prose writings, the richness, diversity and style of his mind became apparent. What can be said of these "Ideals" in this direction also applies to the "Dialogues in Elysium" written in 1780, the "Conversations on Some Recent World Events" (1782), the "Conversations with the Gods" (1789 to 1793) and especially the "Introduction to the Seventh Letter of Horace" (1781 to 1782), the "Epistle to a Young Poet" (1782). In the latter, he turns against immature young poets who turn to famous personalities in the belief that they are special geniuses, often making them quite uncomfortable. As editor of the "Mercur", Wieland naturally had to endure such an onslaught in particular. - The essay "Was ist Hochteutsch" (What is High German) belongs to the year 1782. Wieland also worked as a translator during this time. He published "Horace's Letters" (1781 to 1782), his "Satires" (1784 to 1786) and "Lucian of Samosata's Complete Works" (until 1789). - In his light, witty manner, he treated the much-maligned cynic Peregrinus Proteus (in the "Secret History of the Philosopher pp.") from 1789 to 1791, for whom he acted as advocate, as he did a few years later for the often-attacked Apollonius of Tyana in the novel "Agathodaemon". In this last work, he had the opportunity to address the cultural conditions at the time of the emergence of Christianity and its first form itself. He knew how to treat this difficult subject with spirit and dignity, in his own way. He was no less successful in doing this for the conditions in Greece at the time of the fourth century BC in the novel "Aristipp and some of his contemporaries" (1800). The work is written in epistolary form and shows an in-depth knowledge of the period from which the material originates. And this knowledge has been artistically processed in the free, intelligent drawing of personalities and events. - The poet also chose the epistolary form for two other stories that deal with a somewhat later culture in a similar way: "Menander and Glycerion" (1802) and "Krates and Hipparchia" (1804). In the first work, Wieland wants to give an unvarnished picture of Greek love life; in the second, he wants to show that the idea of a spiritualized conception of love was not at all alien to this life. - A number of novellistic stories are combined under the overall title "Das Hexameron von Rosenhain".

Wieland's last works

In 1804, "Euthanasia. Conversations on life after death". Here, Wieland turned against the narrow-minded notion that virtue only acquires its value through its reward in a future life, rather than carrying it within itself.

Of occasional poems, the following are worthy of attention due to the beauty of their language and the warmth of their content: "To Olympia" and "On October 24, 1784". They are addressed to Duchess Amalia, his "Olympian patron queen", while "Merlin's prophesying voice" is addressed to the hereditary princess Maria Pavlovna. The latter poem marks the end of Wieland's poetic career.

Wieland's patriarchal nature was often emphasized in his circle of friends. And for the quiet nature of his Weimar life, which flowed with participation in all things human, this description is certainly apt. His personal existence is characterized by this calmness and a harmony of soul that is quite congenial within certain limits, and this is also reflected in all his later creations. Only in such a way was it possible to find the tones that we encounter in "Aristippus", only such inner unity can the spiritual irony with which Athenian life at the time of Pericles is richly depicted. The character portrayal of Socrates in this epistolary novel also stems from the same view of life and attitude. - For all the unpretentiousness of his nature, Wieland imprinted his own character on all his works. It has been shown that he borrowed his material either from other literary creations or from cultural and intellectual history. As such, he knew how to put his stamp on the foreign, the appropriated. Its significance lies in the way it is treated. And this form of Wieland's independence can even be seen in his translations of Lucian, Florazen and Cicero.

Nowhere are his translations literal, but they are always real conquests of the foreign for German intellectual life.

Wieland's last years

The effect that Wieland achieved is probably best expressed in the fact that the Göschen publishing house in Leipzig was able to begin a complete edition of his works in 1794, even in four different editions. This had grown to 36 volumes by 1802. - From 1797 onwards, the poet was able to live on the Osmannstedt estate, which he had purchased. Wieland's long-desired quiet solitude was marred by the fact that in September 1800 he had to watch Sophie Brentano, the granddaughter of his childhood friend la Roche, who had become very dear to him, pass away at the most beautiful age. She had visited Osmannstedt twice, in 1799 and 1800, the first time with her grandmother. The other loss that hit Wieland was the death of his wife in November 1801. - He was no longer able to stay on his estate alone; he sold it and spent the rest of his life back in Weimar. - He had to mourn loved ones even more often, such as Herder in 1803, to whom he was deeply attached as a friend, Sophie la Roche in February 1807 and the noble woman to whom he owed so much, Duchess Amalie, in April of the same year. In 1806, he also witnessed the storm of war that blew over Germany and, like Goethe, got to know Napoleon personally. The latter even decorated him with the Legion of Honor. In the period that followed, Wieland was even quieter than before, since the friends mentioned were still alive. He also knew how to enjoy and make use of this peace and quiet. And on January 20, 1813, the life of the octogenarian died quietly and calmly. He was buried on the 25th in the Osmannstedt garden, which used to be his property and where Sophie Brentano and his wife are buried. There is a small memorial on the grave with the inscription: "Love and friendship embraced the kindred souls in life / And their mortal lives are covered by this common stone." - Goethe gave a funeral oration honoring his friend in the most beautiful way in the "Amalia" lodge of the Freemasons, which Wieland had joined in 1809.

If Wieland's posthumous fame could not be fully realized by the great stars Lessing, Schiller and Goethe, the greatest of the three, Goethe himself, did much to ensure that the esteemed contributor to the development of German intellectual life was given his due.