Poems List

The Misanthrope

The Misanthrope

AT first awhile sits he,
With calm, unruffled brow;


His features then I see,
Distorted hideously,--
An owl's they might be now.
What is it, askest thou?


Is't love, or is't ennui?
'Tis both at once, I vow.
351

The Metamorphosis Of Plants

The Metamorphosis Of Plants

THOU art confused, my beloved, at, seeing the thousandfold union

Shown in this flowery troop, over the garden dispers'd;
any a name dost thou hear assign'd; one after another


Falls on thy list'ning ear, with a barbarian sound.
None resembleth another, yet all their forms have a likeness;


Therefore, a mystical law is by the chorus proclaim'd;
Yes, a sacred enigma! Oh, dearest friend, could I only


Happily teach thee the word, which may the mystery solve!
Closely observe how the plant, by little and little progressing,


Step by step guided on, changeth to blossom and fruit!
First from the seed it unravels itself, as soon as the silent


Fruit-bearing womb of the earth kindly allows Its escape,
And to the charms of the light, the holy, the ever-in-motion,


Trusteth the delicate leaves, feebly beginning to shoot.
Simply slumber'd the force in the seed; a germ of the future,


Peacefully lock'd in itself, 'neath the integument lay,
Leaf and root, and bud, still void of colour, and shapeless;


Thus doth the kernel, while dry, cover that motionless life.
Upward then strives it to swell, in gentle moisture confiding,


And, from the night where it dwelt, straightway ascendeth to light.
Yet still simple remaineth its figure, when first it appeareth;


And 'tis a token like this, points out the child 'mid the plants.
Soon a shoot, succeeding it, riseth on high, and reneweth,


Piling-up node upon node, ever the primitive form;
Yet not ever alike: for the following leaf, as thou seest,


Ever produceth itself, fashioned in manifold ways.
Longer, more indented, in points and in parts more divided,


Which. all-deform'd until now, slept in the organ below,
So at length it attaineth the noble and destined perfection,


Which, in full many a tribe, fills thee with wondering awe.
Many ribb'd and tooth'd, on a surface juicy and swelling,


Free and unending the shoot seemeth in fullness to be;
Yet here Nature restraineth, with powerful hands, the formation,


And to a perfecter end, guideth with softness its growth,
Less abundantly yielding the sap, contracting the vessels,



So that the figure ere long gentler effects doth disclose.
Soon and in silence is check'd the growth of the vigorous branches,


And the rib of the stalk fuller becometh in form.
Leafless, however, and quick the tenderer stem then up-springeth,


And a miraculous sight doth the observer enchant.
Ranged in a circle, in numbers that now are small, and now countless,


Gather the smaller-sized leaves, close by the side of their like.
Round the axis compress'd the sheltering calyx unfoldeth,


And, as the perfectest type, brilliant-hued coronals forms.
Thus doth Nature bloom, in glory still nobler and fuller,


Showing, in order arranged, member on member uprear'd.
Wonderment fresh dost thou feel, as soon as the stem rears the flower


Over the scaffolding frail of the alternating leaves.
But this glory is only the new creation's foreteller,


Yes, the leaf with its hues feeleth the hand all divine,
And on a sudden contracteth itself; the tenderest figures


Twofold as yet, hasten on, destined to blend into one.
Lovingly now the beauteous pairs are standing together,


Gather'd in countless array, there where the altar is raised.
Hymen hovereth o'er them, and scents delicious and mighty


Stream forth their fragrance so sweet, all things enliv'ning around.
Presently, parcell'd out, unnumber'd germs are seen swelling,


Sweetly conceald in the womb, where is made perfect the fruit.
Here doth Nature close the ring of her forces eternal;


Yet doth a new one, at once, cling to the one gone before,
So that the chain be prolonged for ever through all generations,


And that the whole may have life, e'en as enjoy'd by each part.
Now, my beloved one, turn thy gaze on the many-hued thousands


Which, confusing no more, gladden the mind as they wave.
Every plant unto thee proclaimeth the laws everlasting,


Every flowered speaks louder and louder to thee;
But if thou here canst decipher the mystic words of the goddess,


Everywhere will they be seen, e'en though the features are changed.
Creeping insects may linger, the eager butterfly hasten,-



Plastic and forming, may man change e'en the figure decreed!


Oh, then, bethink thee, as well, how out of the germ of acquaintance,
Kindly intercourse sprang, slowly unfolding its leaves;
Soon how friendship with might unveil'd itself in our bosoms,


And how Amor, at length, brought forth blossom and fruit


Think of the manifold ways wherein Nature hath lent to our feelings,
Silently giving them birth, either the first or the last!
Yes, and rejoice in the present day! For love that is holy


Seeketh the noblest of fruits,--that where the thoughts are the same,
Where the opinions agree,--that the pair may, in rapt contemplation,
Lovingly blend into one,--find the more excellent world.
417

The Maid Of The Mill's Treachery

The Maid Of The Mill's Treachery

WHENCE comes our friend so hastily,

When scarce the Eastern sky is grey?
Hath he just ceased, though cold it be,
In yonder holy spot to pray?


The brook appears to hem his path,


Would he barefooted o'er it go?
Why curse his orisons in wrath,
Across those heights beclad with snow?
Alas! his warm bed he bath left,
Where he had look'd for bliss, I ween;


And if his cloak too, had been reft,


How fearful his disgrace had been!
By yonder villain sorely press'd,
His wallet from him has been torn;


Our hapless friend has been undress'd,
Left well nigh naked as when born.
The reason why he came this road,
Is that he sought a pair of eyes,


Which, at the mill, as brightly glow'd


As those that are in Paradise.
He will not soon again be there;
From out the house he quickly hied,


And when he gain'd the open air,
Thus bitterly and loudly cried
'Within her gaze, so dazzling bright,
No word of treachery I could read;


She seem'd to see me with delight,


Yet plann'd e'en then this cruel deed!
Could I, when basking in her smile,
Dream of the treason in her breast?


She bade kind Cupid stay awhile,
And he was there, to make us blest.



'To taste of love's sweet ecstasy


Throughout the night, that endless seem'd,
And for her mother's help to cry
Only when morning sunlight beam'd!


A dozen of her kith and kin,


A very human flood, in-press'd
Her cousins came, her aunts peer'd in,
And uncles, brothers, and the rest.
'Then what a tumult, fierce and loud!
Each seem'd a beast of prey to be;


The maiden's honour all the crowd,


With fearful shout, demand of me.
Why should they, madmen-like, begin
To fall upon a guiltless youth?


For he who such a prize would win,
Far nimbler needs must be, in truth.
'The way to follow up with skill
His freaks, by love betimes is known:


He ne'er will leave, within a mill,


Sweet flowers for sixteen years alone.-
They stole my clothes away,-yes, all!
And tried my cloak besides to steal.

How strange that any house so small
So many rascals could conceal!
'Then I sprang up, and raved, and swore,
To force a passage through them there.


I saw the treacherous maid once more,


And she was still, alas, so fair
They all gave way before my wrath,
Wild outcries flew about pell-mell;


At length I managed to rush forth,
With voice of thunder, from that hell.


'As maidens of the town we fly,


We'll shun you maidens of the village;
Leave it to those of quality
Their humble worshippers to pillage.


Yet if ye are of practised skill,


And of all tender ties afraid,
Exchange your lovers, if ye will,
But never let them be betray'd.'
Thus sings he in the winter-night,
While not a blade of grass was green.


I laugh'd to see his piteous plight,


For it was well-deserved, I ween.
And may this be the fate of all,
Who treat by day their true loves ill,


And, with foolhardy daring, crawl
By night to Cupid's treacherous mill!
395

The Magic Net

The Magic Net

Do I see a contest yonder?
See I miracles or pastimes?
Beauteous urchins, five in number,
'Gainst five sisters fair contending,--
Measured is the time they're beating--
At a bright enchantress' bidding.
Glitt'ring spears by some are wielded,
Threads are others nimbly twining,


So that in their snares, the weapons
One would think, must needs be captured,
Soon, in truth, the spears are prison'd;
Yet they, in the gentle war-dance,
One by one escape their fetters
In the row of loops so tender,
That make haste to seize a free one
Soon as they release a captive.


So with contests, strivings, triumphs,
Flying now, and now returning,
Is an artful net soon woven,
In its whiteness like the snow-flakes,
That, from light amid the darkness,
Draw their streaky lines so varied,
As e'en colours scarce can draw them.


Who shall now receive that garment
Far beyond all others wish'd-for?
Whom our much-loved mistress favour
As her own acknowledged servant?
I am blest by kindly Fortune's
Tokens true, in silence pray'd for!
And I feel myself held captive,
To her service now devoted.


Yet, e'en while I, thus enraptured,
Thus adorn'd, am proudly wand'ring,
See! yon wantons are entwining,
Void of strife, with secret ardour,
Other nets, each fine and finer,
Threads of twilight interweaving,
Moonbeams sweet, night-violets' balsam.


Ere the net is noticed by us,
Is a happier one imprison'd,
Whom we, one and all, together
Greet with envy and with blessings.
365

The Loving One Once More

The Loving One Once More

WHY do I o'er my paper once more bend?
Ask not too closely, dearest one, I pray
For, to speak truth, I've nothing now to say;
Yet to thy hands at length 'twill come, dear friend.
Since I can come not with it, what I send
My undivided heart shall now convey,
With all its joys, hopes, pleasures, pains, to-day:
All this hath no beginning, hath no end.
Henceforward I may ne'er to thee confide
How, far as thought, wish, fancy, will, can reach,
My faithful heart with thine is surely blended.
Thus stood I once enraptured by thy side,
Gazed on thee, and said nought. What need of speech?
My very being in itself was ended.
387

The Hunter's Even-Song

The Hunter's Even-Song

THE plain with still and wand'ring feet,

And gun full-charged, I tread,
And hov'ring see thine image sweet,
Thine image dear, o'er head.
In gentle silence thou dost fare
Through field and valley dear;


But doth my fleeting image ne'er
To thy mind's eye appear?
His image, who, by grief oppress'd,
Roams through the world forlorn,


And wanders on from east to west,
Because from thee he's torn?
When I would think of none but thee,
Mine eyes the moon survey;


A calm repose then steals o'er me,
But how, 'twere hard to say.
294

The King Of Thule

The King Of Thule

IN Thule lived a monarch,

Still faithful to the grave,
To whom his dying mistress
A golden goblet gave.
Beyond all price he deem'd it,
He quaff'd it at each feast;


And, when he drain'd that goblet,
His tears to flow ne'er ceas'd.
And when he felt death near him,
His cities o'er he told,


And to his heir left all things,
But not that cup of gold.
A regal banquet held he
In his ancestral ball,


In yonder sea-wash'd castle,
'Mongst his great nobles all.
There stood the aged reveller,
And drank his last life's-glow,--


Then hurl'd the holy goblet
Into the flood below.
He saw it falling, filling,
And sinking 'neath the main,


His eyes then closed for ever,
He never drank again.
357

The Happy Couple

The Happy Couple

AFTER these vernal rains

That we so warmly sought,
Dear wife, see how our plains
With blessings sweet are fraught!


We cast our distant gaze


Far in the misty blue;
Here gentle love still strays,
Here dwells still rapture true.
Thou seest whither go
Yon pair of pigeons white,


Where swelling violets blow


Round sunny foliage bright.
'Twas there we gather'd first
A nosegay as we roved;


There into flame first burst
The passion that we proved.
Yet when, with plighted troth,
The priest beheld us fare

Home from the altar both,

With many a youthful pair,--
Then other moons had birth,
And many a beauteous sun,

Then we had gain'd the earth
Whereon life's race to run.
A hundred thousand fold
The mighty bond was seal'd;


In woods, on mountains cold,


In bushes, in the field,
Within the wall, in caves,
And on the craggy height,

And love, e'en o'er the waves,
Bore in his tube the light.


Contented we remain'd,


We deem'd ourselves a pair;
'Twas otherwise ordain'd,
For, lo! a third was there;


A fourth, fifth, sixth appear'd,


And sat around our board;
And now the plants we've rear'd
High o'er our heads have soar'd!
How fair and pleasant looks,
On yonder beauteous spot,


Embraced by poplar-brooks,


The newly-finish'd cot!
Who is it there that sits
In that glad home above?


Is't not our darling Fritz
With his own darling love?
Beside yon precipice,
Whence pent-up waters steal,


And leaving the abyss,


Fall foaming through the wheel,
Though people often tell
Of millers' wives so fair,


Yet none can e'er excel
Our dearest daughter there!
Yet where the thick-set green
Stands round yon church and sad,


Where the old fir-tree's seen


Alone tow'rd heaven to nod,-'
Tis there the ashes lie
Of our untimely dead;


From earth our gaze on high
By their blest memory's led.



See how yon hill is bright


With billowy-waving arms!
The force returns, whose might
Has vanquished war's alarms.


Who proudly hastens here


With wreath-encircled brow?
'Tis like our child so dear
Thus Charles comes homeward now.
That dearest honour'd guest
Is welcom'd by the bride;


She makes the true one blest,


At the glad festal tide.
And ev'ry one makes haste
To join the dance with glee;


While thou with wreaths hast graced
The youngest children three.
To sound of flute and horn
The time appears renew'd,


When we, in love's young morn,


In the glad dance upstood;
And perfect bliss I know
Ere the year's course is run,

For to the font we go
With grandson and with son!
416

The Godlike

The Godlike

NOBLE be man,
Helpful and good!
For that alone
Distinguisheth him
From all the beings
Unto us known.


Hail to the beings,
Unknown and glorious,
Whom we forebode!
From his example
Learn we to know them!


For unfeeling
Nature is ever:
On bad and on good
The sun alike shineth;
And on the wicked,
As on the best,
The moon and stars gleam.


Tempest and torrent,
Thunder and hail,
Roar on their path,
Seizing the while,
As they haste onward,
One after another.


Even so, fortune
Gropes 'mid the throng--
Innocent boyhood's
Curly head seizing,--
Seizing the hoary
Head of the sinner.


After laws mighty,
Brazen, eternal,
Must all we mortals
Finish the circuit
Of our existence.


Man, and man only
Can do the impossible;
He 'tis distinguisheth,
Chooseth and judgeth;
He to the moment
Endurance can lend.


He and he only
The good can reward,
The bad can he punish,
Can heal and can save;



All that wanders and strays
Can usefully blend.
And we pay homage
To the immortals
As though they were men,
And did in the great,
What the best, in the small,
Does or might do.


Be the man that is noble,
Both helpful and good.
Unweariedly forming
The right and the useful,
A type of those beings
Our mind hath foreshadow'd!
453

The Garlands

The Garlands

KLOPSTOCK would lead us away from Pindus; no longer for laurel
May we be eager--the homely acorn alone must content us;
Yet he himself his more-than-epic crusade is conducting
High on Golgotha's summit, that foreign gods he may honour!
Yet, on what hill he prefers, let him gather the angels together,
Suffer deserted disciples to weep o'er the grave of the just one:
There where a hero and saint hath died, where a bard breath'd his numbers,
Both for our life and our death an ensample of courage resplendent
And of the loftiest human worth to bequeath,--ev'ry nation
There will joyously kneel in devotion ecstatic, revering
Thorn and laurel garland, and all its charms and its tortures.
437

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Identification and basic context

Johann Wolfgang von Goethe was a central figure in German literature and a polymath whose work spanned poetry, drama, novels, scientific inquiry, and political theory. Born into a prominent family in Frankfurt, he was a key figure of the Weimar Classicism movement. Goethe's writings are characterized by their depth, philosophical inquiry, and exploration of human nature, often infused with a blend of Romantic sensibility and Neoclassical form. He was also a minister of state in the Duchy of Weimar, demonstrating a profound engagement with civic and political life. His national and linguistic identity were deeply rooted in Germany, and his work was primarily written in German, though its impact transcended linguistic boundaries.

Childhood and education

Goethe received an excellent education, benefiting from private tutors and the intellectual stimulation of his household, which included his father's library. He was exposed to classical literature, languages, and the arts from an early age. His formal education included studies at the University of Leipzig and the University of Strasbourg, where he studied law but also delved into literature and alchemy. He was influenced by the burgeoning Sturm und Drang movement, which emphasized individual emotion and rebellion against artistic conventions, as well as by Enlightenment ideals and the rediscovery of classical antiquity. His early experiences and readings laid the foundation for his multifaceted literary and intellectual development.

Literary trajectory

Goethe's literary career began in his youth with the Sturm und Drang movement, marked by works like "The Sorrows of Young Werther." This period was characterized by intense emotional expression and a focus on individual experience. His move to Weimar marked a shift towards Weimar Classicism, characterized by a more balanced, harmonious, and ethically focused approach, exemplified by "Iphigenia in Tauris" and "Torquato Tasso." The creation of "Faust," which occupied him for much of his life, represents the apex of his philosophical and dramatic achievement, evolving through different phases and reflecting his mature contemplation of human existence. He was also actively involved in periodicals and collaborated with other writers, contributing significantly to the literary landscape of his time.

Works, style, and literary characteristics

Goethe's major works include the epistolary novel "The Sorrows of Young Werther" (1774), the dramas "Iphigenia in Tauris" (1787) and "Egmont" (1788), the novel "Wilhelm Meister's Apprenticeship" (1795-96), and his monumental dramatic poem "Faust" (Part I, 1808; Part II, 1832). His themes are vast, encompassing love, nature, science, art, religion, the human condition, and the pursuit of knowledge and self-realization. His style evolved from the passionate and individualistic Sturm und Drang to the balanced, formal elegance of Weimar Classicism, and later, a more complex, symbolic, and philosophical mode in "Faust Part II." He masterfully employed various forms, including lyric poetry, dramatic verse, and prose, often experimenting with meter and structure. His poetic voice ranged from intensely personal and lyrical to philosophical and universal. Goethe's language is rich, precise, and evocative, utilizing powerful imagery and rhetorical devices to explore profound ideas. He is credited with significant innovations in German literature, bridging Romanticism and Classicism, and profoundly influencing the development of the European novel and drama.

Cultural and historical context

Goethe lived through a period of immense upheaval in European history, including the French Revolution and the Napoleonic Wars, which profoundly shaped his worldview and writings. He was a central figure of the Weimar Classicism movement, alongside Friedrich Schiller, representing a peak of German cultural achievement during a time when Germany was politically fragmented. His engagement with Enlightenment thought, the rediscovery of Greek and Roman antiquity, and the rise of Romanticism placed him at the intersection of major intellectual currents. His positions in Weimar gave him insight into political affairs, and his work often reflected on societal structures, the role of the individual, and the nature of governance.

Personal life

Goethe's personal life was rich and complex. His relationships, particularly with Charlotte von Stein, had a significant impact on his emotional and creative life. His later relationship with Christiane Vulpius, whom he eventually married, brought him domestic stability. He maintained friendships with many leading intellectuals of his time, including Schiller and Herder, and also experienced literary rivalries. Goethe's scientific pursuits, particularly in botany and optics, were not merely academic but intertwined with his poetic vision, reflecting a holistic view of knowledge. His philosophical and spiritual beliefs evolved throughout his life, moving from a pantheistic view of nature to a more nuanced engagement with Christian themes, particularly in his later works.

Recognition and reception

Goethe achieved immense fame and recognition during his lifetime, both within Germany and internationally. He was revered as a literary genius and a national icon. His works were widely translated and admired, and he received numerous honors and distinctions. The reception of his work has remained consistently high, with "Faust" considered one of the greatest works of world literature. While he enjoyed immense popularity and academic respect during his life, his complex philosophical and literary achievements continue to be subjects of intensive scholarly study and critical analysis.

Influences and legacy

Goethe was influenced by a wide array of sources, including classical Greek and Roman literature, the Bible, Shakespeare, and the emerging Sturm und Drang and Enlightenment philosophies. His legacy is immeasurable; he profoundly influenced German literature and culture, shaping the development of Romanticism, Realism, and subsequent literary movements. His concepts, such as the "eternal feminine" in "Faust," and his exploration of the human drive for self-fulfillment, have resonated across generations. He is a cornerstone of the German literary canon and a globally recognized literary figure. His works have been translated into virtually every major language and have inspired countless adaptations in music, theater, and film.

Interpretation and critical analysis

Goethe's work, particularly "Faust," has been subjected to endless interpretation and critical analysis. Themes of good versus evil, the pursuit of knowledge, the nature of progress, and the relationship between the spiritual and material worlds are central to scholarly debate. His complex philosophical outlook, blending elements of Romanticism, Classicism, and humanism, continues to provoke discussion. The tension between individual freedom and societal responsibility, and the search for meaning in a complex world, remain enduring aspects of his critical legacy.

Curiosities and lesser-known aspects

Goethe's fascination with science extended to empirical studies, including his theory of colors, which, though controversial, demonstrated his rigorous approach to observation. His personal life contained elements of both conventionality and unconventionality; his long-term relationship with Christiane Vulpius, who came from a lower social class, was unusual for a man of his stature. He maintained a disciplined writing routine, often working in the early hours of the morning. Anecdotes abound about his charismatic presence and his ability to engage with people from all walks of life. His extensive correspondence provides invaluable insights into his thoughts and daily life.

Death and memory

Johann Wolfgang von Goethe died in Weimar at the age of 82. His death was a significant national event, marking the end of an era in German culture. His memory is celebrated through numerous institutions, monuments, and cultural events dedicated to his life and work. His literary and scientific contributions continue to be studied and revered, ensuring his enduring place in the annals of world culture. His collected works are vast and continue to be published and re-edited, testifying to his lasting impact.