Poems List

Morning Lament

Morning Lament

OH thou cruel deadly-lovely maiden,
Tell me what great sin have I committed,
That thou keep'st me to the rack thus fasten'd,
That thou hast thy solemn promise broken?


'Twas but yestere'en that thou with fondness
Press'd my hand, and these sweet accents murmured:
"Yes, I'll come, I'll come when morn approacheth,
Come, my friend, full surely to thy chamber."


On the latch I left my doors, unfasten'd,
Having first with care tried all the hinges,
And rejoic'd right well to find they creak'd not.


What a night of expectation pass'd I!
For I watch'd, and ev'ry chime I number'd;
If perchance I slept a few short moments,
Still my heart remain'd awake forever,
And awoke me from my gentle slumbers.


Yes, then bless'd I night's o'erhanging darkness,
That so calmly cover'd all things round me;
I enjoy'd the universal silence,
While I listen'd ever in the silence,
If perchance the slightest sounds were stirring.


"Had she only thoughts, my thoughts resembling,
Had she only feelings, like my feelings,
She would not await the dawn of morning.
But, ere this, would surely have been with me."


Skipp'd a kitten on the floor above me,
Scratch'd a mouse a panel in the corner,
Was there in the house the slightest motion,
Ever hoped I that I heard thy footstep,
Ever thought I that I heard thee coming.
And so lay I long, and ever longer,
And already was the daylight dawning,
And both here and there were signs of movement.


"Is it yon door? Were it my door only!"
In my bed I lean'd upon my elbow,
Looking tow'rd the door, now half-apparent,
If perchance it might not be in motion.
Both the wings upon the latch continued,
On the quiet hinges calmly hanging.


And the day grew bright and brighter ever;
And I heard my neighbour's door unbolted,
As he went to earn his daily wages,
And ere long I heard the waggons rumbling,
And the city gates were also open'd,



While the market-place, in ev'ry corner,
Teem'd with life and bustle and confusion.


In the house was going now and coming
Up and down the stairs, and doors were creaking
Backwards now, now forwards,--footsteps clatter'd
Yet, as though it were a thing all-living,
From my cherish'd hope I could not tear me.


When at length the sun, in hated splendour.
Fell upon my walls, upon my windows,
Up I sprang, and hasten'd to the garden,
There to blend my breath, so hot and yearning,
With the cool refreshing morning breezes,
And, it might be, even there to meet thee:
But I cannot find thee in the arbour,
Or the avenue of lofty lindens.
357

Minstrel's Book - Song And Structure

Minstrel's Book - Song And Structure

LET the Greek his plastic clay

Mould in human fashion,
While his own creation may
Wake his glowing passion;
But it is our joy to court
Great Euphrates' torrent,


Here and there at will to sport
In the Wat'ry current.
Quench'd I thus my spirit's flame,
Songs had soon resounded;


Water drawn by bards whose fame
Pure is, may be rounded.
279

Mignon

Mignon


Do you know the land where the lemon-trees grow,
in darkened leaves the gold-oranges glow,
a soft wind blows from the pure blue sky,
the myrtle stands mute, and the bay-tree high?
Do you know it well?

It’s there I’d be gone,
to be there with you, O, my beloved one!

Do you know the house? It has columns and beams,
there are glittering rooms, the hallway gleams,
and figures of marble looking at me?
‘What have they done, child of misery?
Do you know it well?


It’s there I’d be gone,
to be there with you, O my true guardian!

Do you know the clouded mountain mass?
The mule picks its way through the misted pass,
and dragons in caves raise their ancient brood,
and the cliffs are polished smooth by the flood;
Do you know it well?


It’s there I would be gone!
It’s there our way leads! Father, we must go on!
355

May

May


LIGHT and silv'ry cloudlets hover

In the air, as yet scarce warm;
Mild, with glimmer soft tinged over,
Peeps the sun through fragrant balm.


Gently rolls and heaves the ocean


As its waves the bank o'erflow.
And with ever restless motion
Moves the verdure to and fro,
Mirror'd brightly far below.
What is now the foliage moving?
Air is still, and hush'd the breeze,


Sultriness, this fullness loving,


Through the thicket, from the trees.
Now the eye at once gleams brightly,
See! the infant band with mirth


Moves and dances nimbly, lightly,
As the morning gave it birth,
Flutt'ring two and two o'er earth.
303

May Song II

May Song II

BETWEEN wheatfield and corn,
Between hedgerow and thorn,
Between pasture and tree,
Where's my sweetheart
Tell it me!


Sweetheart caught I


Not at home;
She's then, thought I.


Gone to roam.
Fair and loving


Blooms sweet May;
Sweetheart's roving,


Free and gay.


By the rock near the wave,
Where her first kiss she gave,
On the greensward, to me,--
Something I see!
Is it she?
491

Maiden Wishes

Maiden Wishes

WHAT pleasure to me
A bridegroom would be!
When married we are,
They call us mamma.
No need then to sew,
To school we ne'er go;
Command uncontroll'd,
Have maids, whom to scold;
Choose clothes at our ease,
Of what tradesmen we please;
Walk freely about,
And go to each rout,
And unrestrained are
By papa or mamma.
331

Love's Distresses

Love's Distresses

WHO will hear me? Whom shall I lament to?
Who would pity me that heard my sorrows?
Ah, the lip that erst so many raptures
Used to taste, and used to give responsive,
Now is cloven, and it pains me sorely;
And it is not thus severely wounded
By my mistress having caught me fiercely,
And then gently bitten me, intending
To secure her friend more firmly to her:
No, my tender lip is crack'd thus, only
By the winds, o'er rime and frost proceeding,
Pointed, sharp, unloving, having met me.
Now the noble grape's bright juice commingled
With the bee's sweet juice, upon the fire
Of my hearth, shall ease me of my torment.
Ah, what use will all this be, if with it
Love adds not a drop of his own balsam?
364

Longing

Longing


WHAT pulls at my heart so?

What tells me to roam?
What drags me and lures me
From chamber and home?


How round the cliffs gather


The clouds high in air!
I fain would go thither,
I fain would be there!
The sociable flight
Of the ravens comes back;


I mingle amongst them,


And follow their track.
Round wall and round mountain
Together we fly;


She tarries below there,
I after her spy.
Then onward she wanders,
My flight I wing soon


To the wood fill'd with bushes,


A bird of sweet tune.
She tarries and hearkens,
And smiling, thinks she:


"How sweetly he's singing!
He's singing to me!"
The heights are illum'd
By the fast setting sun;


The pensive fair maiden


Looks thoughtfully on;
She roams by the streamlet,
O'er meadows she goes,


And darker and darker
The pathway fast grows.



I rise on a sudden,


A glimmering star;
"What glitters above me,
So near and so far?"
And when thou with wonder
Hast gazed on the light,


I fall down before thee,
Entranced by thy sight!
318

Love As A Landscape Painter

Love As A Landscape Painter

ON a rocky peak once sat I early,
Gazing on the mist with eyes unmoving;
Stretch'd out like a pall of greyish texture,
All things round, and all above it cover'd.


Suddenly a boy appear'd beside me,
Saying "Friend, what meanest thou by gazing
On the vacant pall with such composure?
Hast thou lost for evermore all pleasure
Both in painting cunningly, and forming?"
On the child I gazed, and thought in secret:
"Would the boy pretend to be a master?"


"Wouldst thou be for ever dull and idle,"
Said the boy, "no wisdom thou'lt attain to;
See, I'll straightway paint for thee a figure,--
How to paint a beauteous figure, show thee."


And he then extended his fore-finger,-(
Ruddy was it as a youthful rosebud)
Tow'rd the broad and far outstretching carpet,
And began to draw there with his finger.


First on high a radiant sun he painted,
Which upon mine eyes with splendour glisten'd,
And he made the clouds with golden border,
Through the clouds he let the sunbeams enter;
Painted then the soft and feathery summits
Of the fresh and quicken'd trees, behind them
One by one with freedom drew the mountains;
Underneath he left no lack of water,
But the river painted so like Nature,
That it seem'd to glitter in the sunbeams,
That it seem'd against its banks to murmur.


Ah, there blossom'd flowers beside the river,
And bright colours gleam'd upon the meadow,
Gold, and green, and purple, and enamell'd,
All like carbuncles and emeralds seeming!


Bright and clear he added then the heavens,
And the blue-tinged mountains far and farther,
So that I, as though newborn, enraptured
Gazed on, now the painter, now the picture.


Then spake he: "Although I have convinced thee
That this art I understand full surely,
Yet the hardest still is left to show thee."


Thereupon he traced, with pointed finger,
And with anxious care, upon the forest,
At the utmost verge, where the strong sunbeams



From the shining ground appear'd reflected,


Traced the figure of a lovely maiden,
Fair in form, and clad in graceful fashion,
Fresh the cheeks beneath her brown locks' ambush,
And the cheeks possess'd the selfsame colour
As the finger that had served to paint them.


"Oh thou boy!" exclaim'd I then, "what master
In his school received thee as his pupil,
Teaching thee so truthfully and quickly
Wisely to begin, and well to finish?"


Whilst I still was speaking, lo, a zephyr
Softly rose, and set the tree-tops moving,
Curling all the wavelets on the river,
And the perfect maiden's veil, too, fill'd it,
And to make my wonderment still greater,
Soon the maiden set her foot in motion.
On she came, approaching tow'rd the station
Where still sat I with my arch instructor.


As now all, yes, all thus moved together,--
Flowers, river, trees, the veil,--all moving,--
And the gentle foot of that most fair one,
Can ye think that on my rock I linger'd,
Like a rock, as though fast-chain'd and silent?
308

Like And Like

Like And Like

A FAIR bell-flower

Sprang tip from the ground;
And early its fragrance
It shed all around;


A bee came thither


And sipp'd from its bell;
That they for each other
Were made, we see well.
361

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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.