After his wife’s death Goethe became anxious that arrangements should be
made for the marriage of his son August, who had for some time had an
official appointment at Weimar. Goethe’s choice fell upon Ottilie von
Pogwisch, a handsome, clever girl, the granddaughter of a lady for whom
he had much regard. August was of opinion that a better wife could not
have been selected for him, and so they were married on the 17th of
June, 1817. Goethe laughingly warned Ottilie that she was never to
contradict her husband, and that if she ever wanted to have the rapture
of a quarrel, she must come and have it out with _him_. They occupied
the top floor of Goethe’s house, the rooms of which had been carefully
prepared and furnished for them; and by and by they received as a
permanent inmate of their home Ottilie’s sister Ulrica. Two children
were born of the marriage, and his grandsons were to Goethe an
inexhaustible source of delight.
Much as Goethe had done for the Weimar Theatre, the business connected
with it had often been an occasion of trouble and annoyance, due chiefly
to the intrigues of the actress Fräulein Jagemann, who had great
influence over the Grand Duke. Early in 1817 it was decided, in
opposition to Goethe’s wishes, that the birthday of the Grand Duchess
should be celebrated by the representation of one of Kotzebue’s plays.
The performance was a failure, and Goethe handed in his resignation of
the directorship. He was persuaded to withdraw it, but later in the
year, when, in deference to Fräulein Jagemann, the Grand Duke sanctioned
the representation of a play in which a leading part was to be taken by
a dressed-up poodle, Goethe felt that it was impossible for him to
retain a position in which his authority was disregarded. From this time
he confined himself exclusively, in his official duties, to the control
of institutions for the promotion of science and art. He devoted
attention especially to the University of Jena, the prosperity of which
he had missed no opportunity of furthering ever since his settlement at
Weimar.
Goethe, who seemed to have the secret of eternal youth, carried with him
into middle life and old age much of the fresh vivacity of his early
years. He was especially remarkable for his sensitiveness to feminine
influence. While writing the “Wahlverwandtschaften” he had been strongly
attracted by the beauty, thoughtfulness, and amiability of Wilhelmine
Herzlieb, the foster-daughter of the wife of Herr Frommann, a bookseller
at Jena, at whose house he was a frequent and welcome guest. Some of
Wilhelmine’s qualities were reproduced in Ottilie, the lovely and
pathetic figure who is overtaken by so sad a fate in the
“Wahlverwandtschaften.” At the time when most of the poems in the
“West-Oestlicher Divan” were written, he had a still more cordial
relation with Marianne, the fascinating wife of his friend Geheimerath
von Willemer, of Frankfort. In 1814 and 1815 he had much pleasant talk
with Marianne in her home, and in 1815 she and her husband spent some
happy days with him at Heidelberg. Marianne was not only a handsome
woman, of a sound and affectionate character, but had a touch of poetic
genius. She followed with warm interest and sympathy Goethe’s progress
in the composition of the poems of the “Divan.” Some of them were
addressed to her, and she responded with original verses, of which
Goethe thought so highly that he interwove them with his own work.
Goethe’s relations to Wilhelmine Herzlieb and Marianne Willemer were
much the same as Dr. Johnson’s relations to Frances Burney and Mrs.
Thrale. Both women interested him, appealed to his imagination, and
liked him as heartily as he liked them; and, as a poet and a German, he
could give warm expression to his regard for them without running the
slightest risk of being misunderstood by either. When he sent to Frau
Willemer the exquisite little lyric, “Nicht Gelegenheit macht Diebe,”
and she, as Suleika, replied with the equally beautiful poem,
“Hochbeglückt in deiner Liebe,” they would have been astonished and
dismayed had any one been stupid enough to suppose that, so far as their
relations to one another were concerned, either set of verses
represented more than a light and delicate play of fancy.
Afterwards, however, Goethe passed through a deeper experience. This was
his love for Ulrica von Levezow, whom he met with her mother, an old
friend of his, at Marienbad in 1822, when he was in his seventy-third
year. Goethe was charmed by the beautiful maiden, and loved her as
ardently as if he had been fifty years younger. In the following year he
met her again with her mother at the same place, and the fascination she
exerted over him was so obvious that gossips began to talk of an
approaching betrothal. When Ulrica left Marienbad, Goethe felt sadly
depressed. He found relief, however, while listening to the playing of
the Polish pianist, Madame de Szymanowska, and then he was able to give
in the fine poem “Aussöhnung” (“Reconciliation”) full expression to his
sense of what seemed for the moment his recovered freedom. It cost
Goethe a hard struggle to overcome this late-flowering passion. He was
determined that it should be mastered, and in the end succeeded in
suppressing it.
On the 3rd of September, 1825, the fiftieth anniversary of the Grand
Duke’s accession was celebrated. Goethe was deeply moved by the memories
which crowded in upon him on this occasion. It was arranged that early
in the morning a cantata should be sung in front of the Roman House, in
the Park, where the Grand Duke was staying; and, while this was being
done, Goethe entered, anxious to be the first to congratulate the
sovereign he had served so well. The Grand Duke took Goethe’s hands in
his own, and said, “To the last breath together!” About two months
afterwards the fiftieth anniversary of Goethe’s arrival at Weimar was
also celebrated. The Grand Duke presented him with a gold medal struck
for the occasion, and expressed in a letter all that he felt about the
magnificent services Goethe had for half a century rendered to himself
and his people. By the Grand Duke’s order, a copy of this letter was
posted on a wall opposite Goethe’s house. Seeing a crowd, Goethe sent a
friend to find what was interesting them. “That is he!” cried Goethe,
when he learned what had been done. In the evening “Iphigenie” was
represented, and the town was brilliantly illuminated.
Goethe was saddened, almost beyond the power of expression, by the death
of the Grand Duke in 1828, and that of the Grand Duchess in 1830. He had
been associated with them so long, and had loved them, and been loved by
them, so truly, that their death, in the first moments of grief, seemed
like the breaking-up of all that had made life valuable. Happily, he had
every reason to be satisfied with his relations with the young Grand
Duke and Grand Duchess. They looked up to him with reverence, and
delighted to do him honour.
In his home Goethe had much wearing anxiety and distress. His son
August, although endowed with many good qualities, was of a wayward and
uncertain temper, and at last took to hard drinking. He loved his father
deeply, but even Goethe’s influence was not strong enough to deliver him
from this hideous tyranny. In 1830 he went to Italy, and he died at Rome
on the 27th of October. It was found that he had been suffering from
malformation of the brain.
In 1821 a student at Göttingen, Johann Peter Eckermann, submitted a copy
of his poems to Goethe, with a sketch of his life; and Goethe, as was
his wont on such occasions, sent a friendly answer. Two years afterwards
Eckermann, encouraged by this reply, despatched a manuscript to Goethe,
begging that he would forward it to Cotta. On the 10th of June, 1823, an
interview took place, and Eckermann made so good an impression that
Goethe gave him some work to do, and ultimately made him his secretary.
The result was that many years afterwards the world received Eckermann’s
“Conversations with Goethe.” Eckermann was not, like Boswell, a great
artist, and Goethe does not live in his book as Johnson lives in
Boswell’s. Nevertheless, these “Conversations” present a most striking
picture of Goethe in old age, and it is impossible to read them without
feeling that they bring us into contact with an intellect and character
of superb quality. Almost every subject interests Goethe, as he is here
revealed; and on all matters, from the humblest to the most lofty, about
which he expresses an opinion, he has something to say that indicates a
mind fresh, vigorous, and richly stored with the fruits of a life of
thought, action, and study. Above all, the reader is impressed by the
noble feeling of humanity that pervades his utterances. Goethe has seen
as much of the world as it is given to men to see; yet in his judgments
there is no trace of a bitter or querulous temper. He is mild, serene,
and helpful.
Weimar had now become a place of pilgrimage for young poets, who looked
to Goethe as the supreme master of their craft. Among those who came to
him was the poet who was destined to take, after Goethe’s death, the
first place in the imaginative literature of Germany--Heinrich Heine.
Heine visited Weimar when he was twenty-five years of age, and had
already taken rank among the most powerful writers of his day. Long
afterwards, in “Ueber Deutschland,” he said that in talking with Goethe
he involuntarily looked at his side for the eagle of Zeus. “I was
nearly,” he says, “addressing him in Greek.” Many a time, when he had
thought of visiting Goethe, he had reflected on all sorts of sublime
things he would like to say. When he found himself actually in the great
man’s presence, he remarked that the plums by the wayside between Jena
and Weimar were uncommonly good! So, at least, we are assured by Heine,
whose reminiscences were seldom intended to be taken quite seriously.
Goethe appreciated Heine’s rare gifts, but said to Eckermann that with
all his brilliance one thing was wanting to him--love. He predicted,
however, that Heine would be greatly feared.
From abroad, as well as from all parts of Germany, testimonies of
admiration were from time to time sent to Goethe. On his last birthday
he received from fifteen (or perhaps nineteen) Englishmen, among whom
were Sir Walter Scott, Wordsworth, Southey, and Carlyle, a seal bearing
the motto from one of his poems, “Ohne Hast, aber ohne Rast” (“Without
haste, but without rest”). The suggestion that this tribute of respect
and gratitude should be offered to Goethe had been made by Carlyle, with
whose translation of “Wilhelm Meister” he had been greatly delighted.
Goethe, although he never saw Carlyle, recognized his genius, and
foretold his future greatness.
During his last years Goethe took little interest in the public affairs
of Europe. Least of all did he interest himself in the proceedings of
Liberal politicians. On the day when the tidings of the French
Revolution of 1830 reached Weimar, his friend Soret went to see him.
When Soret entered his room Goethe was in a state of intense excitement,
and began to talk of the mighty volcanic eruption at Paris. Soret
replied that nothing else was to be expected from such a Ministry.
Goethe looked at him in astonishment. What had the Ministry to do with
the matter? He had not been speaking of “those people,” but of the
contest in the French Academy between Cuvier and Geoffrey St.
Hilaire!--a contest in which St. Hilaire had supported Goethe’s ideas as
to the true way of conceiving organic Nature.
The essential aim of the Liberal party all over Europe in those days was
to secure a political system in which the functions of the Government
should be restricted within the narrowest possible limits. Every
interest of life was to be submitted to the operation of the principle
of free competition. Goethe could have no sympathy with a movement of
which this was the ultimate object, for it was one of his deepest
convictions that strong government is an enduring necessity of society,
and that the path of free competition is a path that leads to ruin. And
have events proved that in this opinion he was utterly mistaken? So far
as industry and trade are concerned, the Western world has had ample
experience of free competition, and can we take much pride in such of
its results as are seen in the foul and pestilent dens in which, in
every great city, multitudes of men, women, and children are compelled
to lead degraded and unhappy lives? Goethe did not mean by strong
government a system which should crush thought and true individuality.
On the contrary, to him thought and true individuality seemed the vital
conditions of human progress. But he wished, too, that the weak should
be protected against the tyranny of the strong; that the State should be
the supreme organ of practical reason for the establishment and
maintenance of wholesome relations between man and man, and for the
execution of measures designed to promote the free development, not of
this class or of that only, but of the community as a whole.
Many Liberal politicians were never tired of talking of Goethe as one
who cared nothing for the practical interests of the world. They mistook
indifference to their party for indifference to humanity. The truth is,
he was in one sense far ahead of those who virulently assailed him as a
reactionary. As we know from many passages in “Wilhelm Meisters
Wanderjahre,” he saw that the real problems of the future were not
merely political but social; that communities could never hope to solve
these problems by simply giving free scope to the forces contending for
mastery; and that for the new conditions of the world new forms of
co-operative industrial organization would become inevitable. He devoted
much earnest attention to the principles expounded during this period by
St. Simon, and his ideas about social progress have a close affinity to
some of those with which the English-speaking world has been made
familiar by the most illustrious of its modern spiritual teachers,
Carlyle and Ruskin.
Even in old age Goethe never paused in his labours as a man of letters.
One of the works now issued by him was “Wilhelm Meisters Wanderjahre”
(“Wilhelm Meister’s Years of Travel”). It was published in its earliest
form in 1821, but afterwards it was recast, the work as we now have it
being finished in 1829. This book has little real connection with the
“Lehrjahre,” and ought not to be read as a complete work of art, for
Goethe hardly even attempts to give unity to the various elements of
which it is made up. Much of it is rather tiresome, but it also contains
tales and passages as remarkable for nobility of style as for depth of
thought. Especially valuable are those parts of the book in which he
develops his mature convictions with regard to education, and the
conditions of the high and enduring welfare of industrial societies.
Here he anticipates much of what is most deeply characteristic of the
thought of our own day.
In all directions Goethe continued to exercise his widely varied powers.
He edited a periodical called for some time “Kunst und Alterthum in den
Rhein und Maingegenden” (“Art and Antiquity in the districts of the
Rhine and the Main”). Afterwards he called it simply “Kunst und
Alterthum,” and included in it, besides papers on art and archæology,
some of his poems and essays in literary criticism. He also published,
between 1817 and 1824, a scientific periodical, in which he printed his
treatise on the intermaxillary bone, and communicated his discovery as
to the constitution of the bones of the skull. This discovery had in the
interval been independently made by Oken, but to Goethe the question of
priority appeared to be one of absolutely no importance.
During this time, too, he went on writing lyrical and other poems, as he
had done during all the earlier periods of his career; and he devoted
great attention to the preparation of a complete edition of his works,
the first volume of which was published in 1827. He also found time to
write or dictate an extraordinary number of letters. Goethe had always
been a model correspondent, and the various collections of his letters
are of inestimable value for the light they throw upon his character. He
himself issued, in 1828-29, his correspondence with Schiller; and he
prepared for publication his correspondence with Zelter, the genial and
eccentric Berlin musical composer, to whom he was warmly attached. We
now possess a vast series of Goethe’s letters, some dating from early
youth, others written immediately before his death. They reflect
accurately many different moods, corresponding to the different stages
of his development; but in the letters of all the periods of his life
the mind which unconsciously discloses itself is one dominated by a
passion for truth, by a lofty sense of honour, and by manly, humane, and
generous impulses.
The most important work of his old age is the Second Part of “Faust.”
Some portions of it had been written even before the appearance of the
First Part; but the work belongs in the main to his latest period. He
finished it before his last birthday, and told Eckermann that, this task
being done, he would regard the rest of his life as “a pure gift.”
“Faust,” therefore, had accompanied him during the entire course of his
literary career. In it he had represented all the various phases of
evolution through which his thought and character had passed.
As a work of art, the Second Part is far inferior to the First. It lacks
the unity which is to some extent given to the First Part by Faust’s
relation to Gretchen; and it contains a multitude of symbolical ideas,
the meaning of which it is hard to unravel. We miss, too, the fire and
glow of the scenes conceived in Goethe’s early days, when “Faust” served
as the direct imaginative expression of his own tumultuous thoughts and
longings. Nevertheless, there are individual passages, especially in the
scenes relating to Helen of Troy, full of splendid power; and the idea
in which all is summed up is in every way worthy even of the grandest of
the original elements of Goethe’s scheme. Before dying, Faust feels that
a moment might come to which, with all his heart, he could say, “Oh,
stay! thou art so fair!” But it is a moment which Mephistopheles, the
representative of the evil in his nature, could never have secured for
him. It is a moment of pure delight springing from the contemplation of
the results of disinterested labour in the service of humanity.
This was Goethe’s last word to the world; the expression of his deepest
and most settled conviction. To make selfish joy, as Faust had done, the
supreme object of existence--that way lie perpetual evil and misery; to
sacrifice self, to bring the will into harmony with ideal law, in all
things to think and act in a spirit of love and brotherhood, as Faust,
after fierce struggle, learns to do--in that, and in that alone, can man
find a life truly fitted to his nature and capable of satisfying his
deepest, inmost wants. The idea with which Goethe seeks to solve the
problem of “Faust” is the old, yet ever new, doctrine--“He that loseth
his life for my sake shall find it.”
For many years Goethe enjoyed excellent health, and from day to day his
work went on without serious interruption. The end--described simply and
graphically in Düntzer’s “Goethes Leben”--came somewhat suddenly, when
he was in his eighty-third year. On Thursday, March 15, 1832, when the
young Grand Duchess paid him her usual weekly visit, he had much to say
about a drawing which a friend had sent him from Pompeii. It was a
sketch of an ancient design in mosaics, representing a scene in the life
of Alexander the Great. The Grand Duchess saw in her friend no sign of
an approaching illness, nor was Goethe, when he retired to his room in
the evening, conscious of any physical change. During the night,
however, he could not sleep, and next morning it was obvious that he had
lost much of his usual vigour. Between the 19th and the 20th of March,
about midnight, he had severe pains in the chest and suffered from an
attack of breathlessness. Even these symptoms did not alarm him, and on
the 20th he had strength enough to sign an official paper securing that
aid should be granted to a lady whose talents as an artist had excited
his admiration. But life was gradually ebbing away. On the morning of
the 22nd of March, he sat in his armchair, holding the hand of his
daughter-in-law, Ottilie, in his own, and conversing with her brightly.
As he talked, his words came with increasing difficulty, and at last he
wholly lost the power of speech. He made signs in the air, and, when his
arm dropped, moved his fingers as if writing on his knee. Shortly before
midday, leaning back in a corner of his chair, he softly passed away.
If we look back upon the course of Goethe’s long life, it is impossible
not to be struck with admiration when we think of the extraordinary
range of his activity. There are few departments of intellectual life
into which he did not penetrate, and in everything which, as a thinker
and writer, he undertook, he displayed the highest order of mental
power. As a man of science, he ranks among the foremost investigators of
his age. He had no sooner begun to reflect seriously on scientific
problems than he placed himself in what proved to be the central current
of modern thought. The supreme idea of the nineteenth century is the
idea of evolution, and the position of those inquirers who immediately
preceded Darwin is necessarily determined by the answer which must be
given to the questions--Were they, in their observations and
speculations, guided by aims which in the main accord with Darwin’s
principle? Were they among the forerunners who prepared the way for the
doctrine in which all that was best and most vital in pre-Darwinian
scientific thought is summed up? In regard to Goethe, these questions
must be answered emphatically in the affirmative. His discoveries,
resulting almost equally from the exercise of his perceptive and
imaginative faculties, were on the lines which led directly to the
theory of evolution. It is only, indeed, since the law of evolution was
detected, that the world has recognized the full meaning and importance
of his contributions to scientific progress.
As a writer on art, Goethe was less original than as a man of science.
But here also he was on the track that has been followed by the greatest
of his successors. Greek architecture and sculpture Winckelmann had
made in part intelligible; and, having absorbed his teaching, Goethe, as
the result of his own observations in Italy, had many a luminous
suggestion to offer as to masterpieces of ancient art, and as to the
general processes of development with which they were related. In his
study of modern art it was to the painters and sculptors whose technical
skill was used in the service of high imaginative ideas that he
instinctively turned; and no writer of his day sought more earnestly to
show how little can be achieved in art if it is divorced from serious
and noble thought. He felt, too, as only a few of the world’s
intellectual guides have yet felt, how great is the place which properly
belongs to art as one of the influences capable of giving dignity and
refinement both to individual and to social life.
Great, however, as were Goethe’s achievements in the criticism of art
and in science, they are of almost slight importance in comparison with
his work as an imaginative writer. As a writer of romance, as a
dramatist, as a lyrical poet, he towers high above all other men of
letters whom Germany has produced. In the literature of his country he
takes the rank which in that of Greece belongs to Homer, in that of
Italy to Dante, in that of England to Shakespeare. Almost every element
of human life is touched in his creations, yet he has told us that his
writings are to be regarded as parts of one great “confession.” However
remote they may seem to be from his own experience, they are directly or
indirectly rooted in the facts of his personal history. To this is due
one of the most distinctive qualities of his work both in verse and in
prose--the extraordinary vitality of his ideas; the vividness with which
all that he depicts is made to pass before us, as if it were a part of
the outward and visible world. He cannot, however, be truly described as
a realist, if by a realist is meant one who seeks to do no more than
represent exactly what he himself has seen or felt. In taking reality as
the basis of ideal structures, Goethe severed from it associations which
were only of temporary or accidental interest. He brought it into new
relations, touched it with the transforming power of the imagination,
and gave to individual facts universal significance. Hence the greatest
of his works are as fresh to-day as when he wrote them; and they could
lose their living power only if human nature itself were radically
changed.
As a critic of literature, he had the sanity of judgment and the
intuitive insight which mark all poets of the highest genius. He has
never, perhaps, been surpassed in his power of detecting the signs of a
genuinely creative capacity; and this power, remarkable even in his
youth, did not desert him in old age. He was constantly on the outlook
for new intellectual forces, and, when they appeared, seldom failed to
divine the direction in which they were moving, and the nature of the
results they were likely to accomplish. Byron, Scott, Manzoni, Victor
Hugo, Carlyle--all were hailed by Goethe as, in different ways, potent
representatives of the later periods of the era to which he himself
belonged. It did not occur to him to think of them as rivals. He thought
only of his good fortune in having lived to see them carry on the
movement of European literature.
When a writer achieves world-wide fame, we cannot resist the impulse to
ask what he has to tell us as to the great, enduring spiritual problems
of existence. We have seen how deeply Goethe, in youth, was influenced
by Spinoza; and during the whole of his mature life his conception of
the universe in some respects closely resembled that of the teacher whom
he had so profoundly revered. Atheism was not only repugnant to his
feeling, but seemed to him the last development of human folly. To him
the world was but the manifestation of Divine energy; he thought of it
as “the living garment of the Deity.” So far, his idea of the ultimate
nature of things was simply Spinoza’s idea; but, when he had fought his
way to an independent conviction, he differed widely from Spinoza in his
mode of conceiving the Reality which reveals itself in the phenomenal
order. The God in whom Goethe believed was not simply “Substance.” The
enduring types or patterns to which, in his interpretation of Nature, he
attributed such vast importance, imply the existence of something more
and deeper than abstract force. They are Divine ideas, and would be
unintelligible apart from Mind or Reason. That the word Reason, when
applied to the creative energy of the universe, expresses absolute
truth, Goethe nowhere says; but he held that man cannot but form far
himself some representation of the Unknowable Power, and that to
represent it as Reason is the least inadequate way in which we can catch
some glimpse of its unutterable splendour.
The notion that the world was formed for man seemed to Goethe the
offspring of extravagant self-conceit. Yet he had no mean estimate of
the greatness of the human spirit. He recognized in it powers capable of
indefinite growth and expansion, and did not doubt that there is an
invisible realm in which, after it has fulfilled its mission in the
present world, it passes to new and higher destinies. It appeared to
him, however, strange and most unreasonable that men should miss what is
great and worthy in this life by dreaming vaguely about a life to come.
He conceived that the truest preparation for whatever may be in store
for us in other states of existence must be the wise cultivation of the
faculties with which we are endowed; and among these faculties he gave
the highest place to the impulses which bring men into intimate and
helpful association with their fellows.
The conduct of life he made a subject of profound reflection, and no
modern writer illuminates it with a light at once so clear and so
steady. It is for this reason that a quite peculiar relation springs up
between Goethe and those who feel the power and the charm of his genius.
They go back again and again to his works, his letters, his
“Conversations,” and never fail to find in them some fruitful word that
brings with it fresh hope and courage. His wise and noble sayings are
the more inspiring because they almost invariably suggest deeper
meanings than they directly utter. The mind, in appropriating them, is
placed in contact, not with abstract dogmas, but with life itself, and
is stimulated to the free exercise of its own energies.
Goethe had an almost unequalled opportunity of developing his powers,
and apprehended vividly the full extent of the obligation it imposed.
His life, therefore, has the note of greatness which distinguishes his
writings. It was a life of lofty aim and strenuous endeavour, and left a
mark, wide, deep, and abiding, on the thought and aspiration of mankind.
THE END.
INDEX.
A.
“Alexis und Dora,” 146
Anson, Lord, his “Voyage Round the World,” 16
Arnim, Bettina von, 159
“Aufgeregten, Die,” 132
B.
Ballads, by Goethe, 147;
by Schiller, 147
Basedow, 80
Beaumarchais, Memoirs of, 68
“Belinden, An,” 84
Behrisch, 27
Böhme, Professor, 25
Bologna, 107, 111
Boswell, 34, 175
Breitkopf, 27, 34
Brentano, Maximiliane, 59
Brion, Frederika, Goethe’s love for, 41;
his parting from, 43;
her influence on Goethe, 45;
her relation to Maria in “Goetz,” 57;
to Maria in “Clavigo,” 69;
to Gretchen in “Faust,” 75;
Goethe visits, in 1779, 99;
in “Dichtung und Wahrheit,” 42, 167
Buff, Charlotte, 51, 58, 60, 66
C.
Carlyle, 176, 178, 185
Cellini, Benvenuto, 148
“Claudine von Villa Bella,” 69, 114
“Clavigo,” 68
Clodius, 31
Cuvier, 177
D.
“Dichtung und Wahrheit,” 167
Dresden, Goethe studies the picture gallery at, 28
E.
Eckermann, 130, 174, 175, 176, 180
“Egmont,” 114, 120
Emmendingen, 59, 83, 99
Ernesti, 24
“Erwin und Elmire,” 69, 114
F.
Fahlmer, Johanna, 80, 99
“Faust,” in its earliest form, 72-78;
Goethe works at, in Rome, 114;
“Faust: A Fragment,” published in 1790, 127;
continued, 153;
the First Part, published in 1808, 161-166;
the Second Part, 180
Fichte, 150
Frankfort, Goethe’s knowledge of, 14
“Frankfurter Gelehrten Anzeigen,” the, 49
G.
“Geheimnisse, Die,” 103
Gellert, 24
Goethe, Catharine Elizabeth, Goethe’s mother, 12, 16, 18, 33, 160
Goethe, Christiane, Goethe’s wife, 117, 131, 154, 156, 157, 160, 169
Goethe, Cornelia, Goethe’s sister, 13, 17, 32, 48, 59, 83, 99
Goethe, Frederick George, Goethe’s grandfather, 11
Goethe, Johann Kaspar, Goethe’s father, 12, 14, 17, 19, 22, 90, 99
Goethe, Johann Wolfgang, his birth, 11;
childhood and boyhood, 11-23;
at Leipsic, 24-32;
returns, as an invalid, from Leipsic to Frankfort, 32;
spends a year and a half at Frankfort, 32-34;
at Strasburg, 34-46;
influenced by Herder, 37;
his love for Frederika Brion, 41;
becomes an advocate at Frankfort, 47;
gives dramatic form to the history of Goetz von Berlichingen, 48, 54;
goes to Wetzlar, 50;
his love for Charlotte Buff, 51-52;
returns to Frankfort from Wetzlar, 53;
“Die Leiden des jungen Werthers,” 60;
“Clavigo,” 68;
“Stella,” 69;
poetic fragments, 70;
“Faust” in its earliest form, 72;
studies Spinoza, 78;
his friendship with Lavater, Basedow, Johanna Fahlmer,
Frederick Jacobi, and the Counts Stolberg, 80-82;
his love for Lili Schönemann, 82-84;
quits Frankfort for Weimar, 85;
the first eleven years of his life at Weimar, 86-105;
his friendship with Charlotte von Stein, 91;
development of his character at Weimar, 93;
his official duties, 95-97;
his scientific discoveries, 100, 101, 128, 129, 183;
his visit to Italy, 106-115;
informal marriage, 118;
“Egmont,” 120;
“Iphigenie,” 122;
“Torquato Tasso,” 123;
“Faust: A Fragment,” 127;
becomes director of the Weimar Theatre, 131;
his feeling about the French Revolution, 132;
at Valmy, 133;
his friendship with Schiller, 134-155;
the “Xenien,” 138;
“Wilhelm Meisters Lehrjahre,” 138;
“Hermann und Dorothea,” 143;
ballads, 147;
lyrics, 147;
“Winckelmann und sein Jahrhundert,” 148;
“Die Natürliche Tochter,” 152;
his formal marriage, 157;
his relation to Bettina von Arnim, 159;
his mother’s death, 160;
his interviews with Napoleon, 161;
the First Part of “Faust,” 161;
“Die Wahlverwandtschaften,” 166;
“Dichtung und Wahrheit,” 167;
the “West-Oestlicher Divan,” 168;
his feeling about the War of Liberation, 168;
becomes First Minister of State, 169;
death of his wife, 169;
marriage of his son August, 170;
his relation to Wilhelmine Herzlieb and Marianne von Willemer, 171, 172;
his love for Ulrica von Levezow, 172;
the fiftieth anniversary of his arrival at Weimar, 173;
death of the Grand Duke and Grand Duchess of Weimar,
and of Goethe’s son, 174;
Eckermann’s “Conversations with Goethe,” 175;
visited by Heine, 175;
gift from his English admirers, 176;
ideas about the State and society, 176-178;
“Wilhelm Meisters Wanderjahre,” 178;
“Kunst und Alterthum,” 179;
his letters, 180;
the Second Part of “Faust,” 180;
his death, 182;
general view of his work, 183
Goethe, Julius August Walther, Goethe’s son, 129, 158, 170, 174
Goetz von Berlichingen, his autobiography, 48;
his history dramatized, 49;
the drama in its second form, 54;
reception of the play, 57
Goldsmith, his “Vicar of Wakefield,” 40, 41
“Götter, Helden, and Wieland,” 70
Gottsched, 31
Gretchen, Goethe’s first love, 21, 42, 167
Gretchen, in “Faust,” 75, 163
“Gross-Cophta,” 132
Göschen, 105
H.
“Harzreise im Winter,” 103
Heine, Heinrich, 175
Herder, Goethe meets, 37;
his character, 37;
his influence on Goethe, 39;
his criticism of the “Geschichte Gottfriedens von Berlichingen,” 54;
settles at Weimar, 89;
Goethe’s relations with, 90, 150
“Hermann und Dorothea,” 143-146
Herzlieb, Wilhelmine, 171, 172
“Hexenküche, Die,” written at Rome, 115
Homer, 40, 43, 184
Horn, Goethe’s friend, 25
Hubertusburg, Treaty of, 19
I.
Ilmenau, mines at, 96, 100, 117
“Ilmenau,” poem, 103
Intermaxilliary bone, Goethe’s discovery of, in human jaw, 101
“Iphigenie,” in its prose form, 102;
transformed to a poetical drama, 111;
criticism of, 122
“Italienische Reise,” the, 106
Italy, Goethe’s visit to, 106-115
J.
Jacobi, Frederick, 81, 104
Jena, Battle of, 156
Jerusalem, suicide of, 60
Joseph II., his coronation, 21
K.
Kanne, 31, 34
Kant, 135, 138, 150
Kestner, 52, 58, 66
Klettenberg, Fräulein von, her influence on Goethe, 33;
her death, 84;
the original of the “fair soul” in “Wilhelm Meister,” 143
Klopstock, his “Messiah,” 16;
writes to Goethe, 86
“Kunst und Alterthum,” 179
L.
Laroche, Frau von, 53, 59;
Maximiliane, 53
“Laune des Verliebten, Die,” 30
Lavater, 80
Leipsic, Goethe goes to, 22;
his life at, 24-32
Lessing, 29, 30, 138
Letters, Goethe’s, 180
Levezow, Ulrica von, 172
Liberation, War of, 168
“Lili’s Park,” 84
Loder, Professor, 101
Lyrics, Goethe’s, 147
M.
“Mahomet,” fragment of original drama, 70;
Voltaire’s, translated, 152
Mainz, 84, 133
Marie Antoinette, 36
Mephistopheles, in the original “Faust,” 76
Merck, 49, 53, 54, 57, 98
Metamorphosis of Plants, 128
Meyer, 110, 131, 154
Michael Angelo, 109
Mignon, 142
Mineralogy, Goethe’s study of, 100
“Mitschuldigen, Die,” 30
N.
Naples, 112
Napoleon, Goethe’s interviews with, 161
“Natürliche Tochter, Die,” 152
“Neue Liebe, Neues Leben,” 84
Newton, Goethe’s rejection of his theory of colours, 130
Nicolai, 67
Niederbronn, 36, 37, 50
O.
Oeser, influence of, on Goethe, 27;
Frederika, 28, 32
Ossian, 40, 43
Osteology, Goethe’s discoveries in 100, 101, 129, 179
Ottilie, Goethe’s daughter-in-law, 170, 182
P.
Paoli, General, 34
Percy’s “Reliques,” 40
Pindar, 51
“Prometheus,” 70
“Propyläen, Die,” 148
R.
“Rameaus Neffe,” 149
Raphael, 107, 109, 111
“Reineke Fuchs,” 133
Revolution, the French, 132
Robinson Crusoe, 16
Romantic School, the, 151
Rome, Goethe in, 107-112; 113-115
Römer, the, 15
“Römische Elegien,” 119
Rousseau, 38, 39, 60, 66, 112, 124
Ruskin, 178
S.
Salzmann, 35, 49
Schelling, 151
Schiller, publication of the “Robbers,” 103;
goes to Weimar, 134;
his first meeting with Goethe, 135,
settles at Jena, 135;
his marriage, 135;
asks Goethe to write for the _Horen_, 136;
his friendship with Goethe, 136;
unites with Goethe in writing the “Xenien,” 138;
his ballads, 147;
“Wallenstein,” 149;
settles at Weimar, 149;
his later plays, 152;
his death, 154
Schlegel, the brothers, 151
Schlosser, 25, 59, 99, 160
Schönemann, Lili, 82-84, 99, 167
Schönkopf, Annette, 26, 31, 34, 42, 167
Schröter, Corona, 93, 102
Scott, Sir Walter, 176
Sculpture, Goethe’s study of ancient, 109, 120
Shakespeare, 29, 39, 47, 55, 184
Sicily, Goethe in, 113
Sixtine Chapel, the, 109, 114
Soret, 177
Southey, 176
Spinoza, 78, 186
St. Gotthard, 83
St. Hilaire, Geoffrey, 177
St. Peter’s, 109
Staël, Madame de, 151
Stein, Charlotte von, 91, 99, 104, 106, 113, 117, 119
“Stella,” 69
Stilling, Jung, 35
Stock, 28
Stolberg, the Counts, 82, 83
Strasburg, Goethe’s life at, 34-46;
later visits to, 83, 99
Switzerland, Goethe’s first visit to, 83;
his second, 98;
his third, 148
T.
Textor, Johann Wolfgang, 12, 17
Tischbein, 110, 112
Thorane, Count, 18
“Torquato Tasso,” prose fragment, 103;
poetical drama, 124
Types, doctrine of, 101, 128, 129, 186
V.
Valmy, 133
Venice, 107, 129
Vesuvius, 112
Voss, his “Luise,” 143
W.
“Wahlverwandtschaften, Die,” 166
“Wanderer, The,” 50
“Wanderers Sturmlied,” 50
Wandering Jew, the, 70
Weimar, state of, when Goethe arrived there, 86;
the great period in history of, 150;
plundered, 156
Weimar, Duke of, invites Goethe to visit him, 84;
Goethe’s relations with, 86, 87;
Goethe becomes a member of his Privy Council, 91;
gives Goethe a house in the Park, 91;
Goethe goes with him to Berlin and Switzerland, 98;
relieves Goethe of many official duties, 116;
gives Goethe a house in Weimar, 131;
Goethe accompanies him in Champagne, 133;
he is made a Grand Duke, 169;
influenced by Fräulein Jagemann, 171;
the fiftieth anniversary of his accession, 173;
his death, 174
Weimar, Duchess of, 87, 119, 157, 174;
Duchess Dowager of, 88, 129
“Werther, Die Leiden des jungen,” origin of, 60;
the tale, 61;
characteristics of, 63;
reception of, 66
“West-Oestlicher Divan,” 168
Wetzlar, Goethe goes to, 50;
leaves, 53
Wieland, his influence on Goethe, 29;
Goethe writes a farce on, 70;
Goethe’s relations with, at Weimar, 88, 150
Willemer, Marianne von, 172
“Wilhelm Meister,” “Lehrjahre,” begun, 103;
“Lehrjahre,” completed, 138;
“Wanderjahre,” 178
Winckelmann, his death, 30;
at Rome Goethe is helped by his writings, 108, 120, 184;
Goethe’s book about, 148
Wordsworth, 176
X.
“Xenien,” 138
BIBLIOGRAPHY.
BY
JOHN P. ANDERSON
(_British Museum_).
I. WORKS.
II. TWO OR MORE WORKS.
III. SINGLE WORKS.
IV. POEMS.
V. TRANSLATIONS.
VI. MISCELLANEOUS.
VII. LETTERS.
VIII. SELECTIONS.
IX. APPENDIX--
Biography, Criticism, etc.
Faust.
Songs, etc., set to Music.
Magazine Articles.
X. CHRONOLOGICAL LIST OF
WORKS.
[_The Compiler has found it impracticable to give more than the
first edition of the separate works in the original. All the
English translations known to him have, however, been included._]
I. WORKS.
D. Goethens Schriften. Mit Kupfern, 4 Th. Berlin, 1775-79, 8vo.
J. W. Göthens Schriften. 4 Bd. Carlsruhe, 1778-80, 8vo.
Goethe’s Schriften. [With engravings.] 8 Bd. Leipzig, 1787-90, 8vo.
Goethe’s Schriften. 4 Bd. Leipzig, 1787-91, 8vo.
Goethe’s Schriften. 8 Bd. Wien und Leipzig, 1790, 8vo.
Göthe’s Neue Schriften. 7 Bd. Berlin, 1792-1800, 8vo.
Goethes Werke. 13 Bd. Tübingen, 1806-10, 8vo.
Goethe’s Werke. 20 Bd. Stuttgart und Tübingen, 1815-19, 8vo.
Original-Ausgabe. 26 Bd. Wien und Stuttgart, 1816-1821, 12mo.
Vollständige Ausgabe letzter Hand. (Goethe’s nachgelassene Werke.
Inhalts-und-Namen - Verzeichnisse über sämmtliche Goethe’sche Werke,
Ausgabe 1827-1834, Verfertigt von C. T. Musculus unter Mitwirkung
des Hofraths Dr. Riemer.) 61 Bd. Stuttgart und Tübingen, 1827-42,
8vo.
Göthe’s sämmtliche Werke. Mit Bildnisse und Facsimile. 5 Bd. Paris,
1836, 8vo.
Goethe’s poetische und prosaische Werke. 3 Bd. Stuttgart und
Tübingen, 1836-47, 4to.
Vollständige, neugeordnete Ausgabe. 40 Bd. Stuttgart, 1840, 16mo.
Goethe’s poetische und prosaische Werke. Mit Stahlstichen. Zweite
Auflage. [Edited by F. W. Riemer and J. P. Eckermann.] 2 Bd.
Stuttgart und Tübingen, 1845-46, 8vo.
Goethe’s sämmtliche Werke, etc. 30 Bd. Stuttgart, 1850-51, 8vo.
Goethe’s sämmtliche Werke. Vollständige, neugeordnete Ausgabe. 30
Bd. Stuttgart, 1857-58, 8vo.
Vollständige Ausgabe. 6 Bd. Stuttgart, 1860, 8vo.
Vollständige neu durchgesehene Ausgabe. 3 Bd. Stuttgart, 1869, 8vo.
Goethe’s sämmtliche Werke. Mit Einleitungen von K. Goedeke. 15 Bd.
Stuttgart, 1872-75, 8vo.
Der Junge Göthe. Seine Briefe und Dichtungen von 1764-1776. Mit
einer Einleitung von M. Bernays. 3 Bd. Leipzig, 1875, 8vo.
Goethe’s Werke, Revidirte Ausgabe. (Thl. 1-3, 5-10, 11; Abtheil 2,
14-16, 25, 26, 28, 30-32; herausgegeben mit Anmerkungen von F.
Strehlke. Nebst der Biographie des Dichters [Thl. 1.] von F.
Förster, Thl. 4, 11, Abtheil 1, 12, 13, 19-23 herausgegeben von G.
von Loeper. Thl. 17, 18, 24 herausgegeben von W. Frh. v.
Biedermann. Thl. 33-36 herausgegeben von S. Kalischer.) 36 Thl.
Berlin, Leipzig [printed, 1868-79], 8vo.
Goethe’s Werke. Erste illustrirte Ausgabe, mit erläuternden
Einleitungen [by Wendt and others]. Neunte verbesserte Auflage. 20
Bd. Berlin, Leipzig [printed] 1880, 8vo.
Goethe’s sämmtliche Werke. Vollständige Ausgabe. Mit Einleitungen
von K. Goedeke, 15 Bd. Stuttgart, 1881, 8vo.
Goethe’s Werke. [Edited by K. G.--_i.e._, K. Goedeke.] 36 Bd.
Stuttgart, 1882-67-81, 8vo.
Goethe’s Werke. Herausgegeben von H. Düntzer. Berlin, Leipzig
[printed, 1882, etc.], 8vo.
Forming part of the “Deutsche National Litteratur, herausgegeben
von J. Kürschner.
Goethes Werke, illustrirt von den ersten deutschen Künstlern. (Eine
ausgewählte Sammlung.) Herausgeber H. Düntzer. 5 Bd. Stuttgart [printed]
und Leipzig, [1883-85,] 8vo.
Goethe’s Werke. Herausgegeben im Auftrage der Grossherzogin Sophie von
Sachsen. Weimar, 1887, etc., 8vo.
This edition, now being issued, is divided into four parts:--I.
Abtheilung: Goethe’s Werke, 50 Bände; II. Abtheilung: Goethe’s
Naturwissenschaftliche Schriften, about 10 Bände; III. Abtheilung:
Goethe’s Tagebücher; IV. Abtheilung: Goethe’s Briefe.
II. TWO OR MORE WORKS.
Nachträge zu Goethe’s sämmtliche Werken. Gesammelt und
herausgegeben von E. Boas. 3 Thl. Leipzig, 1841, 16mo.
Neue Ausgabe, etc. 3 Thl. Leipzig, 1846, 8vo.
Göthe’s Singspiele Claudine v. Villa Bella und Erwin und Elmire. In
ihren ursprünglichen Gestalt herausgegeben von Dr. H. Döring.
Arnstadt, 1843, 8vo.
Clavigo. Ein Trauerspiel in fünf Akten. Die Geschwister. Schauspiel
in einem Akt. 2 pts. Stuttgart, 1868, 8vo.
Forming No. 28 of a series entitled, “Classische Theater-Bibliothek
aller Nationen.”
Goethe’s Italiänische Reise; Aufsätze und Aussprüche über bildende
Kunst. Mit Einleitung und Bericht über dessen Kunststudien und
Kunstübungen. Herausgegeben von C. Schuchardt. 2 Bd. Stuttgart, 1862-63,
8vo.
The Autobiography of Goethe. Truth and Poetry: From my own Life.
Translated from the German, by J. Oxenford. Thirteen books.--Vol. 2. The
Autobiography, etc. The concluding books [14-20]. Also letters from
Switzerland and Travels in Italy. Translated by A. J. W. Morrison.
(_Bohn’s Standard Library_). 2 vols. London, 1848-9, 8vo.
Dramatic Works of Goethe: comprising Faust, Iphigenie in Tauris,
Torquato Tasso, Egmont, translated by Anna Swanwick, and Goetz von
Berlichingen, translated by Sir Walter Scott. (_Bohn’s Standard
Library_). London, 1850, 8vo.
The Dramatic Works of J. W. Goethe. Translated from the German by Sir W.
Scott, E. A. Bowring, A. Swanwick, and others. (_Bohn’s Standard
Library._) London, 1879, 8vo.
Essays on Art. Translated by S. G. Ward. Boston [Mass.], 1845, 16mo.
Miscellaneous Travels of J. W. Goethe; comprising Letters from
Switzerland (translated by A. J. W. Morrison); the Campaign in France,
1792 (translated by R. Farie); the Siege of Mainz; and a Tour on the
Rhine, Maine, and Neckar, 1814-1815. Edited by L. Dora Schmitz. (_Bohn’s
Standard Library._) London, 1882, 8vo.
Novels and Tales by Goethe. Elective Affinities; The Sorrows of Werther;
German Emigrants; The Good Women; and a Nouvelette, translated chiefly
by R. D. Boylan. (_Bohn’s Standard Library._) London, 1854, 8vo.
III. SINGLE WORKS.
Aus meinem Leben, Dichtung und Wahrheit. Abth. 1; and Th. 1-2 of
Abth. 2. [6 Th.] Tübingen und Stuttgart, 1811-22, 8vo.
---- Memoirs of Goethe: written by himself. (Biographical notices
[by the translator] of the principal persons mentioned in these
memoirs.) 2 vols. London, 1824, 8vo.
---- Goethe’s Boyhood, 1749-1764. Being the first five books
forming part 1 of Goethe’s Autobiography. Translated by J.
Oxenford. (_Bohn’s Shilling Library._) London, 1888, 8vo.
---- ---- Die Idylle von Sesenheim. Aus Göthe’s “Dichtung und
Wahrheit,” etc. Berlin, Leipzig [printed], 1872, 32mo.
---- ---- The New Paris. A child’s tale. [An extract from “Aus
meinem Leben.”] (_Tales from the German, by John Oxenford and C. A.
Feiling._) London, 1844, 8vo.
Beiträge zur Optik. 2 Stücke. Weimar, 1791-2, 8vo.
Der Bürgergeneral. Ein Lustspiel in einem Aufzuge [and in prose].
Berlin, 1793, 8vo.
Campaign in France, in the year 1792. Translated by R. Farie.
London, 1849, 12mo.
Claudine von Villa Bella. Ein Schauspiel [in prose] mit Gesang.
Berlin, 1776, 12mo.
---- ---- Arien und Gesänge des Singspiels Claudine von Villa Bella,
etc. Berlin, 1818, 8vo.
Clavigo. Ein Trauerspiel [in five acts and in prose]. Leipzig,
1774, 8vo.
Egmont. Ein Trauerspiel in fünf Aufzügen. Ächte Ausgabe. Leipzig,
1788, 8vo.
---- Another edition, with English notes, etc. London, 1864, 8vo.
Forming part of “Thimm’s Classical German Drama.”
---- Another edition. Annotated by E. A. Oppen. (_German Classics_,
etc.) London, 1868, 12mo.
---- Another edition. With explanatory notes and vocabulary by H. Apel.
London, 1868, 8vo.
---- Another edition. German Classics. Edited, with English notes, by C.
A. Buchheim. Vol. i. Egmont, a tragedy by Goethe. (_Clarendon Press
Series._) Oxford, 1869, 8vo.
---- Egmont. Translated from the German. Boston [Mass.], 1841, 12mo.
---- Egmont. Translated from the German. London, 1848, 16mo.
---- Egmont. Translated (with entr’ actes and songs by Beethoven, newly
arranged from the full score, and Schubert’s song “Freudvoll und
Leidvoll”) by A. D. Coleridge. With an illustration by J. E. Millais.
London, 1868, 8vo.
Des Epimenides Erwachen. Ein Festspiel [in one act and in verse. With a
preface signed K. L.] Berlin, 1815, 8vo.
Erwin und Elmire: ein Schauspiel mit Gesang. Frankfurt, 1775, 8vo.
Faust. Ein Fragment. Ächte Ausgabe. Leipzig, 1790, 8vo.
Faust. Eine Tragödie. Tübingen, 1808, 8vo.
Faust. Eine Tragödie. Zweyter Theil in fünf Acten. Stuttgart und
Tübingen, 1833, 8vo.
Faust in ursprünglicher Gestalt nach der Göchhausenschen Abschrift
herausgegeben von E. Schmidt. Weimar, 1887, 8vo.
---- Retsch’s Series of twenty-six outlines, illustrative of Goethe’s
tragedy of Faust, engraved from the originals by Henry Moses. London,
1820, 4to.
----Faustus: from the German of Goethe. [The greater part of Thl. 1.,
translated in verse, and connected by a prose narrative. With 27
illustrations in outline by Moritz Retzsch]. London, 1821, 4to.
---- Metrical version of the Walpurgisnacht, entitled, “May-Day Night,”
by Percy Bysshe Shelley. (_The Liberal. Verse and prose from the South_,
vol. i, pp. 121-137). London, 1822, 8vo.
Re-published in Shelley’s “Posthumous Poems,” 1824.
----Faust [Part the First]: a drama by Goethe; and Schiller’s Song of
the Bell. Translated by Lord F. L. Gower. London, 1823, 8vo.
----Faustus, from the German of Goethe, with Retzsch’s illustrations,
re-engraved by H. Moses. London, 1824, 4to.
----Faust, a Drama by Goethe, and Schiller’s Partition of the Earth, and
Song of the Bell, translated by Lord Francis Leveson Gower. New edition.
2 vols. London, 1825, 8vo.
----Faust. By Goethe. From the German. By John Anster. London, 1828,
8vo.
----Faust, a dramatic poem, translated into English prose, with remarks
on former translations, and notes, by the translator of Savigny’s “Of
the vocation of our age for legislation and jurisprudence”. [A.
Hayward]. London, 1833, 8vo.
----Faust; a dramatic poem translated into English prose, with remarks
on former translations, notes [and an appendix], by A. Hayward. Second
edition. London, 1834, 8vo.
----Faust [Part 1], a tragedy. Translated into English verse, with notes
and preliminary remarks, by J. S. Blackie. Edinburgh, 1834, 8vo.
----Faust [Part 1]; a tragedy; translated from the German by D. Syme.
Edinburgh, 1834, 12mo.
----Faustus [Part 1]; a tragedy. Translated from the German of Goethe.
London, 1834, 12mo.
---- Goethe’s Faust [Part 1], illustrated with outlines by M. Retzsch,
engraved by H. Moses. London, 1834, obl. 4to.
----Faustus [Part 1]; The Bride of Corinth; The First Walpurgis Night.
Translated from the German by J. Anster. London, 1835, 8vo.
---- The Faust [Part 1] of Goethe attempted in English rhyme, by R.
Talbot. London, 1835, 8vo.
---- Original Poems. Translations of Demetrius and three Scenes from
Faust. By C. Hodges. Munich, 1836, 12mo.
---- Goethe’s Faust [Part II], illustrated with fourteen outline
illustrations, by Moritz Retzsch. London, 1836, obl. 4to.
----Faust: a Tragedy, by Goethe; German text with English notes. London,
1836, 12mo.
----Faust, a tragedy in two parts, rendered into English verse. 2 vols.
London, 1838, 12mo.
Only 50 copies printed.
----Faust: a Tragedy. Part II, as completed in 1831, translated into
English verse (by John Macdonald Bell). Dumfries, 1838, 8vo.
----Faust: a Tragedy; translated into English verse by J. Birch;
embellished with engravings on steel (by J. Brain) after Moritz Retzsch.
2 pts. London, 1839-43, 8vo.
---- Goethe’s Faust. Mit gegenüberstehender englischer Uebersetzung und
erklärenden Noten versehen vom Honorable Robert Talbot. Erster Theil.
The Faust of Goethe. Part 1. Translated into English rhyme, by the Hon.
Robert Talbot. Second edition, revised and much corrected, with the
German text on alternate pages and additional notes. London, 1839, 8vo.
---- Goethe’s Faust. Parts I and II, translated into English from the
German, partly in the metres of the original, and partly in prose. By
Leopold J. Bernays. London, 1839, 8vo.
----Faust; Part II, translated from the German, partly in the metres of
the original, and partly in prose; with other poems, original and
translated, by Leopold J. Bernays. London, 1839, 8vo.
---- Ceracchi, a drama, and other poems. (Passages translated from the
Faust of Goethe.) By Samuel Naylor. Maidenhead [1839], 8vo.
Privately printed.
----Faust, by Goethe. Translated into English prose, with remarks on
former translations, and notes, by A. Hayward. Third edition. London,
1840, 8vo.
----Faust; a tragedy, translated into English verse by J. Hills. London,
1840, 16mo.
----Faust. Parts I and II. With other poems, original and translated, by
J. L. Bernays. Carlsruhe, 1840, 8vo.
----Faustus: a Dramatic Mystery; The Bride of Corinth; The First
Walpurgis Night. Translated from the German of Goethe by John Anster.
Frankfort a. M., 1841, 16mo.
----Faust [Part 1.], a Tragedy by Goethe. Translated by L. Filmore.
London, 1841, 8vo.
Forming part of the collection entitled, “Smith’s Standard
Library.”
----Faust [Part 1], translated into English verse by Sir George Lefevre.
London [1841], 12mo.
----Faust, a Tragedy. Part II. Rendered from the German by Archer
Gurney. London, 1842, 8vo.
----Faust: a Dramatic Poem. Translated into English prose by A. Hayward.
Reprinted from the third English edition, corrected and revised. Erfurt
and Leipzig, 1842, 16mo.
----Faust, a tragedy. Part II, as completed in 1831. Translated into
English verse [by John Macdonald Bell]. Second edition. London, 1842,
8vo.
---- Goethe’s Faust [Part 1], translated into English verse. By Sir G.
Lefevre. Second edition. Frankfort a. M[ain], 1843, 16mo.
---- Retzsch’s Twenty-six Outlines to Goethe’s Tragedy of Faust.
Engraved from the originals by Henry Moses, with an illustrative
analysis of the Tragedy. London, 1843, 4to.
---- Goethe’s Faust, complete. The forty outlines by M. Retzsch,
engraved on steel for J. Birch’s translation of Faust, by J. Brain.
London [1843], obl. 4to.
---- Goethe’s Faust (being the “preface” or opening to that poem, and
the “Prologue in Heaven.” The literal translation by G. F. Duckett,
etc.). [London? 1845?], 4to.
----Faust, a tragedy by Goethe. Translated into English verse by Lewis
Filmore. New edition. London, 1847, 12mo.
----Faust, a dramatic poem, by Goethe. Translated into English prose,
with notes, by A. Hayward. Fourth edition. London, 1847, 8vo.
----Faust, a tragedy. Translated by Captain Knox. London, 1847, 8vo.
----Faust, a tragedy by Goethe; and Selections from Schiller, translated
by Anna Swanwick. London, 1849, 8vo.
---- Dramatic Works of Goethe: comprising:--Faust, Iphigenia in Tauris,
etc. Translated by Anna Swanwick. (_Bohn’s Standard Library_, Goethe’s
Works, vol. iii.) London, 1850, 8vo.
----Faust, a drama, with glossary and notes. By Dr. Tiarks. London,
1850, 12mo.
----Faust, by Goethe. Translated into English prose, with notes, by A.
Hayward. Fifth edition. London, 1851, 12mo.
----Faust [Part 1]: a Tragedy. With copious notes, grammatical,
philological and exegetical, by Falck Lebahn. _Germ._ London, 1853, 8vo.
----Faust, translated by L. Filmore. (_Universal Library, Poetry_, vol.
i.) London, 1853, 8vo.
----Faust, by Goethe. Translated into English prose, with notes, by A.
Hayward. Boston [Mass.], 1854, 16mo.
---- Goethe’s Faust: the First Part, with an analytical translation, and
etymological and grammatical notes. By L. E. Peithmann. _Germ._ London
[1854], 16mo.
----Faust: a dramatic poem. Translated into English prose, with notes.
By A. Hayward. Sixth edition. London, 1855, 8vo.
---- Goethe’s Faust: the first part, with an analytical translation [or
rather vocabulary] and etymological and grammatical notes. By L. E.
Peithmann. Second edition, etc. _Germ._ London, 1856, 12mo.
----Faust, a tragedy. Translated into English prose from the German of
Goethe, with notes, by Charles T. Brooks. Boston [Mass.], 1856, 8vo.
----Faust, a tragedy, translated, with notes, by C. T. Brooks. Second
edition. Boston [Mass.], 1857, 8vo.
---- Goethe’s Faust [Part 1], with critical and explanatory notes by G.
G. Zerffi. _Germ._ London, 1859, 8vo.
----Faust: a tragedy. Translated into English verse from the German of
Goethe. By J. Galvan. Dublin, 1860, 12mo.
----Faust, by Goethe. Translated into English prose, with notes, by A.
Hayward. Seventh edition. London, 1860, 8vo.
----Faust, by Goethe. Translated into English verse by Lewis Filmore.
New edition. London, 1861, 8vo.
----Faust, translated from the German by v. Beresford. Cassel, 1862,
8vo.
---- Goethe’s Faust. Translated into English verse, by J. Cartwright.
London, 1862, 12mo.
----Faust. Part 1. With critical and explanatory notes, by G. G. Zerffi.
Second edition. London, 1862, 8vo.
---- Poems; original and translated. [From Goethe’s Faust, etc.] By
Theodore Martin. London, 1863, 8vo.
Printed for private circulation.
----Faustus. Part 1. From the German of Goethe. By John Anster. New
edition. London, 1864, 8vo.
----Faustus: the Second Part. From the German of Goethe. By John Anster.
London, 1864, 8vo.
----Faust. Translated by A. Hayward. Eighth edition. London, 1864, 8vo.
---- Translation of Goethe’s Faust. By W. B. Clarke. Freiburg, 1865,
8vo.
First and Second Parts.
----Faust [Part 1]: a dramatic poem. Translated into English verse by
Theodore Martin. Edinburgh, 1865, 8vo.
----Faust [Part 1], translated by L. Filmore. (_Masterpieces of Foreign
Literature._) London, 1866, 8vo.
----Faust [Part 1]: a dramatic poem. Translated into English verse by
Theodore Martin. Second edition. Edinburgh, 1866, 8vo.
----Faust, von Goethe. Der Tragödie, erster Thiel. With English notes.
New York, 1866, 12mo.
----Faust. From the German, by J. Anster. (_Tauchnitz Collection of
German Authors_, vol. v.) Leipzig, 1867, 12mo.
----Faust, a dramatic poem, translated by J. W. Grant. London, 1867,
8vo.
---- Historical Pictures [in verse] from the Campagna of Rome. With
lyrics from “Faust.” By J. W. Grant. London, 1867, 8vo.
----Faust, a dramatic poem. Translated into English verse by Theodore
Martin. Third edition. Edinburgh [printed] and London, 1870, 8vo.
----Faust: a tragedy. Translated in the original metres by Bayard
Taylor. 2 vols. London, 1871, 8vo.
----Faust. The first part. Translated, in the original metres, by Bayard
Taylor. Boston [Mass.], 1871, 8vo.
----Faust, a tragedy. Part 1. Translated in the original metres by
Bayard Taylor. Leipzig, 1872, 8vo.
----Faust. Translated, in the original metres, by Bayard Taylor. Boston
[Mass.], 1873, 8vo.
---- Goethe’s Faust. With copious notes, grammatical, philological, and
exegetical. By Falck Lebahn. New edition. _Germ._ London, 1872, 8vo.
----Faust, a tragedy. Translated in rime by C. K. Paul. London, 1873,
8vo.
----Faust. Translated into English prose, by A. Hayward. Ninth edition.
London 1874. 12mo.
---- Outlines to Goethe’s Faust. Twenty-six etchings by Moritz Retzsch.
[With illustrative text in English.] London, 1875, obl. 4to.
----Faust, a tragedy. Part II. Translated in the original metres by
Bayard Taylor. Leipzig, 1876, 8vo.
----Faust, by Goethe. Translated by Bayard Taylor. Illustrated by E.
Seibertz, A. Liezen-Mayer, and L. Hofmann. New York, 1876, fol.
----Faust von Goethe. Der Tragödie, erster Theil. With English notes.
New edition. New York, 1876, 12mo.
----Faust, a tragedy. The first part. Translated, in the original
metres, by T. J. Arnold. With 50 illustrations after original designs by
A. L. Mayer, and with vignettes, ornamental borderings, etc., by R.
Seitz. Munich, London [1877], fol.
----Faust; a tragedy. Translated by T. Martin. Illustrated by A. von
Kreling. London, 1877, fol.
----Faust. [Part 1.] Translated into English verse by C. K. Bowen.
London, 1878, 8vo.
---- The Faust of Goethe. In English verse. By W. H. Colquhoun. Part 1.
London, 1878, etc., 8vo.
No more published.
----Faust. A tragedy. Translated into English verse by W. D. Scoones.
London, 1879, 16 mo.
---- Goethe’s Faust. In two parts. Translated by Anna Swanwick. (_Bohn’s
Standard Library._) London, 1879, 8vo.
---- Goethe’s Faust. [Part 1.] Translated by A. Swanwick. With
illustrations after the designs of M. Retzsch. London, 1879 [1878], 8vo.
----Faust [Part 1.], a tragedy, by Goethe. Translated in the original
metres by Bayard Taylor. New edition. Boston, 1879, 12mo.
----Faust [Part 1.], a tragedy. Translated, chiefly in blank verse, with
introduction and notes, by J. A. Birds. London, 1880, 8vo.
----Faust: a tragedy. [Part the First.] Translated into English verse,
with notes and remarks, by J. S. Blackie. Second edition, largely
rewritten. London, 1880, 8vo.
---- Goethe’s Faust, Part 1. The German Text, with English notes, and
introductory remarks, by A. M. Selss. London, 1880, 8vo.
---- Goethe’s Faust: a Tragedy. Translated by Theodore Martin.
Illustrated by A. v. Kreling. London, 1880, fol.
----Faust [the First Part], from the German of Goethe, by T. E. Webb.
(_Dublin University Press Series._) Dublin, 1880, 8vo.
----Faust, a tragedy. Part 1. Translated in the original metres by
Bayard Taylor. Second edition. Leipzig, 1881, 8vo.
----Faust: a tragedy. Part 1., edited and annotated by F. H. Hedge,
metrical versions by Miss Swanwick. Part II., translated by Miss
Swanwick. New York, 1882, 8vo.
---- Goethe’s Faust. [Part 1.] The text, with English notes and verse
translations, by E. J. Turner and E. D. A. Morshead. _Germ._ London,
1882, 8vo.
---- Marlowe’s Faustus. Goethe’s Faust from the German, by John Anster.
With an introduction by Henry Morley. London, 1883, 8vo.
---- Goethe’s Faust, translated by Anna Swanwick. New York, 1883, 16mo.
----Faust: a tragedy. Translated by Bayard Taylor. With explanatory
notes. (_Chandos Classics._) London [1886], 8vo.
---- Goethe’s Faust. Translated from the German by J. Anster.
(_Routledge’s World Library._) London, 1886, 12mo.
----Faust, a dramatic poem by Goethe. Translated into English verse by
Sir Theodore Martin. Part 1. Eighth edition. Edinburgh, 1886, 12mo.
----Faust, a dramatic poem by Goethe. Translated by Sir Theodore Martin.
Edinburgh, 1886, 12mo.
---- The Tragedy of Faust, translated into English verse by F. Claudy.
Washington, 1886, 8vo.
----Faust. [Part I.] A Tragedy. Translated in the original metres by
Bayard Taylor. London [1886], 8vo.
Ward, Lock, & Co.’s “Popular Library of Literary Treasures.”
----Faust, with an introduction and notes by Jane Lee. Part I followed
by an appendix on part II. (_Macmillan’s Series of Foreign School
Classics._) London, 1886, 8vo.
---- 1. Marlowe’s Faustus. 2. Goethe’s Faust, the first and second parts
complete, from the German by J. Anster. With an introduction by H.
Morley. London, 1887 [1886], 8vo.
One of the “Excelsior Series.”
----Faust. Translated in the original metres, by Bayard Taylor.
Authorised edition. London [1887], 8vo.
Part of “The People’s Standard Library.”
Der Feier des fünfzigsten Dienstjahrs Herrn C. G. von Voigt gewidmet von
den Grossherzoglichen Bibliotheken zu Weimar und Jena. [Verses by
Goethe.] Weimar, 1816, 4to.
Zur Feier des zweyten Februars. [Verses by Goethe.] Weimar, 1823, 4to.
Die Fischerinn, ein Singspiel. [Weimar], 1782, 8vo.
Bei Allerhöchster Anwesenheit Ihro Majestät Maria Feodorowna in Weimar.
Als Festspiel Charade, etc. [In verse.] [Weimar?], 1818, 4to.
Bei Anwesenheit Ihro Majestät Maria Feodorowna in Weimar. Als Festspiel
Gemälde. Darstellung in zwei Abtheilungen [and in verse.] [Weimar?],
1818, 4to.
Die Geschwister. Ein Schauspiel [in one act and in prose]. Ächte
Ausgabe. Leipzig, 1787, 8vo.
---- The Sister, a drama, etc. (_Dramatic Pieces from the German, etc._)
Edinburgh, 1792, 8vo.
Götter, Helden, und Wieland. Eine Farce. Leipzig, 1774, 8vo.
Götz von Berlichingen mit der eisernen Hand. Ein Schauspiel [in five
acts, and in prose. First edition]. [Frankfurt-on-the-Main], 1773, 8vo.
---- Another edition. [Hamburg], 1773, 8vo.
The Museum copy contains a MS. Note by L. Tieck.
---- Goethe’s Götz von Berlichingen. Edited by H. A. Bull. (_Macmillan’s
Series of Foreign School Classics._) London, 1883, 8vo.
---- Goetz of Berlichingen with the Iron Hand: a Tragedy translated from
the German of Goethe by Walter Scott. London, 1799, 8vo.
---- Gortz of Berlingen [Goetz von Berlichingen] with the iron hand. An
historical drama of the fifteenth century [in five acts and in prose].
Translated from the German of Goethe [by Rose Lawrence, with a preface
by J. Currie]. Liverpool [1799], 8vo.
Der Gross-Cophta. Ein Lustspiel in fünf Aufzügen. Berlin, 1792, 8vo.
Hermann und Dorothea. Berlin, 1798, 8vo.
---- Zweite verbesserte Auflage. [With illustrations.] Brunswick, 1799,
8vo.
---- Goethe’s Hermann und Dorothea. With corresponding English
Hexameters on opposite pages, by F. B. Watkins. _Germ. and Eng._ London,
1875 [1874], 8vo.
---- Herman and Dorothea. A poem, from the German by T. Holcroft. [With
illustrations.] London, 1801, 8vo.
---- Herman and Dorothea, translated from the Hexameters of Goethe [by
W. Whewell]. [London? 1840?], 8vo.
---- Herman and Dorothea. Translated into English hexameters, from the
German hexameters of Goethe. With an introductory essay. [By Charles
Tomlinson.] London, 1849, 8vo.
---- A new edition, revised. London, 1887, 8vo.
---- A translation of the Hermann and Dorothea of Goethe in the old
English measure of Chapman’s Homer. By M. Winter. With notes. Dublin,
1850, 12mo.
---- Herman and Dorothea. From the German of Goethe, by J. Cochrane.
Oxford [1853], 8vo.
---- Hermann and Dorothea. Translated by T. C. Porter. New York, 1854,
8vo.
---- Goethe’s Hermann and Dorothea. Translated by H. Dale. Dresden,
1859, 8vo.
---- Goethe’s Hermann and Dorothea: translated into English verse [by J.
Cartwright]. London, 1862, 8vo.
---- Goethe’s Hermann and Dorothea. Translated [in verse] by E.
Frothingham. With illustrations. Boston [Mass.], 1870, 8vo.
---- Goethe’s Hermann and Dorothea. Translated by H. Dale. With
illustrations by W. Kaulbach and L. Hofmann. Munich [1874], 4to.
---- Goethe’s Hermann and Dorothea, translated into English hexameter
verse by M. J. Teesdale. London, 1874, 8vo.
---- Second edition. London, 1875, 8vo.
Jery und Bätely. Ein Singspiel. Ächte Ausgabe. Leipzig, 1790, 8vo.
Erste Nachricht von dem Fortgang des neuen Bergbaues zu Ilmenau, etc.
(Signed J. W. Goethe and C. G. Voigt.) Weimar, 1785, 8vo.
Iphigenie auf Tauris. Ein Schauspiel [in five acts, and in verse]. Ächte
Ausgabe. Leipzig, 1787, 8vo.
---- Goethe’s Iphigenie auf Tauris. With notes, vocabulary, and
interlinear translation of the first scenes. By M. Behr. London, 1850,
12mo.
---- Iphigenie auf Tauris. Annotated by E. A. Oppen. (_German
Classics._) London, 1868, 8vo.
---- Iphigenia in Tauris. Edited with notes in English by Henry Attwell.
_Germ._ London, 1885, 8vo.
---- Iphigenia in Tauris: a tragedy. [Translated by William Taylor.]
London, 1793, 8vo.
---- Iphigenia in Tauris. From the German by G. L. Hartwig. Berlin,
1841, 8vo.
---- Iphigenia in Tauris, a drama in five acts. Translated from the
German by G. J. Adler. New York, 1850, 12mo.
---- Iphigenia in Tauris, from the German of Goethe. With (translations
from the Italian and) original poems. Liverpool, 1851, 12mo.
Privately printed.
---- Iphigenia in Tauris. Translated from the German into English blank
verse by P. M. E. [_i.e._, Phillis Marion Ellis]. London, 1883, 8vo.
Only 50 copies; privately printed.
Die Leiden des jungen Werther’s. 2 Thle. Leipzig, 1774, 8vo.
---- The Sorrows of Werter; a German story. 2 vols. London, 1779, 12mo.
---- Second edition. 2 vols. London, 1780, 8vo.
---- Third edition. 2 vols. London, 1782, 16mo.
---- A new edition. London, 1785, 16mo.
---- The Sorrows of Werter; a German story. Translated from the French
edition of M. Aubry [or rather of Count F. W. K. Schmettau?] by J.
Gifford. 2 vols. London, 1789, 8vo.
---- The Sorrows of Werter; translated from the German of Goethe, by W.
Render. (Appendix containing an account of a conversation which the
translator had with Werter, a few days preceding his death). London,
1801, 12mo.
---- The Sorrows of Werter; translated by F. Gotzberg. London, 1802,
8vo.
---- The Sorrows of Werter. Translated from the German. By Dr. Pratt.
The second edition. London [1813], 8vo.
---- The Sorrows of Werter. London [1815?], 12mo.
---- The Sorrows of Werter. [Translated by S. J. Pratt.] Chiswick, 1823,
16mo.
---- The Sorrows of Werter. A new edition. Belfast, 1844, 12mo.
---- The Sorrows of Werter. (_Illustrated Literature of all Nations_,
No. 14.) London [1852], 4to.
---- Classic Tales: comprising the most esteemed Works of Imagination.
Rasselas, Vicar of Wakefield ... Sorrows of Werter, etc. London, 1852,
8vo.
---- The Sorrows of Werther, from the German of Goethe [translated by F.
Gotzberg]. (_Cassell’s National Library_, vol. xxxvi.) London, 1886,
8vo.
---- ---- Essay on Novels, a poetical epistle. With six sonnets from
Werter. By Alexander Thomson. Edinburgh, 1793, 4to.
Bey Allerhöchster Anwesenheit Ihro Majestät der Kaiserin Mutter Maria
Feodorowna in Weimar. Maskenzug. Stuttgard, 1819, 8vo.
Maskenzug zum 30sten Januar 1809. [In verse.]--[1809], 8vo.
J. W. von Goethe.... Versuch die Metamorphose der Pflanzen zu erklären.
Gotha, 1790, 8vo.
Die Mitschuldigen. Ein Lustspiel [in three acts and in verse]. Ächte
Ausgabe. Leipzig, 1787, 8vo.
Nachricht von dem ilmenauischen Bergwesen. (_Goethe und die lustige Zeit
in Weimar, von A. Diezmann._) Leipzig, 1857, 8vo.
Die Natürliche Tochter. Trauerspiel [in five acts and in verse].
Tübingen, 1804, 16mo.
Neueröffnetes moralisch-politisches Puppenspiel. Leipzig und Frankfurt,
1774, 8vo.
Goethe’s Novel. Translated from the German. London, 1837, 12mo.
Paläophron und Neoterpe. Ein Festspiel zur Feier 24 Octobers 1800. An
die Herzogin Amalia. Nach einer kleinen theatralischen Vorstellung
gesprochen. (_Kleine Schriften_, Bdch. 1.) Weimar, 1801, 12mo.
---- Paläophron and Neoterpe; a Masque. From the German of Goethe, by
the translator of Herman and Dorothea, etc. [J. C. Mellish?]. Weimar,
1801, 4to.
Pandora. Ein Taschenbuch für das Jahr 1810. Wien und Triest [1810],
16mo.
Pflanzen und Gebirgsarten von Marienbad gesammelt und beschrieben von
seiner königlichen Hoheit, dem Prinzen Friedrich, und von J. W. von
Goethe, etc. Prag, 1837, 8vo.
Philipp Hackert. Biographische Skizze, meist nach dessen eigenen
Aufsätzen entworfen von Goethe. Tübingen, 1811, 8vo.
Göthe’s Reinecke Fuchs. Ein Gedicht in zwölf Gesängen. Berlin [1794],
8vo.
---- Reynard the Fox; after the German version of Goethe. By T. J.
Arnold. With illustrations from the designs of W. v. Kaulbach. London,
1860 [1859], 4to.
---- Reynard the Fox, after the German version of Goethe, with
illustrations by J. Wolf. London, 1853[-55], 8vo.
---- Reynard the Fox. After the German version of Goethe, by A. D.
Ainslie. London, 1886, 8vo.
---- Reynard the Fox after the version of Goethe, by T. J. Arnold. With
sixty illustrations from the designs of W. von Kaulbach, and twelve
engravings by J. Wolf. London, 1887 [1886], 8vo.
Goethe’s Roman Elegies, translated into English verse, in the original
metre. By L. Noa. Boston [1876], 8vo.
Sammlung zur Kenntniss der Gebirge von und um Karlsbad. Angezeigt und
erläutert von Goethe. Karlsbad, 1807, 8vo.
Scherz, List und Rache. Ein Singspiel. Ächte Ausgabe. Leipzig, 1790,
8vo.
Stella. Ein Schauspiel für Liebende in fünf Akten. Berlin, 1776, 8vo.
---- Stella, translated from the German [by Benjamin Thompson]. London,
1798, 8vo.
The Tale. Translated by T. Carlyle. [With preface signed O. Y.--_i.e._,
Oliver York.] Boston, 1877, 16mo.
Torquato Tasso. Ein Schauspiel [in five acts and in verse]. Leipzig,
1790, 8vo.
---- Torquato Tasso; a dramatic poem, from the German of Goethe, with
other German poetry. Translated by C. Des Voeux. London, 1827, 8vo.
---- Second edition. Weimar, 1833, 8vo.
---- Torquato Tasso, from the German of Goethe and other poems,
translated and original. By M. A. H. London, 1856, 8vo.
---- Goethe’s Torquato Tasso. Translated into English verse [by
C.--_i.e._, J. Cartwright]. London, 1861, 8vo.
Der Triumph der Empfindsamkeit. Eine dramatische Grille [in six acts and
in prose]. Leipzig, 1787, 8vo.
Ueber Kunst und Alterthum. 6 Bde. Stuttgard, 1816-32, 8vo.
Each Bd. is in 3 pts. separately paged, excepting Bd. 6, which has
a continuous pagination throughout.
Die Wahlverwandtschaften. Ein Roman. 2 Thle. Tübingen, 1809, 8vo.
Was wir bringen. Vorspiel bey Eröffnung des neuen Schauspielhauses zu
Lauchstädt. Tübingen, 1802, 8vo.
West-oestlicher Divan. Stuttgard, 1819, 8vo.
---- Goethe’s West-Easterly Divan. Translated, with introduction and
notes, by J. Weiss. Boston, 1877, 16mo.
Wilhelm Meisters Lehrjahre. Ein Roman. 4 Bde. Berlin, 1795-96, 16mo.
---- Wilhelm Meister’s Apprenticeship. A novel. From the German of
Goethe. [Translated by Thomas Carlyle.] 3 vols. Edinburgh, 1824, 8vo.
---- Wilhelm Meister’s Apprenticeship and Travels. [Translated by Thomas
Carlyle.] A new edition, revised. London, 1842, 12mo.
---- Wilhelm Meister’s Apprenticeship. A novel from the German of Goethe
translated by R. D. Boylan. (_Bohn’s Standard Library._) London, 1855,
8vo.
---- Wilhelm Meister’s Apprenticeship. From the German by Eleanor Grove.
(_Tauchnitz Collection of British Authors_, vols. xxv., xxvi.) 2 vols.
Leipzig, 1873, 12mo.
Wilhelm Meisters Wanderjahre oder die Entsagenden. Ein Roman. Th. 1.
Stuttgard und Tübingen, 1821, 8vo.
This novel was finished in 1829, and appeared in 3 vols. in the
“Werke,” 1830, Bde. 21-23.
---- Wilhelm Meister’s Travels. (_German Romance_, vol iv.) Edinburgh,
1827, 8vo.
---- Wilhelm Meister’s Travels. Translated [by A. H. Gunlogson] from the
enlarged edition of the German, and edited by E. Bell. (_Bohn’s Standard
Library._) London, 1882, 8vo.
Winkelmann und sein Jahrhundert. In Briefen und Aufsätzen herausgegeben
von Goethe. Tübingen, 1805, 8vo.
Aus Goethe’s Knabenzeit, 1757-59. Mittheilungen aus einem
Original-Manuscript der Frankfurter Stadt-bibliothek. Erläutert und
herausgegeben von H. Weismann. Frankfurt a. M., 1846, 16mo.
Zur Farbenlehre. Nebst einem Hefte mit sechzehn Kupfertafeln. 2 Bd.
Tübingen, 1810, 8vo.
---- Theory of Colours; translated from the German, with notes, by C. L.
Eastlake. London, 1840, 8vo.
Zur Naturwissenschaft überhaupt, besonders zur Morphologie. 2 Bde.
Stuttgard und Tübingen, 1817-1823, 8vo.
IV. POEMS.
Göthe’s neueste Gedichte. Mit Kupfern. Berlin, 1800, 8vo.
Goethe’s Gedichte. Tübingen, 1812, 8vo.
Goethe’s Gedichte. 2 Thl. Stuttgart und Tübingen, 1815, 12mo.
Goethe’s Gedichte. Neue Auflage. 2 Thl. Stuttgart und Tübingen,
1821, 8vo.
Goethe’s Gedichte. 2 Thl. Stuttgart, 1829, 8vo.
Goethe’s ältestes Liederbuch. Herausgegeben von L. Tieck. Berlin,
1844, 8vo.
Goethe’s Gedichte, erläutert und auf ihre Veranlassungen, Quellen
und Vorbilder zurückgeführt, nebst Variantensammlung und Nachlese,
von H. Viehoff. 3 Thl. Düsseldorf und Utrecht, 1846-53, 16mo.
Goethe’s sämmtliche Gedichte. Kritische Textrevision von H. Kurz. 2
Bd. Hildburghausen, 1869, 8vo.
Goethe’s Gedichte, erläutert von H. Viehoff. Zweite Auflage. 2 Bd.
Stuttgart, 1869-70, 16mo.
Goethe’s Gedichte. Mit einem bisher noch nicht gedruckten Sonett
und Epigramme. Für deutsche Frauen ausgewählte von A. Lutze.
Coethen, 1870, fol.
Goethe’s Gedichte. Diamant-Ausgabe mit Illustrationen. Zweite
Auflage. Berlin, 1870, 16mo.
Gedichte. Mit Zeichnungen von L. Pietsch, F. Piloty, etc. Berlin,
1871, 8vo.
Goethe’s Minor Poems. Selected, annotated, and rearranged by A. M.
Selse. _Germ._ London, 1875, 8vo.
Select Poems of Goethe, edited by E. A. Sonnenschein and A.
Pogatscher. _Germ._ (_Annotated German Classics._) London, 1883,
8vo.
Specimens of the German Lyric Poets; consisting of translations in
verse from the works of Bürger, Goethe, etc. Second edition.
London, 1823, 8vo.
Employment. [Poems translated from the German of Schiller and
Goethe.] Bath, 1828, 8vo.
The Song of the Bell, and other poems from the German of Goethe,
Schiller, Bürger, etc. Translated by J. J. Campbell. Edinburgh,
1836, 8vo.
Select Minor Poems, from the German of Goethe and Schiller.
(_Specimens of Foreign Standard Literature, ed. by George Ripley_,
vol. iii.) Boston, 1839, 12mo.
The Drama of a Life. [In 10 scenes. In verse. Followed by poems,
and translations from Goethe.] By John Edmund Reade. [Bath], 1840,
8vo.
Designs and Border Illustrations to Poems of Göthe, Schiller,
Uhland, etc. With translations. London, 1841, fol.
German Ballads, Songs, etc. Comprising translations from Schiller,
Uhland, Bürger, Goethe, etc. London [1845], 12mo.
English Hexameter Translations from Schiller, Göthe, Homer, etc.
London, 1847, 8vo.
Metrical translations from the German of Goethe, Schiller, Uhland,
Heine, and others, by a German lady. Hamburg, 1852, 8vo.
The Poems of Goethe translated in the original metres, with a
sketch of Goethe’s life. By E. A. Bowring. London, 1853, 8vo.
The Minor Poetry of Goethe. A selection from his songs, ballads,
and other lesser poems. Translated by W. G. Thomas. Philadelphia,
1859, 4to.
Poems and Ballads. Translated by W. E. Aytoun and Theodore Martin.
Edinburgh, 1859, 8vo.
---- Second edition. Edinburgh, 1860, 8vo.
Goethe’s Minor Poems. Translated by E. Chawner, etc. London [1866],
8vo.
The Poems of Goethe: translated in the original metres, by E. A.
Bowring. Second edition, etc. (_Bohn’s Standard Library._) London,
1874, 8vo.
Favourite Poems. Translated by W. E. Aytoun and Theodore Martin.
Illustrated. Boston 1877, 16mo.
Goethe’s Poems translated in the original metres by P. Dyrsen. New
York, 1878, 8vo.
The Poems of Goethe, consisting of his ballads and songs, and
miscellaneous selections, done into English verse, by W. Gibson.
London, 1883, 8vo.
V. TRANSLATIONS.
Benvenuto Cellini. Eine Geschichte des xvi Jahrhunderts. (Nach dem
Italien’schen. Von J. W. von Göthe.) 3 Bde. Braunschweig, 1798,
8vo.
---- Another edition. Leben des Benvenuto Cellini, etc. 2 Thl.
Tübingen, 1803, 8vo.
Mahomet. Trauerspiel in fünf Aufzügen, nach Voltaire. Tübingen,
1802, 8vo.
Rameau’s Neffe. Ein Dialog von Diderot. Übersetzt von Goethe.
Leipzig, 1805, 8vo.
Tancred. Trauerspiel in fünf Aufzügen, nach Voltaire, von Goethe.
Tübingen, 1802, 8vo.
Thomas Carlyle Leben Schillers. Aus dem Englischen. Eingleitet
durch Goethe. Frankfurt am Main, 1830, 8vo.
Die Vögel. Nach dem Aristophanes. Ächte Ausgabe. Leipzig, 1787,
8vo.
VI. MISCELLANEOUS.