This authoritative edition, which offers Peter Salm’s wonderfully readable translation as well as the original German on facing pages, brings us Faust in a vital, rhythmic American idiom that carefully preserves the grandeur, integrity, and poetic immediacy of Goethe’s words.
As an old servant, as confidant, counsellor, manager, and housekeeper, Barbara assumed the privilege of opening seals; and this evening she had the less been able to restrain her curiosity, as the favor of the open-handed gallant was more a matter of anxiety with herself than with her mistress.
This volume does not have to be studied to be appreciated. The author's subjective theory of colors permits him to speak persuasively of color harmony and aesthetics. These notions may evoke a positive response on their merits, but even among those who regard them as pure fantasy, the grace and style of Goethe's exposition provide abundant rewards. Although his scientific reasoning on this subject has long since been dismissed, modern readers continue to appreciate the beauty and sweep of Goethe's conjectures regarding the connection between color and philosophical ideas. In addition, he offers insights into early 19th-century beliefs and modes of thought as well as a taste of European life during the Enlightenment.
Includes:Selected poemsFour complete dramas: Faust Part I, Egmont, Iphigenia in Tauris, and Torquato TassoThe complete novel Wilhelm Meister’s ApprenticeshipA selection from the travel journal Italian JourneySelected essays on art and literatureSelected essays on philosophy and scienceAn extensive introduction to Goethe’s life and worksA chronology of Goethe’s life and timesA note on the texts and translations
“Greenberg has accomplished a magnificent literary feat. He has taken a great German work, until now all but inaccessible to English readers, and made it into a sparkling English poem, full of verve and wit. Greenberg's translation lives; it is done in a modern idiom but with respect for the original text; I found it a joy to read.”—Irving Howe (on the earlier edition)
* Beautifully illustrated with images relating to Goethe’s life and works
* Concise introductions to the novels, plays and other works
* ALL the novels and 12 plays, including rare plays appearing for the first time in digital print
* Images of how the books were first printed, giving your eReader a taste of the original texts
* Excellent formatting of the texts
* Features Abraham Hayward’s 30 beautiful illustrations for FAUST
* Includes the rare and often missed-out-of-collections Part Two of FAUST
* Special chronological and alphabetical contents tables for the poetry
* Easily locate the poems you want to read
* Non-fiction works, including the famous THEORY OF COLOUR
* Special criticism section, with essays by writers such as Ralph Waldo Emerson and Sir Walter Scott, as evaluating Goethe’s contribution to literature
* Features an autobiography and a bonus biography – discover Goethe’s literary life
* Scholarly ordering of texts into chronological order and literary genres
THE SORROWS OF YOUNG WERTHER
WILHELM MEISTER’S APPRENTICESHIP
WILHELM MEISTER’S JOURNEYMAN YEARS
The Short Stories
THE GOOD WOMEN
THE WAYWARD LOVER
THE FELLOW CULPRITS
GOETZ VON BERLICHINGEN
THE BROTHER AND SISTER
IPHIGENIA IN TAURIS
FAUST: PART ONE
THE NATURAL DAUGHTER
FAUST: PART TWO
THE POEMS OF GOETHE
LIST OF POEMS IN CHRONOLOGICAL ORDER
LIST OF POEMS IN ALPHABETICAL ORDER
THEORY OF COLOURS
MAXIMS AND REFLECTIONS
GOETHE – THE WRITER by Ralph Waldo Emerson
GOETHE by C. E. Vaughan
GOETHE by John Cowper Powys
GOETHE’S FAUST by George Santayana
SHAKESPEARE AND GOETHE by David Masson
GOETHE’S THEORY OF COLORS by John Tyndall
EXTRACTS OF CORRESPONDENCE by Sir Walter Scott
TRUTH AND FICTION RELATING TO MY LIFE
THE LIFE OF GOETHE by Calvin Thomas
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Goethe's themes of unrequited love, the pain of rejection, deepening despair, and their tragic consequences are as relevant today as when the novel was first published in 1774. His hugely influential novel informed the writing of, among others, Franz Kafka and Thomas Mann.
In translating The Sufferings of Young Werther, Corngold follows the German text closely, never knowingly using a word that was not current in English at the time the novel was written and yet maintaining a modern grace and flair. The result is an eagerly awaited translation that speaks to our time through the astonishing liveliness of Goethe's language—as well through the translator's own.
From the Trade Paperback edition.
When Werther dances with the beautiful Lotte, it seems as though he is in paradise. It is a joy, however, that can only ever be short-lived. Engaged to another man, she tolerates Werther's adoration and encourages his friendship. She can never return his love.
Broken-hearted, he leaves her home in the country, trying to escape his own desire. But when he receives a letter telling him that she is finally married, his passion soon turns to destructive obsession.
And as his life falls apart, Werther is haunted by one certainty:
He has lost his reason for living.
And thou, good soul, who sufferest the same distress as he endured once, draw comfort from his sorrows; and let this little book be thy friend, if, owing to fortune or through thine own fault, thou canst not find a dearer companion.
Told through lyrical and impassioned letters to his friend Wilhelm, this novel follows the ardent young Werther to the German countryside, where he delves into artistic pursuits and basks in the simplicity of village life. But Werther’s tranquility is shattered when he meets the captivating Charlotte at a ball in a nearby town. Every bit his equal in temperament and intellectual interests, Charlotte quickly becomes Werther’s singular obsession. He falls inextricably in love despite her engagement to another man. Overtaken by his affection for Charlotte and unable to extricate himself from the unrequited love, Werther must make peace between his artistic temperament and the harsh realities of the world.
Among the first—and most notable—examples of Germany’s Sturm und Drang movement, The Sorrows of Young Werther was enormously influential upon its publication in 1774, creating a cult of personality around the tragic figure of Werther and causing a sensation in Europe’s literary community.
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Unlike most archaic translations of Faust, BookCaps puts a fresh spin on Goethe's classic by using language modern readers won't struggle to make sense of.
The original English text is also presented in the book, along with a comparable version of both text.
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There are few modern poems of any country so perfect in their kind as the "Hermann and Dorothea" of Goethe. In clearness of characterization, in unity of tone, in the adjustment of background and foreground, in the conduct of the narrative, it conforms admirably to the strict canons of art; yet it preserves a freshness and spontaneity in its emotional appeal that are rare in works of so classical a perfection in form.
The basis of the poem is a historical incident. In the year 1731 the Archbishop of Salzburg drove out of his diocese a thousand Protestants, who took refuge in South Germany, and among whom was a girl who became the bride of the son of a rich burgher. The occasion of the girl's exile was changed by Goethe to more recent times, and in the poem she is represented as a German from the west bank of the Rhine fleeing from the turmoil caused by the French Revolution. The political element is not a mere background, but is woven into the plot with consummate skill, being used, at one point, for example, in the characterization of Dorothea, who before the time of her appearance in the poem has been deprived of her first betrothed by the guillotine; and, at another, in furnishing a telling contrast between the revolutionary uproar in France and the settled peace of the German village.
The characters of the father and the minister Goethe took over from the original incident, the mother he invented, and the apothecary he made to stand for a group of friends. But all of these persons, as well as the two lovers, are recreated, and this so skillfully that while they are made notably familiar to us as individuals, they are no less significant as permanent types of human nature. The hexameter measure which he employed, and which is retained in the present translation, he handled with such charm that it has since seemed the natural verse for the domestic idyl—witness the obvious imitation of this, as of other features of the poem, in Longfellow's "Evangeline."
Mr. Brooks was the first to undertake the task, and the publication of his translation of the First Part (in 1856) induced me, for a time, to give up my own design. No previous English version exhibited such abnegation of the translator's own tastes and habits of thought, such reverent desire to present the original in its purest form. The care and conscience with which the work had been performed were so apparent, that I now state with reluctance what then seemed to me to be its only deficiencies,—a lack of the lyrical fire and fluency of the original in some passages, and an occasional lowering of the tone through the use of words which are literal, but not equivalent. The plan of translation adopted by Mr. Brooks was so entirely my own, that when further residence in Germany and a more careful study of both parts of Faust had satisfied me that the field was still open,—that the means furnished by the poetical affinity of the two languages had not yet been exhausted,—nothing remained for me but to follow him in all essential particulars. His example confirmed me in the belief that there were few difficulties in the way of a nearly literal yet thoroughly rhythmical version of Faust, which might not be overcome by loving labor. A comparison of seventeen English translations, in the arbitrary metres adopted by the translators, sufficiently showed the danger of allowing license in this respect: the white light of Goethe's thought was thereby passed through the tinted glass of other minds, and assumed the coloring of each. Moreover, the plea of selecting different metres in the hope of producing a similar effect is unreasonable, where the identical metres are possible.
The morn arrived; his footstep quickly scared
The gentle sleep that round my senses clung,
And I, awak'ning, from my cottage fared,
And up the mountain side with light heart sprung;
At every step I felt my gaze ensnared
By new-born flow'rs that full of dew-drops hung;
The youthful day awoke with ecstacy,
And all things quicken'd were, to quicken me.
And as I mounted, from the valley rose
A streaky mist, that upward slowly spread,
Then bent, as though my form it would enclose,
Then, as on pinions, soar'd above my head:
My gaze could now on no fair view repose,
in mournful veil conceal'd, the world seem'd dead; The clouds soon closed around me, as a tomb, And I was left alone in twilight gloom.
At once the sun his lustre seem'd to pour,
And through the mist was seen a radiant light;
Here sank it gently to the ground once more,
There parted it, and climb'd o'er wood and height.
How did I yearn to greet him as of yore,
After the darkness waxing doubly bright!
The airy conflict ofttimes was renew'd,
Then blinded by a dazzling glow I stood.
Ere long an inward impulse prompted me
A hasty glance with boldness round to throw;
At first mine eyes had scarcely strength to see,
For all around appear'd to burn and glow.
Then saw I, on the clouds borne gracefully,
A godlike woman hov'ring to and fro.
For more than two centuries the very title of this book has evoked the sensitivity of youth, the suffering of the artist, the idea of a hero too full of love to live. When it was first published in Germany, in 1774, The Sorrows of Young Werther created a sensation. Banned and condemned but embraced—especially by the young—it has continued to captivate.
Now Burton Pike’s startlingly new translation expresses as never before all the anguish, ideas, and ardor of this seminal, iconic novel. And his Introduction reveals both Goethe’s inspirations and his influence—on works ranging from Madame Bovary to Frankenstein and beyond.
Here is the classic story of Werther, a young man “seeking the infinite” in an art he cannot master and a woman he cannot have—the prototype of the Romantic hero in a work that anticipated the Romantic Age. Here is a bold new look at a masterpiece that has changed lives and, like its beloved hero, will never grow old.
From the Hardcover edition.
Part I of Faust, which Goethe published twenty-four years before its sequel, deals with Faust's journey through the everyday world and his love for Gretchen. It is made especially memorable in this translation, which Victor Lange, Chairman of the Department of German at Princeton, has called "certainly the most usable and most appealing Faust translation in English. It is modern without losing the dignity of the original and is perhaps the only translation that conveys something of the freshness and poetic vitality of Goethe's own speech."
Capturing the sense, poetic variety, and tonal range of the German original in present-day English, Stuart Atkins’s translation presents the formal and rhythmic dexterity of Faust in all its richness and beauty, without recourse to archaisms or interpretive elaborations.
Featuring a new introduction by David Wellbery, this Princeton Classics edition of Faust is the definitive English version of a timeless masterpiece.
Young Werther bares his soul to readers in the form of alternately joyful and despairing letters about his unrequited love. His story marks the initial great achievement of what has since been termed "confessional" literature; Goethe, who based the story in part on his own unhappy love affair, acknowledged a sense of freedom upon completing the work. A sensitive exploration of the mind of a young artist, the tale addresses age-old questions — the meaning of love, of death, and the possibility of redemption — in the exuberant language of youth.
"Werther appeared to seize the hearts of men in all quarters of the world, and to utter for them the word which they had long been waiting to hear," observed the Victorian sage Thomas Carlyle. Indeed, Goethe's portrayal of Zerrissenheit, "the state of being torn apart, in which a character struggles to reconcile his artistic sensibilities with the demands of the objective world, proved tremendously influential to subsequent writers, and The Sorrows of Young Werther continues to speak to modern readers.
This convenient dual-language edition, spanning a wide range of styles, forms, and moods, allows readers to savor a rich selection of the poet's verse in the original German — from "An den Sclaf" ("To Sleep"), written when he was 18, to his last great poem, "Vermächtnis" ("Legacy"), written when he was 80. Several poems from the 1819 volume West-östlicher Divan (Occidental-Oriental Divan) are presented. Excellent line-for-line English translations on facing pages accompany such masterworks as "Prometheus," typical of the Sturm and Drang (storm and stress) period; "Rastlose Liebe" ("Restless Love") and "An den Mond" ("To the Moon"), lyric pieces of intense beauty; and the narrative ballads "Der Fischer" ("The Fisherman") and "Erlkönig" ("Elf King"). Included among the 96 other works are these poems: "Auf dem See" ("On the Lake"); "Zigeunerlied" ("Gypsy Song"); "Jägers Abendlied" ("Huntsman's Evening Song"); "Grenzen der Menschheit" ("Limitations of Humanity"); "Der Zauberiehrling" ("The Sorcerer's Apprentice"); and "An Werther" ("To Werther").
For this edition, translator Stanley Appelbaum has provided an informative introduction and a commentary on each poem, which will prove invaluable to students, teachers, and general readers.
As an old servant, as confidant, counsellor, manager, and housekeeper, Barbara assumed the privilege of opening seals; and this evening she had the less been able to restrain her curiosity, as the favor of the open-handed gallant was more a matter of anxiety with herself than with her mistress. On breaking up the packet, she had found, with unfeigned satisfaction, that it held a piece of fine muslin and some ribbons of the newest fashion, for Mariana; with a quantity of calico, two or three neckerchiefs, and a moderate rouleau of money, for herself. Her esteem for the absent Norberg was of course unbounded: she meditated only how she might best present him to the mind of Mariana, best bring to her recollection what she owed him, and what he had a right to expect from her fidelity and thankfulness.
The muslin, with the ribbons half unrolled, to set it off by their colors, lay like a Christmas present on the small table; the position of the lights increased the glitter of the gilt; all was in order, when the old woman heard Mariana's step on the stairs, and hastened to meet her. But what was her disappointment, when the little female officer, without deigning to regard her caresses, rushed past her with unusual speed and agitation, threw her hat and sword upon the table, and walked hastily up and down, bestowing not a look on the lights, or any portion of the apparatus.
Although rarely staged in its entirety, it is the play with the largest audience numbers on German-language stages. Faust is Goethe's most famous work and considered by many to be one of the greatest works of German literature.
The principal characters of Faust Part One include:
Heinrich Faust, a scholar, sometimes said to be based on the real life of Johann Georg Faust, or on Jacob Bidermann's dramatized account of the Legend of the Doctor of Paris, Cenodoxus
Mephistopheles, a Devil (Demon)
Gretchen, Faust's love (short for Margaret; Goethe uses both forms)
Marthe, Gretchen's neighbour
Valentin, Gretchen's brother
Wagner, Faust's famulus
Faust Part One takes place in multiple settings, the first of which is heaven. Mephistopheles makes a bet with God: he says that he can lure God's favourite human being (Faust), who is striving to learn everything that can be known, away from righteous pursuits. The next scene takes place in Faust's study where Faust, despairing at the vanity of scientific, humanitarian and religious learning, turns to magic for the showering of infinite knowledge.
He suspects, however, that his attempts are failing. Frustrated, he ponders suicide, but rejects it as he hears the echo of nearby Easter celebrations begin. He goes for a walk with his assistant Wagner and is followed home by a stray poodle (the term then meant a medium-to-big-size dog, similar to a sheep dog).
In Faust's study, the poodle transforms into the devil (Mephistopheles). Faust makes an arrangement with the devil:
the devil will do everything that Faust wants while he is here on Earth, and in exchange Faust will serve the devil in Hell. Faust's arrangement is that if he is pleased enough with anything the devil gives him that he wants to stay in that moment forever, then he will die in that moment.
When the devil tells Faust to sign the pact with blood, Faust complains that the devil does not trust Faust's word of honor.
In the end, Mephistopheles wins the argument and Faust signs the contract with a drop of his own blood. Faust has a few excursions and then meets Margaret (also known as Gretchen). He is attracted to her and with jewellery and help from a neighbor, Martha, the devil draws Gretchen into Faust's arms. With influence from the devil, Faust seduces Gretchen. Gretchen's mother dies from a sleeping potion, administered by Gretchen to obtain privacy so that Faust could visit her. Gretchen discovers she is pregnant. Gretchen's brother condemns Faust, challenges him and falls dead at the hands of Faust and Mephistopheles.
Gretchen drowns her illegitimate child and is convicted of the murder. Faust tries to save Gretchen from death by attempting to free her from prison. Finding that she refuses to escape, Faust and the devil flee the dungeon, while voices from Heaven announce that Gretchen shall be saved – "Sie ist gerettet" – this differs from the harsher ending of Urfaust – "Sie ist gerichtet!" – "she is condemned."
It was reported that members of the first-night audience familiar with the original Urfaust version cheered on hearing the amendment.
Perhaps the most profound treatment of the legend in Goethe's Faust, a dramatic poem that incorporates the story's themes of wickedness and mysticism and draws on an immense range of theological, mythological, philosophical, political, and other cultural sources.
The present volume reproduces Part One (first published in 1808), which tells of Faust's despair, his pact with Mephistopheles and his love for Gretchen. Containing a vast array of poetic styles — epic, lyric, dramatic, as well as operatic and balletic elements — the poem is one of the supreme achievements of Western literature.
Mr. Brooks was the first to undertake the task, and the publication of his translation of the First Part (in 1856) induced me, for a time, to give up my own design. No previous English version exhibited such abnegation of the translator's own tastes and habits of thought, such reverent desire to present the original in its purest form. The care and conscience with which the work had been performed were so apparent, that I now state with reluctance what then seemed to me to be its only deficiencies,Ña lack of the lyrical fire and fluency of the original in some passages, and an occasional lowering of the tone through the use of words which are literal, but not equivalent. The plan of translation adopted by Mr. Brooks was so entirely my own, that when further residence in Germany and a more careful study of both parts of Faust had satisfied me that the field was still open,Ñthat the means furnished by the poetical affinity of the two languages had not yet been exhausted,Ñnothing remained for me but to follow him in all essential particulars. His example confirmed me in the belief that there were few difficulties in the way of a nearly literal yet thoroughly rhythmical version of Faust, which might not be overcome by loving labor. A comparison of seventeen English translations, in the arbitrary metres adopted by the translators, sufficiently showed the danger of allowing license in this respect: the white light of Goethe's thought was thereby passed through the tinted glass of other minds, and assumed the coloring of each. Moreover, the plea of selecting different metres in the hope of producing a similar effect is unreasonable, where the identical metres are possible.
Goethe, 24 years old at the time, finished Werther in six weeks of intensive writing in January–March 1774. It instantly put him among the first international literary celebrities, and remains the best known of his works to the general public. Towards the end of Goethe's life, a personal visit to Weimar became a crucial stage in any young man's Grand Tour of Europe.
Soest. Come, shoot away, and have done with it! You won't beat me! Three black rings, you never made such a shot in all your life. And so I'm master for this year.
Jetter. Master and king to boot; who envies you? You'll have to pay double reckoning; 'tis only fair you should pay for your dexterity.
Buyck. Jetter, I'll buy your shot, share the prize, and treat the company. I have already been here so long, and am a debtor for so many civilities. If I miss, then it shall be as if you had shot.
Soest. I ought to have a voice, for in fact I am the loser. No matter! Come, Buyck, shoot away.
Buyck (shoots). Now, corporal, look out!—One! Two! Three! Four!
Soest. Four rings! So be it!
All. Hurrah! Long live the King! Hurrah! Hurrah!
These good aspects, which the astrologers managed subsequently to reckon very auspicious for me, may have been the causes of my preservation; for, through the unskilfulness of the midwife, I came into the world as dead, and only alter various efforts was I enabled to see the light. This event, which had put our household into sore straits, turned to the advantage of my fellow-citizens, inasmuch as my grandfather, the Schultheiss, John Wolfgang Textor, took occasion from it to have an accoucheur established, and to introduce or revive the tuition of midwives, which may have done some good to those who were born after me.
This sumptuous edition features Bayard Taylor's excellent translation, acclaimed for its truth to the meter of the original German verse. Nearly 30 illustrations by Harry Clarke, eight of them in full color, enhance the text. Created in the early 1920s, Clarke's images reflect the influences of Art Nouveau and Art Deco, forming a powerful contribution to the supernatural air of Goethe's masterpiece.
The Real Life of Sebastian Knight is a perversely magical literary detective story -- subtle, intricate, leading to a tantalizing climax -- about the mysterious life of a famous writer. Many people knew things about Sebastian Knight as a distinguished novelist, but probably fewer than a dozen knew of the two love affairs that so profoundly influenced his career, the second one in such a disastrous way. After Knight's death, his half brother sets out to penetrate the enigma of his life, starting with a few scanty clues in the novelist's private papers. His search proves to be a story as intriguing as any of his subject's own novels, as baffling, and, in the end, as uniquely rewarding.
From the Trade Paperback edition.
Equally fascinated and repelled by Rousseau's vision of an unconscious self, Goethe struggled with the moral question of subjectivity: what is the relation of conscience to consciousness? To explore this inner conflict through language, Goethe developed a unique mode of allegorical representation that modernized the long tradition of dramatic personification in European drama. Jane K. Brown's deft, focused readings of Goethe's major dramas and novels, from The Sorrows of Young Werther to Elective Affinities, reveal each text's engagement with the concept of a subconscious or unconscious psyche whose workings are largely inaccessible to the rational mind. As Brown demonstrates, Goethe's representational strategies fashioned a language of subjectivity that deeply influenced the conceptions of important twentieth-century thinkers such as Freud, Michel Foucault, and Hannah Arendt.
25 Women will not disappoint. The book collects Hickey’s best and most important writing about female artists from the past twenty years. But this is far more than a compilation: Hickey has revised each essay, bringing them up to date and drawing out common themes. Written in Hickey’s trademark style—accessible, witty, and powerfully illuminating—25 Women analyzes the work of Joan Mitchell, Bridget Riley, Fiona Rae, Lynda Benglis, Karen Carson, and many others. Hickey discusses their work as work, bringing politics and gender into the discussion only where it seems warranted by the art itself. The resulting book is not only a deep engagement with some of the most influential and innovative contemporary artists, but also a reflection on the life and role of the critic: the decisions, judgments, politics, and ethics that critics negotiate throughout their careers in the art world.
Always engaging, often controversial, and never dull, Dave Hickey is a writer who gets people excited—and talking—about art. 25 Women will thrill his many fans, and make him plenty of new ones.