Hermann and Dorothea: Top Classic of German
À propos de cet e-book
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."
Notes et avis
À propos de l'auteur
Johann Wolfgang (von) Goethe (28 August 1749 – 22 March 1832) was a German writer and statesman. His body of work includes epic and lyric poetry written in a variety of metres and styles; prose and verse dramas; memoirs; an autobiography; literary and aesthetic criticism; treatises on botany, anatomy, and colour; and four novels. In addition, numerous literary and scientific fragments, more than 10,000 letters, and nearly 3,000 drawings by him are extant. A literary celebrity by the age of 25, Goethe was ennobled by the Duke of Saxe-Weimar, Karl August in 1782 after first taking up residence there in November 1775 following the success of his first novel, The Sorrows of Young Werther. He was an early participant in the Sturm und Drang literary movement. During his first ten years in Weimar, Goethe served as a member of the Duke's privy council, sat on the war and highway commissions, oversaw the reopening of silver mines in nearby Ilmenau, and implemented a series of administrative reforms at the University of Jena. He also contributed to the planning of Weimar's botanical park and the rebuilding of its Ducal Palace, which in 1998 were together designated a UNESCO World Heritage Site.
After returning from a tour of Italy in 1788, his first major scientific work, the Metamorphosis of Plants, was published. In 1791 he was made managing director of the theatre at Weimar, and in 1794 he began a friendship with the dramatist, historian, and philosopher Friedrich Schiller, whose plays he premiered until Schiller's death in 1805. During this period Goethe published his second novel, Wilhelm Meister's Apprenticeship, the verse epic Hermann and Dorothea, and, in 1808, the first part of his most celebrated drama, Faust. His conversations and various common undertakings throughout the 1790s with Schiller, Johann Gottlieb Fichte, Johann Gottfried Herder, Alexander von Humboldt, Wilhelm von Humboldt, and August and Friedrich Schlegel have, in later years, been collectively termed Weimar Classicism.
