It was the period in Germany of Goethe's
Cavalcanti, dressed in black, like one of Goethe's
heroes, with varnished shoes and white silk open-worked stockings, passed a white and tolerably nice-looking hand through his light hair, and so displayed a sparkling diamond, that in spite of Monte Cristo's advice the vain young man had been unable to resist putting on his little finger.
The young man thought of the little sister frisking over the Parthenon and the Mount of Olives and sharing for two years, the years of the school-room, this extraordinary pilgrimage of her parents; he wondered whether Goethe's
dictum had been justified in this case.
See in Goethe's
Helena the same desire that every word should be a thing.
Of the many "Goethe and ..." conferences, which celebrated Goethe's
250th birthday in 1999, two stood out.
I gave the letter to Goethe's
chamberlain in the evening, just as Goethe was getting ready to go out somewhere by coach.
Out of his numerous works, Goethe's
version of Marlowe's Faust is considered the greatest.
the words 'recalling the poetry of Goethe who, while reclining on his divan' should read 'reminiscent of poetry in Goethe's
collection West-ostlicher Divan); some building descriptions beggar belief and so do many daft assertions.
I gave them a short acct of Goethe's
advantages of position for observation on these subjects as also (4) of the way in which nature and education had combined to form him to an observer.--I spoke of the woes of his falsche [false] tending (5) in acquainting him with the technical part.
To most audiences, familiar with the plot of Faust not from Goethe's
poem but from Gounod's opera, many parts of the ballet may be strange and unexpected.
First, 'In and Against Nature' investigates Goethe's
attitude towards homosexuality from the early poem `Ganymede', via Faust and Wilhelm Meister, to the late West-Ostlicher Divan.
In the literature on Goethe's
West-Eastern Divan from the date of its first publication in 1819 to its most recent edition in 1994 - all accompanied by detailed commentaries and a great variety of critical studies - there is a striking omission: the failure to explain the Arabic meaning of the name "Hatem" by which Goethe chose to depict his poetic self in the lyric poem of his old age that he addressed to Marianne von Willemer, his Suleika.