Skip to main content. Refine your search for deutsche turkei. Refine more Format Format. Items in search results. Search refinements Categories. Stamps 9. Those who sing FitzGerald's praises do it, in effect, by insisting that the original of Omar Kbayyam 'was no major work; and that FitzGerald's quatrains are really not translations at all. When we tupl to poems with which Faust invites comparison, the case is clear.
No translation of Dante's Commedia rivals the orig.. But they set a standard: while a translator cannot compete with the original poet-except occasionally in short poems Meter should be preserved as far as possible; and one has no right to add or subtract lines. Second-rate material may benefit from such generosity, but not major poems-not even when the translator himself is a good poet. Schillers Gennan version of Macbeth ,does not compare with Schlegefs efIorts, precisely because Schiller, though a greater poet than Schlegel, was much freer and interpolated speeches and removed the Porter scene.
His version, intended for a performance on. Some English translators of Faust have seen nt to add a great deal of their own. Anster's version, for example, has gone through over thirty editiolls, though he thought nothing of occasionally more than doubling the length of a speech. If anybody can produce a collection of passages better than Goethe's, let him offer these creations as his OWDwith apologies to Goethe, if necessary. Most attempts at improvements, however, would never deserve a reading in their own right.
Shelley did not take such liberties when he translated the "Prologue in Heaven" from Faust; when he had some. But his version is by no means as superior as we should have to expect if the usual talk about the tra. Rilke did a great deal of translating, much of it superb, but never took the liberties which most trans- 48 Introduction lators claim as their unalienable rights. As often as not, English and American translators render Gennan verse that rhymes as all but prose, presumably because they feel that rhymes are too difficult, though they say that rhymes are not fashionable; but in English versions of Aeschylus and Sophocles rhymes are frequently imported though there are none in the original The poets' epigrams are flattened out more often than not, but where the poet has no epigram one suddenly encounters startling phrases that are almost Biblical.
At such points one wonders whether Paul, for eXam! On the. And discussions that are based. Victorian translations of Faust and ZarathtJ. The King James Bible is not only an imposing work of English literature but also, on the whole, amazingly accurate. Even so, its style, mood, and atmosphere are often antithetical to the original. The austerity and laconic simplicity of the Hebrew gives way to a richly ornamental medium, and agonized outcries are refurbished u to be read in churches.
As if Amos had wished -to be read in churches" or, for that matter, Mas living Iiterature. This, how- Introduction 49 ever, is only a half-truth; and an illustration from the King James Bible may show how its magil. After selling Joseph into slavery, his. A complete change of style in a transla. Goethe's disregard for conventions, his originality, and the irregularity of forms in Faust do not.
Goethe neither made things easy for himself nor depreciated form. On the contrary. When he published Faust: A Fragment in , he held back the most powerful scene of the whole play, the Dungeon scene; and he refused to publish that until he had succeeded in transposing it into rhymes to modulate its effect. In some respects, the translator's problem in the case of 50 Introduction Faust is the opposite of that suggested by our discussion of. Often the original seems ornate, and one is tempted to strive for greater simplicity.
Yet it would be a mistake to eliminate all references to yeaming, woe, bliss, rapture, and whatever else is felt deep in the breast, although such words may be used sparingly, and fewer of them will be found. They provide Mephisto with a foil; and the retort is, of cOurse, doubly effective when it rhymes on Faust's words" To substantiate the claims of this introduction regarding Goethe's modernity, the translation has to be faithful: if we transpose Goethe into the idiom of twentieth-century poetry, we simply beg the question.
I have not always reproduced Goethe"s many feminine two-syllable rhymes because English is much poorer in such rhymes than German: grammatical rhymes-ending on -ing, for example-tend to be feeble, and novel feminine rhymes are apt to sound comic in English, though not in German. Faithfulness, however, was always the primary consideration. And this, too, precluded any attempt to assimilate Goethe to a contemporary poetic idiom: if we make Faust read like Rilke, or like Eliot, it will no longer sound like Goethe.
The reader will assume in any case that Goethe's poetry in the poetic passages surpasses all the eHorts of his translators: one has no right to expect anything else. German words, all force and effect is lost immediately. He laughed at an English versionaf Gretchen's ballad about the king of Thule that read in part: He called for his confessor, Left all to his.
Goethe should not be confounded with Faust, whose characteristic impatience he outgrew early. The spirit which he has received ff'om fate. Sweeps euer. Yet Faust is saved. The semi-medieval heaven. Let Dante and millions of lesser minds consign Paolo and Francesca to hell; let them. Unlike Luther, Goethe did not require faith either: his world picture Simply con.. He himself called attention to the angels' chorus: Who ever striues with all his powet We are allowed to save. The signm;. When Goethe disclaimed any central idea, he was surely ingenuous: his drama is not a device to get across a message.
But the fact that it is not an allegory and that there is no theology or philosophy behind it, waiting for a commentator, is not necessarily a defect. Kafka's Castle has sometimes been called Kafka's "Faust. And the Cathedral scene in Kafka's Trial shows at length how a simple, two-page parable can lend itself to ever.. Even if this reading of Kafka is accepted, it does not follow, of course, that Goethe conbived ambiguity in the same way, though it is well to remember his remark about wrapping u a few mantle folds around the finished product that it may altogether remain an evident riddle'l' see section 3 above.
Assuredly, Goethe was very different from Kafka in a multitude of ways. But Kafka reminds us that ambiguity and the irreducibility of a literary work to one interpretation may be virtues rather than defects, com. For that matter, Kafka's great model, the Book of Gene- Introduction 55 sis, might teach us the same thing: inexhaustibility consists in large part in the possibility of ever"new interpretations. And Goethe, too, received decisive impressions from Old Testament narratives. What makes the comparison with Kafka somewhat more appropriate than that with the Bible is Goethe"s whimsical humor and his taste for the absurd Goethe"s opposition to the resentful bourgeois morality that would like to monopolize the word "morality"' -and that comes close to having a monopoly on the term -immoral" Goethe scholars may think of connecting this attitude with Goethets "biologism"'; others will be sure to disagree.
But an Introduction is clearly not the place for trying to give final answers to questions that have perplexed great minds for well over a century-indeed for thousands of years. Suffice it here to call attention to these issues and to point out that the relevance of F auat to such concerns has much to do with its rank in world literature. To suppose that Faust is of interest primarily to philosophers would be as wrong as the assumption that it is only a character play with a lot of wit and some nne poetry, distinguished by superlative craftsmanship and 56 Introduction hosts of epigrams.
If one begins to read for enjoyment, the play will lead one, willy-nillyt to think. My friend and colleague Victor Lange, chairman of the German Department at Princeton University, has kindly read the Introduction ill manuscript and given me the benefit of his comments. Princeton, N. Easter Sunday, W. Faust's den. Two long monologues; separated by Fausf's dialogue with Wagner. Easter choirs toward the end. First we encounter, "people of all kinds," then Faust and Wagner. Mephisto appears and gives an account of himself. The pact scene which contains some very note..
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Faust and Mephisto among Leipzig students. Faust is made younger by means of a magic potion. Faust sees Margaret for the first time. Margaret's Room. Faust visits Margarefs room in her absence. At the beginning and end of the scene, however, we encounter Margaret alone. Mephisto tells Faust what happened to the jewels. Mephisto meets Margaret and enjoys himself telling her neighbor, Martha, tall stories about her allegedly dead husband. Mephisto persuades Faust to perjure himself. The first kiss. Perhaps Margarefs last lines are doubly charming because she has done most of the talking.
Faust has fled lest he ntin Margaret's life. His opening monologue differs from all the rest of Part One by being in heroic blank verse. The ensuing dialogue with Mephisto brings out the char acter of both in bold relief. This Gretchen scene was already part of the. The scene itself is wholly lyrical-a song.
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Faust, after being. Mephisto appf3ars at the end of the scene. Lieschen represents a masterly character sketch of resenbnent. Here "thou" would be justifiable in English, but the verb forms would interfere with the extemporaneous simplicity and t1;1e artless personal form of her address-woman to woman. Street in Front of Gretchen's Door.
GretchenYs brother, probably originally suggested to Goethe by the figure of Laertes in Hamlet, comes to life as a vivid character in a single scene. His death, and even more his parting words to Gretchen, are a major factor in unbalancing her mind. The Evil Spirit says nothing that Gretchen might not say to herself, but no monologue could equal the dramatic power of the scene in its present form.
As Gretchen's suffering reaches its climax, Mephisto keeps her fate from Faust and tries Contents and Comments 60 to distract him with what Faust aftel'Ward calls "insipid diversions. A Series of quatrains, for the most part satirical. The sole prose scene, in the drama-left that way by the poet, presumably because he felt that a really stark contrast with the preceding was entirely called for. Open Field. A six-line interlude which echoes Macbeth.
Faust would liberate Gretchen, whoOphelia-like--has' gone ma. This is the first scene of Part Two. A wanderer visits an old couple and hears how Faust is gaining land from the sea; but the -old woman draws a terrify ing picture of his methods. Faust, who is now-according to Goethe's conversations with Eckermann-a hundred years old, is still dissatisfied with what is present here and now.. He covets the old couplets small estate and authorizes Mephisto's men to evict them forCibly and to move them to another place.
It is the antithesis of Faust's attitude. Care, unable to prevail over Faust, blinds him-as the "man of God'l' in Genesis, who cannot prevail over Jacob, makes him lame. Faust's last speech and death. Faust's Redemption. Versuch ich wohl, euch mesmal festzuhalten? Fiihl ich mein Herz noch jenem Wahn geneigt? Should I attempt this time to hold you fast? Does this old dream still thrill a heart so wise? You crowd? You press? Have, then, your way at last. As from the mist around me you arise; My breast is stirred and feels with youthful pain The magic breath that hovers round your train.
With you return pictures of joyous days, Shadows that I once loved again draw near; Like a primeval tale, half lost in haze, First love and friendship also reappear; Grief is renewed, laments retrace the maze Of Life's strange labyrinthian career, Recalling dear ones who, by fortune's treason Robbed of fair hours, passed before my season. They will not hear me as I sing these songs, The parted souls to whom I sang the first; Gone is that first response, in vain one longs 66 Zueignung 20 Verklungen, achl der erste Widerklang.
My grief resounds to strangers, unknown throngs Applaud it, and my anxious heart would burst. And I am seized by long forgotten yeaming For that kingdom of spirits, still and grave; To flowing song I see my feelings turning, As from'aeolian harps, wave upon wave; A shudder grips me, tear on tear falls burning, Soft grows my heart, once so severe and brave; What I possess, seems far away to me, And what is gone becomes reality. Besonders weil sie lebt und leben laSt. Die Pfosten sind, die Bretter aufgeschlagen, Und jedermann erwartet sich ein Fest. Sie sitzen schon; mit hohen Augenbrauen, Gelassen da und mochten gern erstaunen.
Wie machen wir's, daB alles frisch und neu Und mit Bedeutung auch geHillig sei? To please crowds is what I desire most, For they not only live, but let live, too. The boards are up, and one sees post by post, And everyone expects a feast from you. I see them sit there with wide open eyes, Relaxed and hoping for a great surprise.
I kDow quite well how people are impressed, But I have never been in such a spot: While they are not accustomed to the best, They certainly have read a lot.
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How go about it, so it will seem new, Significant, and pleasing to them, too? Of course, I like to see the crowded lanes When streams of people rush to our place And, with tremendous and recurrent pains, Press, eager, through the narrow gate of grace; When it is day, not even four, 70 55 Vorspiel Auf Dem Theater Mit Sto. Ell: o sprlch m. Oft, wennes erst durch Jahre durchgedrungen, Erscheint es in vollendeter Gestalt.
Was glanzt, ist fiir den-Augenblick geboren, Das Echte bleibt der N achwelt unverlaren. Den will sie doch und solI ibn haben. Die Gegenwart von einem braveD Knaben 1st, daeht ich, immer auch schon was. Drum seid nur brav nnd zeigt euch mnsterhaft, LaBt Phantasie mit allen ihren ChoreD, Prelude In the Theatre 71 They Bght and push each other, coax and vex, And, as in famine time, for bread at baker's door, To get a ticket almost break their necks.
This wonder works upon such diJIerent men The poet only-friend, do it again! POET: Don't sp'eak. And years may pass before it has acquired Its perfect form and opens like a flower. Glitter is coined to meet the momenfs rage; The genuine lives on from age to age. That's what they want, give them their farel The presence of a decent. Gebt ihr ein StUck, so gebt es gleich in Stiickenl S lch.. Publikum wird es euch doch zerpIliicken. Der saubem Herren pfuscherei 1st, merk ich, schon bei euch Maxime.
Bedenktt ihr habet weiches Holz zu spalten. U nd seht nur hin, filr Weil ihr schreibtl Wenn diesen Langeweile treibt, Kommt jener satt 'Vom iibertischten Mahle, Und, was das allerschlimmste bleibt, Gar mancher kommt vom Lesen der Joumale. Man eilt zerstreut zu uns, wie zu den Maskenfesten, p,. The more you can enact before their eyes, The greater is your popular acclaim; And if the crowd can gape in duinb surprise, You gain a celebrated name.
He that gives much, gives something to all classes, And everybody will go home contented. You have a piece, give it in piecesthenl Write a ragout, you have a pen; Ifs easy to inVent, and easy tonnroll. What good is it, if you construct awholeP The public takes it all apart again. POET: You do not feel how bad it is to please the rabble, How artists spurn such craft and cheap applause. The manner of the hacks that dabble Has furnished you, I see, with laws. You are like one who would split moldy wood: Do not forget for whom you writet They come when they are bored at night, Or gorged on roasts and relish, spice and capers, And-this is the most wretched plightSome come right after having read the papers.
Was traumet ihr auf eurer Dichterhohe? Was macht ein voIles Haus euch froh? Beseht die Gonner in der Nahel Halb sind sie kalt, halb sind sie roh. Ich sageuch, gebt nur mem und immer, immer mehr, So konnt ihr. Sucht nur die M enschen zu. Entziickungoder Schmerzen? Wodurch besiegt er jedes Element? Prelude in the Theatre 75 Their dresses and their jewels, the ladies would parade, And act without a salary. Why do you dream on your poetic height? Look at your patrons without awel What gives a crowded house delight? One half is cold, one half is raw.
After the play, one hopes topla. What seizes you? An ecstasy or pain? How does he move all hearts, or reign Over the elements like cherubim? Is it not, streaming forth, the concord of his art That carries back the world into his heart? When nature forces the unending thread Upon her spindle in indifferent tread, When all the living lack the least rapport, Each playing his disgruntled partWho scans the selfsame lines as they unroll, Bestowing life, and quickening, rhythmic motion? Who calls each single voice to celebrate the whole, So all may blend in musical devotion?
Who creates tempests to show passion's powers? The last red clouds, to grace the mind's repose? Wer siebert den Olymp, vereinet Gotter? Des Mensehen Kraft, im Dichter oHenbart. So braucht sie denn, die- schonen Krafte, U nd treibt die dichtrischen Geschafte, Wie man in Liebesabenteuer treibtl Zufallig naht man sich, man fiihlt;man bleibt Und nach und nach wird manverHochten; Es wachst das Gluck, dann wird es angefochten, Man ist. Who twines green leaves, worthless as common clods, To wreaths of honor that stay always fresh?
Secures Olympus and unites the gocts? The strength of man,. The flower of our youth will come to read And hear whatever you may be revealing, And every tender mind will come to feed Upon your work its melancholy feeling; One thrills to this, one finds that in your art, Each sees preCisely what is in his heart. The young are still prepared to weep or show delight, They still respect your verve, and laugh at dreamlike pranks, Those who have ceased to ,grow, nnd nothing right; 78 Vorspiel Auf Dem Theater Ein Werdender wird immer dankbar sein.
Das Alter macht nieht kindiseh, wie man sprieht, Es findet uns nur noch als wahre Kinder. Prelude in the Theatre 79 Those who are growing still, will not. Nothing I had, and yet profusion: The lust for truth, the. Give back tbepassionsunabated, That deepest joy, alive with pain, Love's power and the strength of hatred, Give back my youth to me again. To raise the poees well-known voice With grace in mankind's graceless choir, To seek the goal of one's own choice With blessed erring-that, good sire, Is the sweet duty of the old.
Age does not make us childish, as we're told, It merely finds we are still young at heart. Was hilft es, viel von Stimmnng reden? Dem Zaudemden erscheint sienie. Your talk of moods kindles no flame, The waverer always waits and loses; If you are poets as you claim, Then prove that you command the muses. You know just what we need, I think: We want a potent brew to drink. Concoct it now without delayI Tomorrow we still miss what is not. Die himmlischen 1Jeerscharen.
Die drei crzengel treten "or. His sight, as none mn comprehend it, Gives strength to angels; the array Of works, unfathomablysplendid, Is glorious as on the first day. Da flammt ein blitzendes Verheeren Dem Pfade vor des Donnerschlags. Verzeih, ich kann nicht hohe Worte. Von Sonn und Welten. Ein wenig besser wiird er leben, Hatt'st du ibm nieht den Schein des Himmelslichts gegeben; Er nennt's Vemunft und braucht's allein, Nur tierischer aIs jedes Tier zu sein.
U nd lag er nur noch immer in dem Grase! In jeden Quark begrabt er seine Nase. Prologue in Heaven 85 Deeply destructive energy.. There Hames a flashing devastation To clear the thunder's crashing way; Yet, Lord, thy herald's admiration Is for the mildness of thy day. The small god of the world will never change his ways And is as whimsical-as on the first of days. His life might be a bit more fun, Had you not given him that spark of heaven's SUD; He calls it reason and employs it, resolute To be more brutish than is any brute.
He seems to me, if you don't mind, Your Grace, Like a cicada of the long-legged race, That always flies. Die Menschen dauern mich in ihten Jammertagen, Ich magsogar die armen selbst nicht pIagen. Nicht irdisch ist des Toren frank noch Speise. Prologue in Heaven 87 Do you come only to accuse? Does nothing on the earth seem to you right?
I find it still a rather sorry sight. Man moves me to compassion, so wretched is his plight. I have no wish to cause him further woe. His spirit's ferment drives him far, And hehaH knows how foolish is his quest: From heaven he demands the fairest star, And from the earth all joys that he thinks best; And all tha s near and all that's far Cannot soothe the upheaval in his breast. The gardener knows, however small the tree, That bloom and fruit adom its later years. Man errs as long as he will strive.
Am meisten lieb ich mil' die voIlen, frisehen Wangen. Mir ist fiir meine Wette gar nicht bange. Von allen Geistem, die verneinen, Istmir der Schalk am wenigsten zur Last. Des Menschen Tatigkeitkann allzuleicht erschlafIen,. Er liebt sich bald die unbedingte Rub; Drum geb ich gem ihm. I far prefer full cheeks, a youthful curly-head. When corpses come, I have just left the houseI feel as does the cat about the mouse. THELOBD: Enough-I grant that you may try to clasp him, Withdraw this spirit from his primal source And lead bim down, if you can grasp him, Upon your own abysmal courseAnd stand abashed when you have to attest: A good man in his darkling aspiration Remembers the right road throughout his quest.
MEPlnSTO: Enough-he will soon reach his- station; About my bet I have no hesitation, And when I win, concede your stake And let me triumph with a swelling breast: Dust he shall eat, and that with zest, As my relation does, the famous snake.. The knavish jester gives me least to do. For man's activity can easily abate, He soon prefers uninterrupted rest; To give him this companion hence seems best Who roils and must as Devil help create. Altengem Und biite mich, mit ihrnzu brechen.
Es ist gar hiibsch von einem groBen Herm, So menschlicb mit dern Teufel selbst zu sprechen. Prologue in Heaven That fortify with everlasting thought. The heavens close, the Archangels disperse. It's charming in a noble squire when He speaks humanely with the very Devil. Called Master of Arts, and Doctor to boot, For ten years almost I confute And up and down, wherever it goes, I drag my students by the noseAnd see that for all our science and art We can know nothing.
It bums my heart. Of course, I am smarter than all the shysters, The doctors, and teachers, and scribes, and Christers; No scruple nor doubt could make me ill, I am not afraid of the Devil or hell- 94 gao Der Tragodie Erner Teil Bilde mir nieht ein, was Reehts zu wissen, Bilde mir nicht ein, ieh konnte was lehren, Die Mensehen zu bessem und zu bekehren.
I also have neither money nor treasures, Nor worldly honors or earthly pleasures; No dog would want to live longer this wayt Hence I have yielded to magic to see Whether the spirit's mouth and might Would bring some mysteries to light,. That I need not with work and woe Go on to say what I don't know; That I might see what secret force Hides in the world and rules its course.
Envisage the creative blazes Instead of rummaging in phrases. Full lunar light, that you might stare The last time now on my despairl How often I've been waking here At myoId desk till you appeared, And over papers, notes, and books I caught, my gloomy friend, your looks. Oh, that up on a mountain height I could walk in your lovely light And float with spirits round caves and trees, Weave in your twilight through the leas, Cast dusty knowledge overboard, And bathe in dew until restored.
Still this old dungeon, still a molel Cursed be this moldy walled-in hole Where heaven's lovely light must pass, And lose its luster, through stained glass. War es ein Gott, der diese Zeichen schrieb, The First Part of the Tragedy 91 And on the walls, up to the dome, A smoky paper, spots of rust; Enclosed by tubes and jars that breed More dust, by instruments and soot, Ancestral fumihtre to bootThat is your worldl A world indeedl And need you ask why in your breast Your cramped heart throbs so anxiously?
Life's every stirring is oppressed By an unfathomed agony? Instead of living nature which God made man for with holy br;eath, Must stifles you, and every niche Holds skulls and skeletons and death. Though dry reHection might expound These holy symbols, it is dreary: You float, oh spirits, all around; Respond to me, if you can hear me. What jubilation bursts out of this sight Into my senses-now I feel it Howing, Youthful, a sacred fountain of delight, Through every nerve, my veins are glowing. Mir wird so licht! Er beschaut das Zeichen.
Euch Briiste, wo? Ihr Quellen alles Lebens, An denen Himmel und Erde hangt, Dahin die welke Brust sieh drangt1m quellt, ihr trankt, und schmacht ich so vergebens? The First Part of the Tragedy 99 That soothe my feverish unrest, Filling with joy my anxious breast, And with mysterious potency Make nature's hidden powers around me, manifest?
Am I a god? Light grows this pageIn these pure lines my eye can see Creative nature spread in front of me. But now I grasp the meaning of the sage: '''The realm of spirits is not far away; Your mind is closed, your heart is dead. Rise, student, bathe without dismay In heaven's dawn your mortal head. Passing the golden pails from hand to handl Bliss-scented, they are winging Through sky and earth-their singing Is ringing through the world.
Yet but a play, however vast! Where, boundless nature, can I hold you fast? And where you breasts? Wells that sustain All life-the heaven and the earth are nursed. The wilted breast craves you in thirstYou well, you still-and I languish in vain? In disgust, he turm some pages and beholds the symbol of the earth spirit. Now there are clouds aboveThe moon conceals her lightThe lamp dies down. It steams.
Red light rays dash About my head-a chill Blows from the vaulting dome And seizes me. I feel you near me, spirit I implored. Reveal yourself I. You must. Though I should have to die. He seizes the bool Who calls me? Bist du es, der, von meinem Hauch umwittert, In allen Lebenstiefen zittert, Em furchtsam weggekriimmter Wurm?
And where the breast that even now had fashioned A world to bear and nurse within-that trembled thus, Swollen with joy that it resembled us? Where are you, Faust, whose voice pierced my domain, Who surged against me with his might and main? Could it be you who at my breath's slight shiver Are to the depths of life aquiverll A miserably writhing worm? Weave eternally. And birth and grave, An eternal sea, A changeful strife, A glowing life: At the roaring m of the ages I plod And fashion the life-giving garment of God.
Ich Ebenbild der Gottheitl Und nicht einma! Faust wendet sioh unwillig. In dieser Kunst mocht ich was profitieren, Denn heutzutage wirkt das vieI. Ich hah es ofters rtihmen horeD, Ein Komodiant konnt einen Pfarrer lehren. Whose then? My famulus-I know it well My fairest happiness destroyedI This wealth of visions I enjoyed The dreary creeper must dispe11 enters'in a dressing gown and night cap, a light in his hand. FAUST turns away in disgust. I have been told three times at least That a comedian could instruct a priest.
As happens more often than one would own. Die Kunst ist lang, U nd kurz ist unser Leben. Wie schwer sind nicht die Mittel zu erwerben, Durch die man zu den Quellen steigtl U nd eh man nur den halben Weg erreicht, MuB wohl ein anner Teufel sterben. The First Part of the Tragedy Compelling every listener's heart. But sit. Children and apes may think it great, If that should titillate your gum, But from heart to heart you will never create.
If from your heart it does not come. Let him Dot be a noisy fooll All that makes sense you can explain Without the tricks of any school. Ifiyou have anything to say, Why juggle words for a display? Your glittering rhefric, subtly disciplined, Which for mankind thin paper garlands weaves, Is as unwholesome as the foggy wind That blows in autumn through the wilted leaves. I fear that with my critical endeavor My head and heart may come to grief. How hard the scholars' means are to array With which one works up to the source; Before we have traversed but half the course, We wretched devils pass away.
If your refreshment does not mount. From your own soul, you gain it never. Was fur den Geist der Zeiten heiBt. Da isfs denn wahrlich oft ein Jarnmerl Man lauft euch bei dem ersten Blick davon. Wer darf das Kind beirn rechten N amen nennen? Die wenigen, die was davon erkannt, Die toricht gnug ihr voIles Herz nieht wahrten, Dem Pabel ihr Gefiihl, ihr Schauen ofIenbartent Hat man von je gekreuzigt undverbrannt. Ich bitt Euch, Freund, es ist tief in der Nacht, Wir mussen's diesmal unterbrechen. What spirit of the time you call, Is but the.
The few that saw something like this and, starryeyed But foolishly, with glowing hearts averred Their feelings and their visions before the common herd Have at all times been burned and crucified. I beg you, friend, it is deep in the night; We must break o. Mit Eifer hab ich mich der Studien beflissen; Zwar wei8 ich viel, doch mocht ich alles wisseD. Nicht darf ich dir zu gleichen mich vemiessen: Hab ich die Kraft dich anzuziehn besessen, So hatt,ich dich zu halten keine Kraft.
In jenem selgen Augenblicke lch fiihlte mich so klein, so groB; Du stiefiest grausam mich zuriicke Ins ungewisse Menschenlos. Dare such a human voice be sounded Where I was even now surrounded By spirits' might? And yet I thank you just this once, You, of all creatures the most wretched dunce. You tore me from despair that had surpassed My mind and threatened to destroy my sense. Alas, the apparition was so vast That I felt dwarfed in impotence.
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I may no longer claim to be your peer: I had the power to attract YOll here, But to retain you lacked the might. In that moment of bliss, alack, In which I felt so small, so great, You, cruel one, have pushed me back Into uncertain human fate. Was soIl ich meiden? SoIl iehgehorchen jenem Dl'ang?
Die uns das Leben gaben, herrliche Gefiihle Erstarren in dem irdisehen Gewiihle. Wenn GlUck auf Gluck im Zeitenstrudel scheitert. Die Sorgenistet gleich im tiefen Herzen, Dart wirket sie geheirne Schmerzen. The First Part of the Tragedy Who teaches me? What should I shun? Should I give in to that obsession? Not our sufferings only, the deeds that we have done Inhibit our ilie's progression. Whatever noblest things the mind received, More. Where fantasy once rose in gloriOUS flight, Hopeful and bold to capture the sublime, It is contentnow.
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