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Beginning with Goethe's review of the so-called 'Dichterbriefe', the article concentrates on the publication Ueber den Werth einiger Deutschen Dichter (1771/1772) by Ludwig August Unzer and Jakob Mauvillon and then explores Mauvillon's contribution to the journal Auserlesene Bibliothek der neuesten deutschen Litteratur (1772–1781). Mauvillon, as it will be shown in detail, was the author of some remarkable reviews of Goethe's and Lenz's works, mostly in favor of the German 'Storm and Stress', while always defending the freedom of opinion and expression. [ABSTRACT FROM AUTHOR]

The article presents an analysis concerning the relationship between nineteenth century letter-writer Rahel Levin Varnhagen von Ense and German poet Johann Wolfgang von Goethe. The analysis is part of the book that says, through the example of the life of Varnhagen, the main difficulties of early assimilation in Germany. It notes that the history of Varnhagen's assimilation is indistinguishable from the history of her Goetheanism.

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At a first glance, the German poet Johann Wolfgang Gœthe had little to do with philosophy: moreover, he thought of it with contempt. Plato however was —nevertheless Gœthe's first distrustful approachment to Greek philosophy— one of the most significative influences of his development as a universal thinker. A proof of which statement could be the Idee of his novel Die Wahlverwandtschaften. [ABSTRACT FROM AUTHOR]

The article focuses on lyric poetry. It is not unfair to say that these critiques of the novel by poet Johann Wolfgang von Goethe's famous contemporaries tell us at least as much about the critics themselves as they do about the book, this is after all presumably why one still read them with such interest. German poet Novalis in particular has been taken to task by many critics since August Wilhelm von Schlegel for missing so many of the novel's ironies and for accepting features like Wilhelm's snobbery and the principles of the "Turmgesellschaft" as "bare Münze." But while Novalis may be guilty of subjectively distorting the novel by his resentment at Goethe's summary disposal of the Italian figures, by seeing it as "eine Satyre auf die Poesie, Religion, etc.," he has quite accurately detected Goethe's profound suspicion and wariness, indeed even his fear of the kind of self-absorbed lyricism, the kind of dangerous subjectivism represented by Mignon and the Harfenspieler, that is, the tendency he was later to describe as "das Romantische, das Kranke."

This article presents information regarding German poet and dramatist Johann Wolfgang von Goethe. The sequence differs from the hymn proper not only in its curious origin as a verbal text apparently designed to help the singers recall the long series of notes ending the Alleluja chants, but also in its use, since in the history of the Western liturgy the sequence constituted the sole incursion of rhyme and metre into the celebration of the Mass. Some commentators aver that what Goethe omits is the second, "more consoling part of the sequence," but in this context the word "consoling" can be understood only in a very relative sense. Whereas other well-known sequences, including the Stabat mater, close on a note of comparative confidence and with an explicit mention of eternal bliss, the "Dies Irae" ends with a return to the notion of man burdened with guilt, "judicandus homo reeus," abjectly pleading for rest as opposed to eternal torment. But what commentators invariably ignore is that if any line in the whole sequence deserves to be repeated it is that which constitutes the turning-point of the poem and indeed lies at the very centre the meditation.

Within the context of prosodic feature analysis, this essay discusses some German manifestations of hexameter verse from the late eighteenth to the mid-twentieth century. Samples of hexameters by seven German poets--Johann Heinrich Voss, Johann Wolfgang von Goethe, Friedrich von Schiller, Eduard M6rike, Friedrich Hebbel, Thomas Mann, and Bertolt Brecht--are compared on both the metrical and the prosodic level of analysis. The metrical pattern for the German hexameter line allows for sixteen distinct line-types based solely on the distribution of syllables in nonprominent positions of the meter, and the data show that most poets favored certain line-types and tended to avoid others. Voss, Goethe, Schiller, and Hebbel, for example, favored line-types that begin with the configuration xoxoox (where x and o represent syllables in prominent and nonprominent positions, respectively), while Brecht preferred lines that are dactylic throughout, and Mann displayed no clear preference for any particular line-type. The data for the metrical configurations also reveal a strong similarity between the hexameters favored by Goethe and Hebbel, despite the fact that Hebbel's were written about sixty years after Goethe's. On the prosodic level, there are striking differences between the eighteenth- and nineteenth-century poets and the twentieth-century poets (i.e., Mann and Brecht). For example, compound words containing contiguous stressed syllables, which occur only rarely in hexameter verse by Goethe, Schiller, and Hebbel, were consistently used in the same metrical relation by other eighteenth- and nineteenth-century poets; Mann was inconsistent in his use of this word-type; and Brecht almost always placed it precisely in a metrical relation which the earlier poets invariably avoided. Among other things, Brecht's prosodic style is marked by the extremely high overall frequency of this word-type, including multiple occurrences in single lines. In terms of both feature assignme... [ABSTRACT FROM AUTHOR]

Provides information on the influence of German poet Johann Wolfgang von Goethe on education in English-speaking countries. Doctrines of metaphysical and literary art which led to a complete overthrow of native prejudices in matters of speculation and criticism; Ideals and inspiration sought out of the whole range of humanity and the universe of nature; Culmination of his many-sided art rises the great drama of humanity.

Focuses on German poets Johann Wolfgang von Goethe and Friedrich von Schiller. Description of the houses of the authors; Memorials of Goethe that are shown in the library of Weimar; Stanzas of a poem by Irish poem William Allingham regarding the city.