“Nature, it seems, must
always clash with Art,
And yet, before we know
it, both are one;
I too have learned: Their
enmity is none,
Since each compels me,
and in equal part.”— German man of letters Johann Wolfgang von Goethe (1749-1832),
“Nature and Art” (c. 1800; published 1807), translated from the German by
Michael Hamburger, in Selected Works (Everyman’s Library, 2000)
Johann Wolfgang von Goethe—born 275 years ago today in Frankfurt, Germany—was to
German literature what William Shakespeare was to England’s and Alexander
Pushkin to Russia’s—a titanic figure who decisively influenced its language
and literary standing around the world.
But, because of his
attitude to nature and art, he was so much more. I think that Goethe might have
been the last of the Enlightenment figures who were able to make their marks in
multiple fields.
Had he confined his
endeavors to literature, Goethe still would have been acclaimed for his
versatility in multiple genres: the novel (The Sorrows of Young Werther,
a bestseller in 1774), travelogues (Italian Journey), drama (Faust),
and assorted poems eventually set to music.
Like Thomas
Jefferson—born only six years before—Goethe trained in the law before dabbling
in science (he formulated the concept of morphology, a kind of forerunner to
Darwin’s theory of evolution) and practicing statecraft (as an aide to Duke
Carl August, who later became Grand Duke of Saxe-Weimar-Eisenach).
I mentioned that he was
an Enlightenment figure, but in another sense, he harked back to the Renaissance
who could excel at multiple areas of endeavor. Besides the above activities,
Goethe was also a skilled painter and, well into middle age, an enthusiastic
athlete.
(For more on Goethe as Renaissance
man, see this August 2020 post from the Sarkologist blog.)
Ralph Waldo Emerson,
using Goethe as a representative of “The Writer” type in his seven lectures on Representative Men (1850), saw him as someone who “in conversation, in calamity…finds
new materials”
Such was his capacity,
that the magazines of the world’s ancient or modern wealth, which arts and
intercourse and skepticism could command,—he wanted them all. Had there been
twice so much, he could have used it as well. Geologist, mechanic, merchant, chemist,
king, radical, painter, composer,—all worked for him, and a thousand men seemed
to look through his eyes. He learned as readily as other men breathe. Of all
the men of this time, not one has seemed so much at home in it as he. He was
not afraid to live.