After dinner he called his servant, desired him to finish the packing up, destroyed many papers, and then went out to pay some trifling debts. He soon returned home, then went out again, notwithstanding the rain, walked for some time in the count’s garden, and afterward proceeded farther into the country. Toward evening he came back once more, and resumed his writing.
“Wilhelm, I have for the last time beheld the mountains, the forests, and the sky. Farewell! And you, my dearest mother, forgive me! Console her, Wilhelm. God bless you! I have settled all my affairs! Farewell! We shall meet again, and be happier than ever.”
“I have requited you badly, Albert; but you will forgive me. I have disturbed the peace of your home. I have sowed distrust between you. Farewell! I will end all this wretchedness. And oh, that my death may render you happy! Albert, Albert! make that angel happy, and the blessing of Heaven be upon you!”
He spent the rest of the evening in arranging his papers: he tore and burned a great many; others he sealed up, and directed to Wilhelm. They contained some detached thoughts and maxims, some of which I have perused. At ten o’clock he ordered his fire to be made up, and a bottle of wine to be brought to him. He then dismissed his servant, whose room, as well as the apartments of the rest of the family, was situated in another part of the house. The servant lay down without undressing, that he might be the sooner ready for his journey in the morning, his master having informed him that the post-horses would be at the door before six o’clock.
“Past eleven o’clock! All is silent around me, and my soul is calm. I thank thee, O God, that thou bestowest strength and courage upon me in these last moments! I approach the window, my dearest of friends; and through the clouds, which are at this moment driven rapidly along by the impetuous winds, I behold the stars which illumine the eternal heavens. No, you will not fall, celestial bodies: the hand of the Almighty supports both you and me! I have looked for the last time upon the constellation of the Greater Bear: it is my favourite star; for when I bade you farewell at night, Charlotte, and turned my steps from your door, it always shone upon me. With what rapture have I at times beheld it! How often have I implored it with uplifted hands to witness my felicity! and even still — But what object is there, Charlotte, which fails to summon up your image before me? Do you not surround me on all sides? and have I not, like a child, treasured up every trifle which you have consecrated by your touch?
“Your profile, which was so dear to me, I return to you; and I pray you to preserve it. Thousands of kisses have I imprinted upon it, and a thousand times has it gladdened my heart on departing from and returning to my home.
“I have implored your father to protect my remains. At the corner of the churchyard, looking toward the fields, there are two lime-trees — there I wish to lie. Your father can, and doubtless will, do this much for his friend. Implore it of him. But perhaps pious Christians will not choose that their bodies should be buried near the corpse of a poor, unhappy wretch like me. Then let me be laid in some remote valley, or near the highway, where the priest and Levite may bless themselves as they pass by my tomb, whilst the Samaritan will shed a tear for my fate.
“See, Charlotte, I do not shudder to take the cold and fatal cup, from which I shall drink the draught of death. Your hand presents it to me, and I do not tremble. All, all is now concluded: the wishes and the hopes of my existence are fulfilled. With cold, unflinching hand I knock at the brazen portals of Death. Oh, that I had enjoyed the bliss of dying for you! how gladly would I have sacrificed myself for you; Charlotte! And could I but restore peace and joy to your bosom, with what resolution, with what joy, would I not meet my fate! But it is the lot of only a chosen few to shed their blood for their friends, and by their death to augment, a thousand times, the happiness of those by whom they are beloved.
“I wish, Charlotte, to be buried in the dress I wear at present: it has been rendered sacred by your touch. I have begged this favour of your father. My spirit soars above my sepulchre. I do not wish my pockets to be searched. The knot of pink ribbon which you wore on your bosom the first time I saw you, surrounded by the children — Oh, kiss them a thousand times for me, and tell them the fate of their unhappy friend! I think I see them playing around me. The dear children! How warmly have I been attached to you, Charlotte! Since the first hour I saw you, how impossible have I found it to leave you. This ribbon must be buried with me: it was a present from you on my birthday. How confused it all appears! Little did I then think that I should journey this road. But peace! I pray you, peace!
“They are loaded — the clock strikes twelve. I say amen. Charlotte, Charlotte! farewell, farewell!”
A neighbour saw the flash, and heard the report of the pistol; but, as everything remained quiet, he thought no more of it.
In the morning, at six o’clock, the servant went into Werther’s room with a candle. He found his master stretched upon the floor, weltering in his blood, and the pistols at his side. He called, he took him in his arms, but received no answer. Life was not yet quite extinct. The servant ran for a surgeon, and then went to fetch Albert. Charlotte heard the ringing of the bell: a cold shudder seized her. She wakened her husband, and they both rose. The servant, bathed in tears faltered forth the dreadful news. Charlotte fell senseless at Albert’s feet.
When the surgeon came to the unfortunate Werther, he was still lying on the floor; and his pulse beat, but his limbs were cold. The bullet, entering the forehead, over the right eye, had penetrated the skull. A vein was opened in his right arm: the blood came, and he still continued to breathe.
From the blood which flowed from the chair, it could be inferred that he had committed the rash act sitting at his bureau, and that he afterward fell upon the floor. He was found lying on his back near the window. He was in full-dress costume.
The house, the neighbourhood, and the whole town were immediately in commotion. Albert arrived. They had laid Werther on the bed: his head was bound up, and the paleness of death was upon his face. His limbs were motionless; but he still breathed, at one time strongly, then weaker — his death was momently expected.
He had drunk only one glass of the wine. “Emilia Galotti” lay open upon his bureau.
I shall say nothing of Albert’s distress, or of Charlotte’s grief.
The old steward hastened to the house immediately upon hearing the news: he embraced his dying friend amid a flood of tears. His eldest boys soon followed him on foot. In speechless sorrow they threw themselves on their knees by the bedside, and kissed his hands and face. The eldest, who was his favourite, hung over him till he expired; and even then he was removed by force. At twelve o’clock Werther breathed his last. The presence of the steward, and the precautions he had adopted, prevented a disturbance; and that night, at the hour of eleven, he caused the body to be interred in the place which Werther had selected for himself.
The steward and his sons followed the corpse to the grave. Albert was unable to accompany them. Charlotte’s life was despaired of. The body was carried by labourers. No priest attended.
THE END
WILHELM MEISTER’S APPRENTICESHIP
Translated by Thomas Carlyle
Goethe’s second novel was published in 1795 and concerns the eponymous Wilhelm’s attempts to escape living the empty life of a bourgeois businessman, embarking on a journey of self-realisation. The novel had a significant impact on European literature. Wilhelm Meister’s Apprenticeship represents one of the important moments in the eighteenth-century and it is one of the first works to popularise the plays of Shakespeare in Germany. In the narrative, Wilhelm and his theatre group give a production of Hamlet, in which Wilhelm plays the lead role. Shakespeare’s works had attained tremendous popularity and influence in Germany by the end of the century.
Goethe began working on the novel in the 1770s, but it was not completed until the mid-1790s. Goethe’s close friend and collaborator Friedrich Schiller had a large hand in the novel’s final form. The novel is now consider
ed as being the archetype Bildungsroman; a literary genre of novel that focuses on the psychological and moral growth of the protagonist from youth to adulthood.
The first edition
CONTENTS
TRANSLATOR’S PREFACE
BOOK I.
CHAPTER I.
CHAPTER II.
CHAPTER III.
CHAPTER IV.
CHAPTER V.
CHAPTER VI.
CHAPTER VII.
CHAPTER VIII.
CHAPTER IX.
CHAPTER X.
CHAPTER XI.
CHAPTER XII.
CHAPTER XIII.
CHAPTER XIV.
CHAPTER XV.
CHAPTER XVI.
CHAPTER XVII.
BOOK II.
CHAPTER I.
CHAPTER II.
CHAPTER III.
CHAPTER IV.
CHAPTER V.
CHAPTER VI.
CHAPTER VII.
CHAPTER VIII.
CHAPTER IX.
CHAPTER X.
CHAPTER XI.
CHAPTER XII.
CHAPTER XIII.
CHAPTER XIV.
BOOK III.
CHAPTER I.
CHAPTER II.
CHAPTER III.
CHAPTER IV.
CHAPTER V.
CHAPTER VI.
CHAPTER VII.
CHAPTER VIII.
CHAPTER IX.
CHAPTER X.
CHAPTER XI.
CHAPTER XII.
BOOK IV.
CHAPTER I.
CHAPTER II.
CHAPTER III.
CHAPTER IV.
CHAPTER V.
CHAPTER VI.
CHAPTER VII.
CHAPTER VIII.
CHAPTER IX.
CHAPTER X.
CHAPTER XI.
CHAPTER XII.
CHAPTER XIII.
CHAPTER XIV.
CHAPTER XV.
CHAPTER XVI.
CHAPTER XVII.
CHAPTER XVIII.
CHAPTER XIX.
CHAPTER XX.
BOOK V.
CHAPTER I.
CHAPTER II.
CHAPTER III.
CHAPTER IV.
CHAPTER V.
CHAPTER VI.
CHAPTER VII.
CHAPTER VIII.
CHAPTER IX.
CHAPTER X.
CHAPTER XI.
CHAPTER XII.
CHAPTER XIII.
CHAPTER XIV.
CHAPTER XV.
CHAPTER XVI.
BOOK VI.
CONFESSIONS OF A FAIR SAINT.
BOOK VII.
CHAPTER I.
CHAPTER II.
CHAPTER III.
CHAPTER IV.
CHAPTER V.
CHAPTER VI.
CHAPTER VII.
CHAPTER VIII.
CHAPTER IX.
INDENTURE.
BOOK VIII.
CHAPTER I
CHAPTER II
CHAPTER III
CHAPTER IV
CHAPTER V
CHAPTER VI
CHAPTER VII
CHAPTER VIII
CHAPTER IX
CHAPTER X
Mignon, an opéra comique by Ambroise Thomas, which was inspired by Goethe’s second novel
Goethe, close to the time of publication
TRANSLATOR’S PREFACE
Whether it be that the quantity of genius among ourselves and the French, and the number of works more lasting than brass produced by it, have of late been so considerable as to make us independent of additional supplies; or that, in our ancient aristocracy of intellect, we disdain to be assisted by the Germans, whom, by a species of second sight, we have discovered, before knowing any thing about them, to be a tumid, dreaming, extravagant, insane race of mortals, — certain it is, that hitherto our literary intercourse with that nation has been very slight and precarious. After a brief period of not too judicious cordiality, the acquaintance on our part was altogether dropped: nor, in the few years since we partially resumed it, have our feelings of affection or esteem been materially increased. Our translators are unfortunate in their selection or execution, or the public is tasteless and absurd in its demands; for, with scarcely more than one or two exceptions, the best works of Germany have lain neglected, or worse than neglected: and the Germans are yet utterly unknown to us. Kotzebue still lives in our minds as the representative of a nation that despises him; Schiller is chiefly known to us by the monstrous production of his boyhood; and Klopstock by a hacked and mangled image of his “Messiah,” in which a beautiful poem is distorted into a theosophic rhapsody, and the brother of Virgil and Racine ranks little higher than the author of “Meditations among the Tombs.”
But of all these people there is none that has been more unjustly dealt with than Johann Wolfgang von Goethe. For half a century the admiration — we might almost say the idol — of his countrymen, to us he is still a stranger. His name, long echoed and re-echoed through reviews and magazines, has become familiar to our ears; but it is a sound and nothing more: it excites no definite idea in almost any mind. To such as know him by the faint and garbled version of his “Werther,” Goethe figures as a sort of poetic Heraclitus; some woe-begone hypochondriac, whose eyes are overflowing with perpetual tears, whose long life has been spent in melting into ecstasy at the sight of waterfalls and clouds, and the moral sublime, or dissolving into hysterical wailings over hapless love-stories, and the miseries of human life. They are not aware that Goethe smiles at this performance of his youth, or that the German Werther, with all his faults, is a very different person from his English namesake; that his Sorrows are in the original recorded in a tone of strength and sarcastic emphasis, of which the other offers no vestige, and intermingled with touches of powerful thought, glimpses of a philosophy deep as it is bitter, which our sagacious translator has seen proper wholly to omit. Others, again, who have fallen in with Retsch’s “Outlines” and the extracts from “Faust,” consider Goethe as a wild mystic, a dealer in demonology and osteology, who draws attention by the aid of skeletons and evil spirits, whose excellence it is to be extravagant, whose chief aim it is to do what no one but himself has tried. The tyro in German may tell us that the charm of “Faust” is altogether unconnected with its preternatural import; that the work delineates the fate of human enthusiasm struggling against doubts and errors from within, against scepticism, contempt, and selfishness from without; and that the witch-craft and magic, intended merely as a shadowy frame for so complex and mysterious a picture of the moral world and the human soul, are introduced for the purpose, not so much of being trembled at as laughed at. The voice of the tyro is not listened to; our indolence takes part with our ignorance; “Faust” continues to be called a monster; and Goethe is regarded as a man of “some genius,” which he has perverted to produce all manner of misfashioned prodigies, — things false, abortive, formless, Gorgons and hydras, and chimeras dire.
Now, it must no doubt be granted, that, so long as our invaluable constitution is preserved in its pristine purity, the British nation may exist in a state of comparative prosperity with very inadequate ideas of Goethe; but, at the same time, the present arrangement is an evil in its kind, — slight, it is true, and easy to be borne, yet still more easy to be remedied, and which, therefore, ought to have been remedied ere now. Minds like Goethe’s are the common property of all nations; and, for many reasons, all should have correct impressions of them.
It is partly with the view of doing something to supply this want, that “Wilhelm Meister’s Lehrjahre” is now presented to the English public. Written in its author’s forty-fifth year, embracing hints or disquisitions on almost every leading point in life and literature, it affords us a more distinct view of his matured genius, his manner of thought, and favorite subjects, than any of his other works. Nor is it Goethe alone whom it portrays: the prevailing taste of Germany is likewise indicated by it. Since th
e year 1795, when it first appeared at Berlin, numerous editions of “Meister” have been printed: critics of all ranks, and some of them dissenting widely from its doctrines, have loaded it with encomiums; its songs and poems are familiar to every German ear; the people read it, and speak of it, with an admiration approaching in many cases to enthusiasm.
That it will be equally successful in England, I am far indeed from anticipating. Apart from the above considerations, — from the curiosity, intelligent or idle, which it may awaken, — the number of admiring, or even approving, judges it will find can scarcely fail of being very limited. To the great mass of readers, who read to drive away the tedium of mental vacancy, employing the crude phantasmagoria of a modern novel, as their grandfathers employed tobacco and diluted brandy, “Wilhelm Meister” will appear beyond endurance weary, flat, stale, and unprofitable. Those, in particular, who take delight in “King Cambyses’ vein,” and open “Meister” with the thought of “Werther” in their minds, will soon pause in utter dismay; and their paroxysm of dismay will pass by degrees into unspeakable contempt. Of romance interest there is next to none in “Meister;” the characters are samples to judge of, rather than persons to love or hate; the incidents are contrived for other objects than moving or affrighting us; the hero is a milksop, whom, with all his gifts, it takes an effort to avoid despising. The author himself, far from “doing it in a passion,” wears a face of the most still indifference throughout the whole affair; often it is even wrinkled by a slight sardonic grin. For the friends of the sublime, then, — for those who cannot do without heroical sentiments, and “moving accidents by flood and field,” — there is nothing here that can be of any service.
Nor among readers of a far higher character, can it be expected that many will take the praiseworthy pains of Germans, reverential of their favorite author, and anxious to hunt out his most elusive charms. Few among us will disturb themselves about the allegories and typical allusions of the work; will stop to inquire whether it includes a remote emblem of human culture, or includes no such matter; whether this is a light, airy sketch of the development of man in all his endowments and faculties, gradually proceeding from the first rude exhibitions of puppets and mountebanks, through the perfection of poetic and dramatic art, up to the unfolding of the principle of religion, and the greatest of all arts, — the art of life, — or is nothing more than a bungled piece of patchwork, presenting in the shape of a novel much that should have been suppressed entirely, or at least given out by way of lecture. Whether the characters do or do not represent distinct classes of men, including various stages of human nature, from the gay, material vivacity of Philina to the severe moral grandeur of the uncle and the splendid accomplishment of Lothario, will to most of us be of small importance; and the everlasting disquisitions about plays and players, and politeness and activity, and art and nature, will weary many a mind that knows not and heeds not whether they are true or false. Yet every man’s judgment is, in this free country, a lamp to himself: whoever is displeased will censure; and many, it is to be feared, will insist on judging “Meister” by the common rule, and, what is worse, condemning it, let Schlegel bawl as loudly as he pleases. “To judge,” says he, “of this book, — new and peculiar as it is, and only to be understood and learned from itself, by our common notion of the novel, a notion pieced together and produced out of custom and belief, out of accidental and arbitrary requisitions, — is as if a child should grasp at the moon and stars, and insist on packing them into its toy-box.”http://www.gutenberg.org/files/36483/36483-h/36483-h.htm - Footnote_1_1 Unhappily the most of us have boxes, and some of them are very small.
Works of Johann Wolfgang von Goethe Page 13