Part 40 (1/2)

and

When the glow of evening softly fades From the still sea, and with her gleaming host The moon ascends the sky.

_Night_ is very poetic:

And comest thou again, Thou Mother of the stars and heavenly thoughts?

Divine and quiet Mother, comest thou?

The earth awaits thee, from thy chalice cup But one drop of thy heavenly dew to quaff, Her flowers bend low their heads; And with them, satiate with vision, droops My overcharged soul....

O starry G.o.ddess with the crown of gold, Upon whose wide-spread sable mantle gleam A thousand worlds ...

Silence divine, that filleth all the world, Flowing so softly to the eternal sh.o.r.es Of an eternal universe....

And in _St John's Night_, he exclaims:

Infinite, ah! inexhaustible art thou, Mother Nature!

Like the rest, Herder suffered from the over-sensitiveness of his day. His correspondence with his _fiancee_ shews this[8]; one sees Rousseau's influence:

My pleasantest hours are when, quite alone, I walk in a charming wood close to Buckeburg, or lie upon a wall in the shade of my garden, or lastly, for we have had capital moonlight for three nights, and the last was the best of all, when I enjoy these hours of sweetly sleeping night with all the songs of the nightingale.

I reckon no hours more delightful than those of green solitude. I live so romantically alone, and among woods and churches, as only poets, lovers, and philosophers can live.

And his _fiancee_ wrote:

'Tis all joy within and around me since I have known thee, my best beloved: every plant and flower, everything in Nature, seems beautiful to me.

and

I went early to my little room; the moon was quite covered by clouds, and the night so melancholy from the croaking of the frogs, that I could not leave the window for a long time: my whole soul was dark and cloudy; I thought of thee, my dear one, and that thought, that sigh, reduced me to tears.

and

Do you like the ears of wheat so much? I never pa.s.s a cornfield without stroking them.

Goethe focussed all the rays of feeling for Nature which had found lyrical expression before him, and purged taste, beginning with his own, of its unnatural and sickly elements. So he became the liberating genius of modern culture. Not only did German lyric poetry reach its climax in him; but he was the most accurate, individual, and universal interpreter of German feeling for Nature.

His wide original mind kept open house for the most diverse elements of feeling, and exercised an enn.o.bling control upon each and all at will; Homer's naivete, Shakespeare's sympathy, Rousseau's enthusiasm, even Ossian's melancholy, found room there.

While most love lyrics of his day were false in feeling, mere raving extravagances, and therefore poor in those metaphors and comparisons which prove sympathy between Nature and the inner life, it could be said of him that 'Nature wished to know what she looked like, and so she created Goethe.' He was the microcosm in which the macrocosm of modern times was reflected.

He was more modern and universal than any of his predecessors, and his insight into Nature and love for her have been rarely equalled in later days. He did not live, like so many of the elegiac and idyllic poets of the eighteenth century, a mere dream-life of the imagination: Goethe stood firmly rooted among the actualities; from boyhood up, as he said in _Wahrheit und Dichtung_, he had 'a warm feeling for all objective things.'

No poet, Klopstock not excepted, was richer in verbal invention, and many of the phrases and epithets which he coined form in themselves very striking evidence (which is lost in translation) of his close and original observation of Nature.

He has many beautiful comparisons to Nature:

His lady-love is 'brightly beautiful as morning clouds on yonder height.'

'I was wont to look at thee as one looks at the stars and moon, delighting in thee without the most distant wish in my quiet breast to possess thee.'