GOETHE.—Goethe, whom posterity can only put in the same rank as Homer, is even more universal genius, and has approached yet closer to absolute beauty. Of Franco-German education, he subsequently studied at Strasburg, commencing, whilst still almost a student, with the imperishable Werther, to which it may be said that a whole literature is devoted and, parenthetically, a literature diametrically opposed to what Goethe subsequently became. Then a journey through Italy, which revealed Goethe to himself, made him a man who never ceased to desire to combine classic beauty and Teutonic ways of thinking, and who was often magnificently successful. To put it in another way, Goethe in his own land is a Renaissance in himself, and the Renaissance which Germany had not known in either the sixteenth or seventeenth century came as the gift of Goethe. Immediately after his return from Italy he wrote Tasso (of classic inspiration), Wilhelm Meister (of Teutonic inspiration), Iphigenia (classical), Egmont (Teutonic), etc. Then came Hermann and Dorothea, which was absolutely classic in the simplicity of its plan and purity of lyric verse, but essentially modern in its picture of German customs; The Roman Elegies, The Elective Affinities, Poetry and Truth (autobiography mingled with romance), The Western Eastern Divan, lyrical poems, and finally, the two parts of Faust. In the first part of Faust, Goethe was, and desired to be, entirely German; in the second, through many reveries more or less relative to the theme, he more particularly desires to depict the union of the German spirit with that of classical genius, which formed his own life, and led to intelligent action, which also was a portion of his existence. And for beauty, drama, pathos, ease, phantasy, and fertility in varied invention, nothing has ever surpassed if anything has even equalled the two parts of Faust regarded as a single poem.
Apart from his literary labours, Goethe occupied himself with the administration of the little duchy of Weimar, and in scientific research, notably on plants, animals, and the lines in which he displayed marked originality. He died in 1832, having been born in 1749. His literary career extends over, approximately, sixty years, equal to that of Victor Hugo, and almost equal to that of Voltaire.
THE CONTEMPORANEOUS PERIOD.—After the death of Goethe, Germany could not maintain the same height. Once more was she glorified in poetry by Henry Heine, an extremely original witty traveller, in his Pictures of Travel, elegiac and deeply lyrical, affecting and delightful at the same time in The Intermezzo; by the Austrian school, Zedlitz, Grün, and the melancholy and deep-thinking Lenau; in prose, above all, by the philosophers, Fichte, Hegel, Schopenhauer, Hartmann, and lastly Nietzsche—at once philosopher, moralist (after his own manner), and poet, with an astonishing imagination; by the historians Niebuhr (before 1830), Treitschke, Mommsen, etc. Germany seems to have drooped, so far as literature is concerned, despite some happy exceptions (especially in the drama: Hauptmann, Sudermann), since her military triumphs of 1870 and the consequent industrial activity.
CHAPTER XVIII. — THE EIGHTEENTH AND NINETEENTH CENTURIES: ITALY
Poets: Metastasio, Goldoni, Alfieri, Monti, Leopardi. Prose Writers: Silvio Pellico, Fogazzaro, etc.
LITERARY AWAKENING.—After a long decadence, Italy, less overwhelmed politically than previously, reawoke about 1750. Once more poets came forward: Metastasio, author of tragedies and operas; Goldoni, a very witty and gay comic poet; Alfieri who revived Italian tragedy, which had been languishing and silent since Maffei, and who, like Voltaire in France, and with greater success, established a philosophical and political tribune; Foscolo, sufficiently feeble in tragedy but very touching and eloquent in The Tombs, inspired by Young's Night Thoughts and The Letters of Jacob Ortis, an interesting novelist and eloquently impassioned patriot; Monti, versatile and master of all recantations according to his own interests, but a very pure writer and not without brilliance in his highly diversified poems.
EMINENT PROSE WRITERS.—Italy could show eminent prose writers, such as those jurisprudent philanthropists Filangieri and Beccaria; critics and literary historians like Tiraboschi.
NINETEENTH CENTURY.—In the nineteenth century may first be found among poets that great poet, the unhappy Leopardi, the bard of suffering, of sorrow, and of despair; Carducci, a brilliant orator, imbued with vigorous passions; Manzoni, lyricist, dramatist, vibrating with patriotic enthusiasm, affecting in his novel The Betrothal, which became popular in every country in Europe. In prose, Silvio Pellico equally moved Europe to tears by his book My Prisons, wherein he narrated the experiences of his nine years of captivity at the hands of Austria, and found his agreeable tragedy of Francesca da Rimini welcomed with flattering appreciation. Philosophy was specially represented by Gioberti, author of The Treatise on the Supernatural, and journalism by Giordani, eloquent, at times with grace and ease, and at others with harshness and violence.