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Goethe Quotes

Browse 49 quotes about Goethe.

Goethe Quotes

“She could not help recalling the bustling which had attended Eduard's celebration of her own birthday, she could not help thinking of the newly erected pavilion under whose roof they had promised themselves so much pleasure. The fireworks exploded again before her eyes and in her ears; the lonelier she was, the more she lived in imagination; yet the more she lived in imagination, the more alone she felt. She leaned upon his arm no more, and had no hope of ever being able to lean on it again.”

LoveImaginationLonelinessSeparationGoethe
Book:Elective Affinities
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“آخ، چیست آدمی، این نیمه خدای ستوده! آیا طاقتش درست آن زمانی طی نمی شود که بیش از همه به آن احتیاج دارد؟ و آیا آن وقتی که بر بال شادی اوج می گیرد، یا در غرقاب غم فرو می رود، در این هر دو حس درست زمانی باز نمی ماند و به شهود و آگاهی دلگیر و سرد خود باز پس رانده نمی شود که شوق گم شدن در این سرشاری بی انتها در جانش دویده است؟”

PassionClassic LiteratureGoetheEighteenth Centuryادبیات کلاسیشور و شوققرن هجدهمگوته
Book:The Sorrows of Young Werther
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“Until one is committed, there is hesitancy, the chance to draw back — concerning all acts of initiative (and creation), there is one elementary truth that ignorance of which kills countless ideas and splendid plans: that the moment one definitely commits oneself, then Providence moves too. All sorts of things occur to help one that would never otherwise have occurred. A whole stream of events issues from the decision, raising in one’s favor all manner of unforeseen incidents and meetings and material assistance, which no man could have dreamed would have come his way. Whatever you can do, or dream you can do, begin it. Boldness has genius, power, and magic in it. Begin it now.”

WisdomInspiringBrilliantLife AffirmingGoetheAmalgamationMisattributed To Goethe
Author:Johann Wolfgang von Goethe
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“Theologically, Hell is out of favor now, but it still seems more "real" to most people than Fairyland or Atlantis or Valhalla or other much imagined places. This is because of the sheer mass and weight and breadth of ancient tradition, inventive fantasy, analytic argument, dictatorial dogma, and both simple and complex faith employed over a very long time- thousands of years- in the ongoing attempt to map the netherworld. The landscape of Hell is the largest shared construction project in imaginative history, and its chief architects have been creative giants- Homer, Virgil, Plato, Augustine, Dante, Bosch, Michelangelo, Milton, Goethe, Blake, and more.”

ReligionHellTheologyPlatoGoetheSt AugustineVirgilDante Alighieri
Book:The History of Hell
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“Very often, when she had shut herself in her room for the night, Ottilie would kneel in front of the open chest and look at her birthday presents. She had touched none of them. Very often she would hurry out of the house at daybreak, out of the place where she had formerly found all her happiness, into the open, into the country which had formerly had no attraction for her. She would even want to get off the land itself, she would leap into the boat and row to the middle of the great lake, and there she would take out a travel-book and let herself be rocked by the waves and read and dream herself into a far country; and there she would always discover her friend, he would tell her she had always been close to his heart, she would tell him he had always been close to hers.”

LoveSeparationGoethe
Book:Elective Affinities
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“Socrates was not a Christian, neither was Goethe; yet we share to the full the respect with which their names are regarded. They tower immeasurably above the common run of men; if he that is least in the Kingdom of Heaven is greater than they, he is certainly greater not by any inherent superiority, but by virtue of an undeserved privilege which ought to make him humbler rather than contemptuous.”

ChristianHumilityValueSocratesGoethe
Author:John Gresham Machen
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“Is it possible that the Pentateuch could not have been written by uninspired men? that the assistance of God was necessary to produce these books? Is it possible that Galilei ascertained the mechanical principles of 'Virtual Velocity,' the laws of falling bodies and of all motion; that Copernicus ascertained the true position of the earth and accounted for all celestial phenomena; that Kepler discovered his three laws—discoveries of such importance that the 8th of May, 1618, may be called the birth-day of modern science; that Newton gave to the world the Method of Fluxions, the Theory of Universal Gravitation, and the Decomposition of Light; that Euclid, Cavalieri, Descartes, and Leibniz, almost completed the science of mathematics; that all the discoveries in optics, hydrostatics, pneumatics and chemistry, the experiments, discoveries, and inventions of Galvani, Volta, Franklin and Morse, of Trevithick, Watt and Fulton and of all the pioneers of progress—that all this was accomplished by uninspired men, while the writer of the Pentateuch was directed and inspired by an infinite God? Is it possible that the codes of China, India, Egypt, Greece and Rome were made by man, and that the laws recorded in the Pentateuch were alone given by God? Is it possible that Æschylus and Shakespeare, Burns, and Beranger, Goethe and Schiller, and all the poets of the world, and all their wondrous tragedies and songs are but the work of men, while no intelligence except the infinite God could be the author of the Pentateuch? Is it possible that of all the books that crowd the libraries of the world, the books of science, fiction, history and song, that all save only one, have been produced by man? Is it possible that of all these, the bible only is the work of God?”

LightInspirationScienceFictionProgressBooksBibleIndiaTragedyMathematicsIntelligenceChinaMathExperimentsWriterChemistryRomePoetsEgyptGreeceNewtonPioneersShakespeareFranklinSongsLibrariesWilliam ShakespeareDiscoveriesThe BibleEuclidGoetheInventionsOpticsCopernicusDescartesKeplerIsaac NewtonLaws Of MotionGalileoLeibnizBurnsJames WattSchillerTheory Of GravityAeschylusJohannes KeplerNicolaus CopernicusPentateuchBenjamin FranklinGalileo GalileiRobert BurnsWattMorseGottfried LeibnizGottfried Wilhelm LeibnizJohann Wolfgang Von GoetheRené DescartesCavalieriPneumaticsAlessandro VoltaBerangerBonaventura CavalieriBonaventura Francesco CavalieriFultonGalvaniGottfried Von LeibnizGottfried Wilhelm Von LeibnizHydrostaticsJohann Von GoetheLuigi Aloisio GalvaniLuigi GalvaniPierre Jean De BérangerRichard TrevithickRobert FultonSamuel Finley Breese MorseSamuel MorseTheory Of Universal GravitationTrevethickVoltaÆSchylus
Book:Some Mistakes of Moses
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“A thought expressed is a falsehood." In poetry what is not said and yet gleams through the beauty of the symbol, works more powerfully on the heart than that which is expressed in words. Symbolism makes the very style, the very artistic substance of poetry inspired, transparent, illuminated throughout like the delicate walls of an alabaster amphora in which a flame is ignited. Characters can also serve as symbols. Sancho Panza and Faust, Don Quixote and Hamlet, Don Juan and Falstaff, according to the words of Goethe, are "schwankende Gestalten." Apparitions which haunt mankind, sometimes repeatedly from age to age, accompany mankind from generation to generation. It is impossible to communicate in any words whatsoever the idea of such symbolic characters, for words only define and restrict thought, but symbols express the unrestricted aspect of truth. Moreover we cannot be satisfied with a vulgar, photographic exactness of experimental photoqraphv. We demand and have premonition of, according to the allusions of Flaubert, Maupassant, Turgenev, Ibsen, new and as yet undisclosed worlds of impressionability. This thirst for the unexperienced, in pursuit of elusive nuances, of the dark and unconscious in our sensibility, is the characteristic feature of the coming ideal poetry. Earlier Baudelaire and Edgar Allan Poe said that the beautiful must somewhat amaze, must seem unexpected and extraordinary. French critics more or less successfully named this feature - impressionism. Such are the three major elements of the new art: a mystical content, symbols, and the expansion of artistic impressionability. No positivistic conclusions, no utilitarian computation, but only a creative faith in something infinite and immortal can ignite the soul of man, create heroes, martyrs and prophets... People have need of faith, they need inspiration, they crave a holy madness in their heroes and martyrs. ("On The Reasons For The Decline And On The New Tendencies In Contemporary Literature")”

DecadenceDon JuanHamletImpressionismFaustBaudelaireGoetheIbsenDon QuixoteEdgar Allan PoeFalstaffDecadentsSymbolistMaupassantTurgenevFlaubertSancho Panza
Book:Silver Age of Russian Culture
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“Like Hamlet, Goethe's Faust offers a wide panorama of scenes from the vulgar to the sublime, with passages of wondrous poetry that can be sensed even through the veil of translation. And it also preserves the iridescence of its modern theme. From it Oswald Spengler christened our Western culture 'Faustian,' and others too have found it an unexcelled metaphor for the infinitely aspiring always dissatisfied modern self. Goethe himself was wary of simple explanations. When his friends accused him of incompetence in metaphysics, he replied. 'I, being an artist, regard this as of little moment. Indeed, I prefer that the principle from which and through which I work should be hidden from me.”

Literary CriticismHamletFaustGoetheFaustianOswald SpenglerGerman Poet
Book:The Creators: A History of Heroes of the Imagination
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“MARGRETHE [...] Glaubst du an Gott? FAUST Mein Liebchen, wer darf sagen: Ich glaub' an Gott? Magst Priester oder Weise fragen, Und ihre Antwort scheint nur Spott Über den Frager zu sein. MARGRETHE So glaubst du nicht? FAUST Mißhör' mich nicht, du holdes Angesicht! Wer darf ihn nennen? Und wer bekennen: Ich glaub' ihn? Wer empfinden Und sich unterwinden Zu sagen: Ich glaub' ihn nicht? Der Allumfasser, Der Allerhalter, Fasst und erhält er nicht Dich, mich, sich selbst? Wölbt sich der Himmel nicht da droben? Liegt die Erde nicht hierunten fest? Und steigen freundlich blickend Ewige Sterne nicht herauf? Schau' ich nicht Aug' in Auge dir, Und drängt nicht alles Nach Haupt und Herzen dir, Und webt in ewigem Geheimnis Unsichtbar sichtbar neben dir? Erfüll' davon dein Herz, so groß es ist, Und wenn du ganz in dem Gefühle selig bist, Nenn' es dann, wie du willst, Nenn's Glück! Herz! Liebe! Gott! Ich habe keinen Namen Dafür! Gefühl ist alles; Name ist Schall und Rauch, Umnebelnd Himmelsglut. MARGRETHE Das ist alles recht schön und gut; Ungefähr sagt das der Pfarrer auch, Nur mit ein bisschen andern Worten. FAUST Es sagen's aller Orten Alle Herzen unter dem himmlischen Tage, Jedes in seiner Sprache; Warum nicht ich in der meinen?”

ReligionFaustGoetheGott
Book:Faust, Erster Teil
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“The religion of this 'I', the poetry of this 'I', and the philosophy of the same 'I' that from Poggio and Felelfo to Byron and Goethe produced a number of works astonishing for their profundity and brilliance have finally exhausted its content; and in the poetry of Decadence we see the rapid falling away of the empty shell of this 'I'. We remarked previously about the exaggeration without the exaggerated object, and about the precious style without the subject of this preciosity, which characterize this poetry — this is so in regard to its form; in regard to its content Decadence is above all hopeless egoism. The world, as an object of love, of interest, even as the object of indignation or contempt, has disappeared from this "poetry”; the world has disappeared, not only as an object exciting some reaction in this vapid 'I', but also as a spectator and possible judge of this 'I'; it is not even present. ("On Symbolists And Decadence")”

PoetryEgoismDecadenceByronGoetheDecadentsSymbolistSymbolistsPoggioFelelfo
Author:Vasily Rozanov
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“Veronika, die Streberin der Klasse, hob die Hand und plapperte los, noch bevor der Lehrer ihren Namen zu Ende gesprochen hatte: »In dem Gedicht geht es um einen Vater, der sein krankes Kind mitten in der Nacht zum Arzt bringen will. Das Kind hat Fieber und sieht Dinge, die offensichtlich nicht da sind. Als der Vater endlich ankommt, ist das Kind in seinen Armen bereits gestorben.« »Miserables Gesundheitswesen«, kommentierte jemand und alle lachten.”

GoetheGedichtSchuleGesundheitswesenKlasseStreber
Book:Himmelblau
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“¿ Por qué morían tan jóvenes?, se pregunta Stefan Zweig hablando de aquella generación y de su lucha con el demonio. Novalis, quien, casi por su voluntad, un día cerró los ojos como un niño y mágicamente murió, decía en sus cuadernos que todos los humanos mueren maduros y en el momento adecuado, cuando han cumplido plenamente el aprendizaje que les corresponde. Ello significaría que Víctor Hugo, Goethe y Voltaire que superaron los ochenta años, no vivieron más que keats, que a los veinticinto dejó de oír al ruiseñor; ni más que Chatterton, quien después de crear un linaje de poetas, sus genealogías, sus obras, su correspondencia, su aparato crítico, sus biografias y su hermenéutica, se extinguió como una llama en su buhardilla a la edad de diescisiete años; ni más que el propio Novalis, que al morir, a los veintinueve, nos reveló que lo había vivido todo.”

MuerteGoetheVoltaireZweigKeatsNovalisChattertton
Book:El año del verano que nunca llegó
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“Gli osservatori fedeli della natura, per quanto pensino in maniera diversa riguardo altre questioni, concorderanno tuttavia che tutto ciò che si manifesta, tutto ciò che si presenta come fenomeno deve rinviare a una scissione originaria, capace di ricomposizione, o a un'unità originaria capace di scindersi e deve quindi presentarsi in questo modo. Scindere ciò che è unito e unire ciò che è scisso è la vita della natura. È l'eterna sistole e diastole, l'eterna synkrisis e diakrisis, l'inspirare e l'espirare del mondo in cui viviamo, agiamo e siamo.”

Natural LawNaturaGoetheFarbenlehreTeoria Dei Colori
Author:Johann Wolfgang von Goethe
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“Just as his sentimentalism is profoundly middle-class and plebeian, but his irrationalism reactionary, so his moral philosophy also contains an inner contradiction: on the one hand, it is saturated with strongly plebeian characteristics, but on the other, it contains the germ of a new aristocratism. The concept of the ‘beautiful soul’ presupposes the complete dissolution of kalo-kagathia and implies the perfect spiritualization of all human values, but it also implies an application of aesthetic criteria to morality and is bound up with the view that moral values are the gift of nature. It means the recognition of a nobility of soul to which everyone has a right by nature, but in which the place of irrational birthrights is taken by an equally irrational quality of moral genius. The way of Rousseau’s ‘spiritual beauty’ leads, on the one hand, to characters like Dostoevsky’s Myshkin, who is a saint in the guise of an epilectic and an idiot, on the other, to the ideal of individual moral perfection which knows no social responsibility and does not aspire to be socially useful. Goethe, the Olympian, who thinks of nothing but his own spiritual perfection, is a disciple of Rousseau just as much as the young freethinker who wrote Werther.”

NatureMoralityGoetheDostoevskyRousseauNobility Of SoulNew AristocracySpiritulization
Book:The Social History of Art Volume 3: Rococo, Classicism and Romanticism
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“In 1530 [H. C. Agrippa] published at Antwerp a book, On the Vanity of Sciences and Arts, a curious, nihilistic work, whose central thesis is that knowledge only brings man to disillusionment and recognition of how little he knows. It reads like an anticipation of Faust’s speech in Act I of Goethe’s play. The only worthwhile study, says Agrippa, is theology and scripture. He was undoubtedly sincere.”

KnowledgeDisillusionmentFaustGoetheAgrippaVanity Of Human Affairs
Book:The Occult
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“In the beginning of the eighteenth century, De Maillet made the first serious attempt to apply the doctrine [of evolution] to the living world. In the latter part of it, Erasmus Darwin, Goethe, and Lamarck took up the work more vigorously and with better qualifications. The question of special creation, or evolution, lay at the bottom of the fierce disputes which broke out in the French Academy between Cuvier and St.-Hilaire; and, for a time, the supporters of biological evolution were silenced, if not answered, by the alliance of the greatest naturalist of the age with their ecclesiastical opponents. Catastrophism, a short-sighted teleology, and a still more short-sighted orthodoxy, joined forces to crush evolution.”

ScienceEvolutionScience And ReligionOrthodoxyScience Vs ReligionGoetheJohann Wolfgang Von GoetheCuvierErasmus DarwinGeorges CuvierLamarckBenoit De MailletBenoît De MailletDe MailletJean Baptiste LamarckTreviranus
Book:Advance of Science in the Last Half-Century, The
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“Faustus, who embraced evil and shunned righteousness, became the foremost symbol of the misuse of free will, that sublime gift from God with its inherent opportunity to choose virtue and reject iniquity. “What shall a man gain if he has the whole world and lose his soul,” (Matt. 16: v. 26) - but for a notorious name, the ethereal shadow of a career, and a brief life of fleeting pleasure with no true peace? This was the blackest and most captivating tragedy of all, few could have remained indifferent to the growing intrigue of this individual who apparently shook hands with the devil and freely chose to descend to the molten, sulphuric chasm of Hell for all eternity for so little in exchange. It is a drama that continues to fascinate today as powerfully as when Faustus first disseminated his infamous card in the Heidelberg locale to the scandal of his generation. In fine, a life of good or evil, the hope of Heaven or the despair of Hell, Faustus stands as a reminder that the choice between these two absolutes also falls to us.”

ChristianEvilHeavenHellCatholicGoodGood And EvilFree WillThought ProvokingDamnationFaustGoetheEvil MenFaustusMarloweFaustianFaust Legend
Book:Faust: My Soul be Damned for the World, Vol. 1
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