Tour durationca. 2.5 h (does not include tours of the buildings)

Tour lengthca. 3.5 km

Tour stops1 Shakespeare Memorial (Park on the Ilm)2 Schiller Bench (Park on the Ilm)3 Roman House (Park on the Ilm)4 Dux Bridge (Park on the Ilm)5 Goethe Gartenhaus (Park on the Ilm)6 House of Charlotte von Stein (Seifengasse)7 Gingko tree (Puschkinstrasse)8 Goethe and Schiller Monument (Theaterplatz)9 German National Theatre

10 Goethe National Museum11 Ducal Vault (Historic Cemetery)

Current opening hours, prices and tours atwww.klassik-stiftung.de/en/service/visitor-information

p o e t ry tour

Lyrical me? Goethe re� ected in his poetry

Many people feel that poems re� ect a writer’s personality much better than dramas or novels. They seem to communicate authen-tic moods and feelings. Yet we must always ask ourselves whether the poet was actually speaking about himself or rather an uni-denti� ed � rst-person narrator whose experience is explored by the poet. On this tour, we will encounter various poems which Goethe wrote during his lifetime. They will help us become acquainted with an illustrious chapter of German literary history, as well as gain an impression of Goethe and those with whom he associated in Weimar. We seem to encounter Werther in many of his poems, which shows that the main character of his novel The Sorrows of Young Werther occupied Goethe throughout his life. Whether of Young Werther occupied Goethe throughout his life. Whether of Young Wertheryou are interested in (re-)acquainting yourself with Goethe or simply wish to discover something new in his poetry is completely up to you!

Steubenstraße

Schillerstraße

Frauen-plan

Wieland-Wieland-Wieland-platz

Erfurter Straße

Trierer Straße

Park an der Ilm

Belvederer Allee

Berkaer Stra

ße

Graben

Jenaer Straße

Markt

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Am Poseckschen Garten

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Ackerwand

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Coudraystraße

Humboldtstra

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Rudolf-Breitscheid-Straße

ca. 9 km

ca. 10 km

ca. 3 km

Shakespeare Memorial (Park on the Ilm)

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Schiller Bench (Park on the Ilm) Roman House (Park on the Ilm)

Goethe Gartenhaus (Park on the Ilm) House of Charlotte von Stein (Seifengasse) Gingko tree (Puschkinstrasse) Goethe and Schiller Monument (Theaterplatz) German National Theatre

10 Goethe National Museum

Dux Bridge (Park on the Ilm)

Ducal Vault (Historic Cemetery)

11 Ducal Vault 11 Ducal Vault 11 Ducal Vault 11 Ducal Vault 11 Ducal Vault 11 Ducal Vault 11 Ducal Vault 11 Ducal Vault 11 Ducal Vault 11 Ducal Vault 11 Ducal Vault 11 Ducal Vault

3 Roman House 3 Roman House 3 Roman House 3 Roman House 3 Roman House 3 Roman House 3 Roman House 3 Roman House 3 Roman House

4 4 2

1 5 Goethe Gartenhaus 5 Goethe Gartenhaus 5 Goethe Gartenhaus 5 Goethe Gartenhaus 5 Goethe Gartenhaus 5 Goethe Gartenhaus 5 Goethe Gartenhaus 5 Goethe Gartenhaus

10 10 10 10

9 9 9 9 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument

7 Gingko tree 7 Gingko tree 7 Gingko tree 7 Gingko tree 7 Gingko tree 7 Gingko tree 7 Gingko tree 7 Gingko tree 7 Gingko tree 7 Gingko tree 7 Gingko tree 7 Gingko tree 7 Gingko tree 7 Gingko tree 7 Gingko tree 7 Gingko tree 7 Gingko tree 7 Gingko tree 7 Gingko tree 7 Gingko tree

6 House of Charlotte von Stein 6 House of Charlotte von Stein 6 House of Charlotte von Stein 6 House of Charlotte von Stein 6 House of Charlotte von Stein 6 House of Charlotte von Stein 6 House of Charlotte von Stein 6 House of Charlotte von Stein 6 House of Charlotte von Stein 6 House of Charlotte von Stein 6 House of Charlotte von Stein 6 House of Charlotte von Stein 6 House of Charlotte von Stein 6 House of Charlotte von Stein 6 House of Charlotte von Stein 6 House of Charlotte von Stein 6 House of Charlotte von Stein 6 House of Charlotte von Stein

German German German German German German National TheatreNational TheatreNational TheatreNational TheatreNational TheatreNational Theatre

Goethe Goethe Goethe Goethe Goethe Goethe National MuseumNational MuseumNational MuseumNational MuseumNational MuseumNational MuseumNational MuseumNational Museum

Schiller BenchSchiller BenchSchiller BenchSchiller BenchSchiller BenchSchiller BenchSchiller Bench

8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument 8 Goethe and Schiller Monument

Shakespeare Shakespeare Shakespeare Shakespeare Shakespeare Shakespeare Shakespeare Shakespeare MemorialMemorialMemorialMemorial

Dux BridgeDux BridgeDux BridgeDux BridgeDux BridgeDux Bridge

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Illustration of Werther, 1778

Especially in sunny, springtime weather, the Shakespeare Memo-rial is a wonderful place to read Goethe’s Song of May, in which the narrator emphatically projects his feelings onto the blossom-ing nature. The short verses generate such dynamic rhythm that the vitality of a spring day seems almost within our reach. The speaker’s euphoria peaks in his exclamations in the sixth stanza, revealing the reason for his joy: he loves a girl, who reciprocates his love and inspires him to new creation as a poet. The poem was written in 1771 when Goethe was in Sesenheim in the com-pany of Pastor Brion and his family. There he developed an intense relationship with Brion’s daughter Friederike. The experi-ences of this period precipitated into a series of poems which are known today as the Sesenheim Songs. Portraying subjects as a re� ection of nature was also a deter-mining factor in Goethe’s novel The Sorrows of Young Werther, a The Sorrows of Young Werther, a The Sorrows of Young Wertherprincipal work of Sentimentalism and of the Sturm und Drangperiod. In contrast to other contemporary works, this novel did not assume a morally pedantic attitude and thus ushered in new autonomous form of literature. The Sturm und Drang period styl-Sturm und Drang period styl-Sturm und Drangised the poet as a genius, one who produces novelty from within and accepts no rigid rules for poetry. William Shakespeare (1564–1616) was an important model for the poets of this literary era. He was celebrated as the coun-terpoint to French Classicism. It was Goethe who especially praised his language as being lively and seemingly close to nature. The sculpture shows the English playwright with attrib-utes related to the stage. It was erected in the Park on the Ilm in 1904 facing the Goethe Gartenhaus. Even though the intention might have been di� erent at the time, the � gure is now reminis-cent of Goethe’s Sturm und Drang period. He had already become Sturm und Drang period. He had already become Sturm und Drangfamous with his works Götz von Berlichingen and The Sorrows of Young Werther before he came to Weimar in 1775.Young Werther before he came to Weimar in 1775.Young Werther

Our path leads us past the so-called Schlangenstein (snake stone) to the Schiller Bench, from which we have a view of the Ilm and Goethe Gartenhaus.

Y Y 2 Schiller Bench, Park on the Ilm | 250 m

1 1 Shakespeare Memorial, Park on the Ilm

Out into Nature!

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How brilliantly NatureBeams upon me!The glowing sunlight!The laughing lea!

From every branchThe blossoms burst,A thousand voicesFrom every hurst.

And joy and raptureFrom every breast.O Earth, o Sunshine,O joy, o zest!

O love, o loving,So golden bright,Like clouds of morningOn yonder height!

You bless with gloryThe � elds of green,With blossoms’ fragranceThe earth’s rich sheen.

What love, o maiden,I have for you!Your eye is beamingWith love-light too.

So loves the skylarkHer song on high,So morning blossomsThe balmy sky,

As I love you With warmth athrill,Who youth and spiritAnd joy instil

For ever new songsAnd dances free.Be always happyAs you love me!1

1 Shakespeare Memorial, Park on the Ilm

1 Goethe, The Lyrist, 100 Poems in New Translations facing the Originals with a Biographical Introduction, Edwin H. Zeydel (Trans.), University of Carolina Press, Chapel Hill, 2nd rev. edition, 1955, p. 30.University of Carolina Press, Chapel Hill, 2nd rev. edition, 1955, p. 30.

Song of May1771

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Y 3 Roman House, Park on the Ilm | 350 m

Like a strong, steady current, The Sea Voyage conveys the energy The Sea Voyage conveys the energy The Sea Voyageand stability of life thanks to a stringent rhyme scheme which mirrors the content of the poem. The lyrical subject, a travelling salesman, tarries at the port with his loaded ship and is encour-aged by his friends to set o� on a journey to foreign shores. Although the beginning of the journey seems to go well, an approaching storm threatens to change his course. However, the storm cannot frighten the traveller, who con� dently faces his destiny. Not only the acoustic character, but also the relationship to nature has changed since the Song of May. Nature no longer mir-rors the speaker’s feelings, but now is depicted as a threatening force that demands action. Thus, the image of the “sea journey” represents our path through life. Just as the seafarer is at the mercy of wind and weather, we too must deal with the ups and downs of life. The poem was written in September 1776. By this time, Goethe had lived in Weimar for almost one year. Six months ear-lier in April, Duke Carl August (1757–1828) had given him the Gartenhaus near the Ilm River as a gift. Only as an owner of real estate was Goethe eligible to become a citizen of Weimar and assume ministerial posts. In contrast to his life as a freelance writer in Frankfurt, Goethe now worked in a concentrated, goal-oriented manner. His father and friends in Frankfurt were doubt-ful about the 27-year-old’s new living situation in the provincial backwaters of Thuringia. No one knew at the time that Weimar would become an intellectual, literary centre in Germany during the next few years.

Goethe as a young man, 1776

2 2 Schiller Bench, Park on the Ilm

Life’s Journey

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Y 3 Römisches Haus | 350 m

Many a day and night my bark stood ready laden;Waiting fav’ring winds, I sat with true friends round me,Pledging me to patience and to courage,In the haven.

And they spoke thus with impatience twofold:Gladly pray we for thy rapid passage,Gladly for thy happy voyage; fortuneIn the distant world is waiting for thee,In our arms thou’lt � nd thy prize, and love, too,When returning.

And when morning came, arose an uproar,And the sailors’ joyous shouts awoke us;All was stirring, all was living, moving,Bent on sailing with the � rst kind zephyr.

And the sails soon in the breeze are swelling,And the sun with � ery love invites us;Fill’d the sails are, clouds on high are � oating,On the shore each friend exulting raisesSongs of hope, in giddy joy expectingJoy the voyage through, as on the morn of sailing,And the earliest starry nights so radiant.

But by God-sent changing winds ere long he’s driven

Sideways from the course he had intended,And he feigns as though he would surrender,While he gently striveth to outwit them,To his goal, e’en when thus press’d, still faithful.

But from out the damp grey distance rising,Softly now the storm proclaims its advent,Presseth down each bird upon the waters,Presseth down the throbbing hearts of mortals.And it cometh. At its stubborn fury,Wisely ev’ry sail the seaman striketh;With the anguish-laden ball are sportingWind and water.

And on yonder shore are gather’d standing,Friends and lovers, trembling for the bold one:Why alas, remain’d he here not with us!Ah the tempest! Cast away by fortune!Must the good one perish in this fashion?Might not he perchance … Ye great immortals!

Yet he, like a man, stands by his rudder;With the bark are sporting wind and water,Wind and water sport not with his bosom:On the � erce deep looks he, as a master, –In his gods, or shipwreck’d, or safe landed,Trusting ever.2

2 Schiller Bench, Park on the Ilm

The Sea Voyage 1776

2 Trans. http://www.poemhunter.com/poem/the-sea-voyage/2 Trans. http://www.poemhunter.com/poem/the-sea-voyage/

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The rediscovery of ancient forms is what connects the poem Roman Elegy II from 1795 to the building we are now facing. Roman Elegy II from 1795 to the building we are now facing. Roman Elegy IIDuring his sojourn to Italy, Goethe came in direct contact with the works of the Italian Renaissance, which were an independent revival of ancient art and consequently seemed equally “classical” and exemplary. This encounter with Italian art prepared Goethe to overcome his own creative crisis. The poetry cycle Roman Elegies employs the ancient elegiac Roman Elegies employs the ancient elegiac Roman Elegiescouplet verse form. The couplets express a critique of the recep-tion of Werther. The lyrical subject – in this poem closely related to Goethe himself – after his � ight from the “German territories”, “German territories”, “German territories”addresses a reading public that had enthusiastically received the Werther novel, but in the poet’s eyes had misunderstood it and Werther novel, but in the poet’s eyes had misunderstood it and Wertherreduced it to petty aspects. The Werther out� t, consisting of yel-low trousers and a blue jacket, was the latest fashion, and “Wertheriades”, works that followed in the tradition of the novel, � ooded the literary market. At the same time, there were long discussions about the extent to which the events of the novel were based on a true story, and the public eagerly sought connec-tions in Goethe’s own past. Goethe’s answer to this speculation was another mixture of biographical and � ctive elements in the mantle of the Augustan erotic elegy. With this gesture, he joined the company of the ancient poets Tibull, Properz and Ovid – and let the readers guess at the identity of the lover in the Roman Elegies. The Roman House is also � rmly anchored in the tradition of antiquity; with its lower storey supported by compact Dorian columns and its portico by slender Ionian columns – both refer-ences to Greek and Roman architecture. Built between 1792 and 1797 as a representative, private retreat for the Duke, the Roman House is believed to be one of the � rst Classical-period buildings constructed in Germany. The architect Johann August Arens supervised its construction in close collaboration with Goethe, which means that we can also regard the Roman House one of the poet’s works as well.

3 3 Roman House, Park on the Ilm

Questions of Form

Design draft of the Roman House, 1792

Y Y 4 Dux Bridge, Park on the Ilm | 250 m

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Honour whomever you please! But I at last am in safety!Beautiful ladies, and you, men of the elegant world,But did Werther really live? Did it all truly happen?Which town has the right to boast of the lovely Lotte? Oh, how often have I cursed those foolish pages of mine,Which made my youthful su� erings public!Were Werther my brother and I had killed him,I could scarcely have been so tortured by his sorrowful spirit.So once the ditty “Malbrough” pursued the travelling Briton,“Malbrough” pursued the travelling Briton,“Malbrough”First from Paris to Leghorn, then from Livorno to Rome,Thence to Naples; and though he were now to sail o� to far Madras,“Malbrough” would welcome him there, “Malbrough” would welcome him there, “Malbrough” “Malbrough” ring out on the quay.“Malbrough” ring out on the quay.“Malbrough”Happily have I escaped, she knows of Werther and Lotte,Yet scarcely knows the name of the man from whom they sprung.She delights in her friend, the vigorous, liberal strangerWho can tell her of snow, mountains and timbered houses.

Y Y 4 Dux Bridge, Park on the Ilm | 250 m

3 Roman House, Park on the Ilm

Roman Elegy II1795

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Y Y 5 Goethe Gartenhaus, Park on the Ilm | 500 m

Duke Carl August, around 1790

Even today, birthdays o� er us a chance to re� ect on the past. Apparently, Goethe also felt this way, as shown in his poem To Duke Carl August. He wrote it on 28 August 1787, his 38th birth-day while in Rome. Goethe, who hadn’t seen the Duke for almost a year, often thought about his friend and what was going on back home. The poem deals with the relationship between Carl August and Goethe. Using the picturesque motif of a � ower-strewn path, Goethe refers to the fortunate course of his own life, in� uenced to a great extent by the duke. But Goethe also expresses his wish that his friend see to his own well-being. The last line of the poem makes it clear – one can only be truly happy knowing that the other is well. Goethe’s second poem of praise for the Duke was written in 1789 and was included in the cycle Venetian Epigrams in 1800. It Venetian Epigrams in 1800. It Venetian Epigramsemphasises the personal relationship between the poet and the Duke. The last verse succinctly summarises their friendship; on the one hand, the Duke was a “Maecenas” or patron to the artist, “Maecenas” or patron to the artist, “Maecenas”and on the other hand he was “August” – that is, he was on a � rst-name basis with the poet. Perhaps it is not immediately apparent, but here on the Dux Bridge, we are in the midst of the friends’ cooperative work. Carl August and Goethe worked closely together to design the park as a landscape garden. Beginning in 1778, they had paths cleared, trees planted, and – inspired by English landscape designers – arti� cial ruins, grottos and sculptures erected. Later, Goethe aban-doned the theory of garden design, but in constructing the Roman House, he continued to in� uence the appearance of the park well into the 1790s. Today the landscaped park is symbolic for a lifelong friendship between Goethe and Duke Carl August; the Dux Bridge lies in the centre of the line of sight connecting Goethe’s Gartenhaus and Carl August’s Roman House.

4 4 Dux Bridge, Park on the Ilm

Goethe and Carl August – A Lifelong Friendship

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True, among Germany’s princes my own is accounted a small one, Short and narrow his realm, moderate only his power.But if the others applied theirs at home and abroad as my prince does, Ah, to be German among Germans, what endless delight!Why did you laud him, in that case, when actions and works are his glory, And your reverence, too, many could whisper, is bribed?For to me he has given what great ones most rarely have granted, Favour, leisure and trust, � elds and a garden and house.Gratitude only to him I have owed, and my needs were most urgent, Since, as a poet, I lacked skill from which pro� t accrues.All of Europe may praise me, but what have I gained from all Europe? Nothing! No, I have paid, dearly enough, for my verse.Germany aped what I wrote, and in France they were eager to read me, England, you kindly received this hypochondriac guest.But what good does it do me if even a Chinaman’s � ngers, Sensitive, hesitant, paint Werther and Charlotte on glass?Never an emperor asked for, and never a king cared a jot for Me. My Maecenas was he, and my Augustus, combined.4

4 Dux Bridge, Park on the Ilm

My path you lovingly strewed With beautiful blossoms.In quiet occupation, my life be thanks For all the good you have shown me.If you did so much in care of yourself,My happiness would be complete;For joy comes when both are well,Bound in friendship.3

To Duke Carl August 1787

Venetian Epigrams1789

3 Translation: Robert Brambeer4 4 Goethe: Roman Elegies and Other Poems & Epigrams Goethe: Roman Elegies and Other Poems & Epigrams, Michael Hamburger (Trans.), Anvil Press Poetry Ltd, London, 1996, p. 69., Michael Hamburger (Trans.), Anvil Press Poetry Ltd, London, 1996, p. 69., Michael Hamburger (Trans.), Anvil Press Poetry Ltd, London, 1996, p. 69.

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Y Y 6 House of Charlotte von Stein, Seifengasse | 500 m

Taking a stroll around the Gartenhaus, you will � nd many di� er-ent kinds of � owers. You can almost imagine Goethe kneeling underneath a tree and planting a � ower into the soil. However, this poem deals with more than a simple description of garden work.

Found explains very � guratively how a pretty � ower is found, Found explains very � guratively how a pretty � ower is found, Founddug up and replanted. In the second verse, in the middle of the poem, the � ower itself speaks up. The personi� cation of the plant, in its resistance to the lyrical speaker, denotes the meta-phorical idea of the � ower as a woman vulnerable to the violence of man. This motif is more clearly stated in the ballad Heiden-röslein (The Heath Rose), in which the reference to a female � g-ure is more explicit in the line “Vain ‘twas ‘gainst her fate to kick” 5. But in contrast to the Heidenröslein, the little � ower in Found experiences a happy ending. It moves to the garden of the Found experiences a happy ending. It moves to the garden of the Foundpretty house and continues blossoming forever after. Goethe wrote the folksong-like poem in 1813 – the version here is that of the � rst printing in 1815 – and enclosed it in a letter to his wife Christiane. Thus, we justi� ably associate this episode with Goethe’s � rst encounter with Christiane Vulpius (1765–1816). She worked in an arti� cial � ower workshop when she approached Goethe for the � rst time in the Park on the Ilm in 1788. She begged him to help support her family after the death of her father. After a short period of secrecy, the relationship soon became public, and one year later, Christiane moved in with Goethe in his Gartenhaus. Needless to say, it was a scandal in Weimar’s higher social circles that such an admired poet would live together with a woman from the lower class. However, the couple’s life together was full of satisfaction and harmony. Chris-tiane ran a well-organised household, giving Goethe the freedom he needed to work without distraction. In turn, Goethe gave her presents and the opportunity to participate in country outings, festivities and other pleasurable pastimes. On 19 October 1806, Christiane and Goethe were lawfully wed in St. Jacob’s Church.

Christiane Vulpius and son August, 1792

5 5 Goethe Gartenhaus, Park on the Ilm

Found

5 Trans. Edgar Alfred Bowring (1826–1911)5 Trans. Edgar Alfred Bowring (1826–1911)

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Y Y 6 House of Charlotte von Stein, Seifengasse | 500 m

Once in the forestI strolled content,To look for nothingMy sole intent.

I saw a � ower,Shaded and shy,Shining like starlight,Bright as an eye.

I went to pluck it;Gently it said:Must I be broken,Wilt and be dead?

Then whole I dug itOut of the loamAnd to my gardenCarried it home,

There to replant itWhere no wind blows.More bright than everIt blooms and grows.6

5 Goethe Gartenhaus, Park on the Ilm

Found1813

6 Ibid., p. 79.

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Y Y 7 Gingko tree, Puschkinstrasse | 10 m

The path between the Goethe Gartenhaus and the residence of Frau von Stein was well tread by servants in the 1770s and 1780s delivering letters and notes back and forth between the two. The verses that began with the line “Certain it is, I would have gone far …” were part of Goethe’s letter to Charlotte von Stein, sent on far …” were part of Goethe’s letter to Charlotte von Stein, sent on far …”24 August 1784 from Brunswick. Although the verses were meant to be included in the religious epic The Secrets, they still point to Goethe’s relationship with the married lady in waiting at Anna Amalia’s court. Charlotte had read Goethe’s Werther with great enthusiasm Werther with great enthusiasm Wertherand was very intent to meet the poet who had written this great work. Their � rst encounter was rather sobering; she doubted that she could ever become friends with the poet. However, he was fascinated by this elegant woman who had presented herself in such a brilliant and disciplined way. In time, the poet and the court lady became better acquainted and soon she was Goethe’s closest female friend and con� dante. They read, philosophised, sketched together and maintained a stimulating intellectual dia-logue. They would discuss Spinoza’s ethics after reading his works together, for example, and then speak about Goethe’s own work, Studie nach Spinoza. Goethe’s sudden departure for Italy in 1786 deeply hurt Char-lotte, as he had left without properly saying good-bye. After the poet’s return to Weimar, their once intimate relationship could not be restored. Goethe’s relationship with Christiane Vulpius only greatened the distance between them. Around 1800, their relationship became friendlier and was characterised by increas-ing respect and a� ection for each other. The verses To Frau von Stein on her Birthday on 25 December 1815 are evidence of this development. Charlotte, whose birthday was the same day as Goethe’s son August’s, was obliged to be content with birthday wishes in writing that year since Goethe was kept home by ill-ness. The wording that he was su� ering “in Sonnenferne” (far “in Sonnenferne” (far “in Sonnenferne”from the sun) is a reference to his exuberant admiration of her in earlier years.

Charlotte von Stein, around 1777

6 6 House of Charlotte von Stein, Seifengasse

“My life depends on yours alone”Goethe and Charlotte von Stein

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Y Y 7 Gingko tree, Puschkinstrasse | 10 m

Certain it is I would have gone far, faras far as the world lies open,were it not that stars too powerful to resist have attached my fate to yoursso that now I learn to know myself only in you.All my poetry, my thoughts, hopes and longingsstrive but toward you and your being,my life depends on yours alone.7

To Frau von Stein on her Birthdayon 25 December 1815

My thanks to God with all my heartThat you were born this day Along with Holy Jesus And dear, slight August too.In the deep of wintertime’Tis an occasion most auspiciousTo send you greetings of sugar,To sweeten the absenceFor me who so far from the sun,Quietly love, su� er and learn.8

6 House of Charlotte von Stein, Seifengasse

From Goethe’s Letter to Frau von Stein24 August 1784

7 Trans. Robert M. Browning, Selections from Goethe’s Letters to Frau von Stein 1776–1789, Camden House, Columbia, SC, USA, 1990, p. 225.8 Trans. Robert Brambeer

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Y Y 8 Goethe- und Schiller-Denkmal | 600 m

Goethe‹s attempt at Arabic calligraphy

If you stand beneath the gingko tree and look upwards, you will notice the strange shape of the leaves. This observation is the subject of the � rst stanza in the poem Gingo biloba and suggests that perhaps there is a secret meaning to its form. The second stanza inquires about the origin of this form by o� ering two anti-thetical alternatives. The third stanza seems to o� er a solution, but concludes in the paradoxical claim that the leaf of the gingko tree could be both “single and double”. One possible interpretation lies in what originally inspired the poem. Goethe had read the collected works of the Persian poet Ha� s (1315/17–1390?) and used them as inspiration for his own collection of poetry. Gingo biloba is part of his West-Eastern Divan. Foreign poetry fascinated Goethe, and he identi� ed with the Oriental poet. The last verse of the poem symbolises this feel-ing: Orient and Occident may meet within the singer of these songs, and in him, unite both cultures to form a whole. For a visual representation of the condition of “being single and double”, you should take a look at the Goethe-Ha� s monument at double”, you should take a look at the Goethe-Ha� s monument at double”Beethoven-Platz on Ackerwand, which the UNESCO presented to the Klassik Stiftung Weimar in 2000. The poem itself has come to symbolise the Divan, Goethe’s poetry and speci� cally Goethe himself. The jewellery and souve-nir shops in town have certainly played a role in demonstrating the many uses of the gingko leaf. The gingko tree behind the Duke’s former residence was planted in 1815, the same year Goethe wrote the poem.

7 7 Gingko tree, Puschkinstrasse

Look towards the Orient

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To my garden here translated,Foliage of this eastern treeNourishes the initiatedWith its meaning’s mystery.

Is its leaf one self divided,Forked into a shape of strife?Or have two of them decidedOn a symbiotic life?

This I answer without troubleAnd am quali� ed to know:I am single, I am double,And my poems tell you so.9

7 Gingko tree, Puschkinstrasse

Gingo Biloba1815

9 Johann Wolfgang von Goethe: Selected Poetry9 Johann Wolfgang von Goethe: Selected Poetry9 , David Luke (Trans.), Libris, London, 1999, p. 165., David Luke (Trans.), Libris, London, 1999, p. 165.

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Y Y 9 German National Theatre | 10 m

Model of the monument by Christian Daniel Rauch, 1849

8 8 Goethe and Schiller Monument, Theaterplatz

“We got along with each other even when our opinions di� ered.”

It may not be apparent at � rst glance what connects the witty-derisive verses of the Xenions and poets’ monument. Unlike any other text, the Xenions symbolise Goethe and Schiller’s produc-Xenions symbolise Goethe and Schiller’s produc-Xenionstive friendship as they were created in poetic collaboration begin-ning in 1796: “We created many distichs together, sometimes I had the idea and Schiller made the verses, sometimes it was the other way round, and sometimes Schiller made one verse and I made the other.” (Goethe to Eckermann, 16 December 1828)other.” (Goethe to Eckermann, 16 December 1828)other.”The literary model was the ancient collection of texts by the Roman poet Martial, called Xenia. In this case, the Xenions were epigrams written to accompany a present for a host. Goethe and Schiller used them in a sarcastic sense and “presented” their mocking verses, which usually were not pleasing to the recipient or the contemporary literary market – a sweeping blow against writers and critics. As many as 39 pairs of verses were directed at the popular Berlin writer of the late Enlightenment Christoph Friedrich Nicolai, who had written a parody on Goethe’s Wertherunder the title The Joys of Young Werther in 1775. Furthermore, The Joys of Young Werther in 1775. Furthermore, The Joys of Young Wertherthe Xenions can be understood as a reaction to the reserved, Xenions can be understood as a reaction to the reserved, Xenionseven deprecating reviews of Schiller’s journal project Die Horen. In addition to their collaboration on the Xenions, Schiller and Goethe worked quite productively together on the whole. During the so-called “Ballad Year” of 1797, they inspired each other to write ballad poems. Schiller’s Wallenstein and William Tell would William Tell would William Tellhave been just as unthinkable without Goethe as Goethe’s contin-uation of his work on Faust without Schiller. The friendship between the two poets is visually represented by the monument at Theaterplatz. The sculptor Christian Daniel Rauch produced the � rst design draft, but passed the commis-sion on to his student, Ernst Rietschel. The double portrait was unveiled on 4 September 1857 in honour of Carl August’s 100th birthday. The attempt to portray the poets as equals, right down to their equal height, is remarkable. In reality, Goethe was quite a bit shorter than his poet friend.

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Y Y 9 Deutsches Nationaltheater | 10 m

Nicolai’s MottoTruth I am preaching. ‘Tis truth; and nothing but truth – understand me.My truth, of course! For I know none to exist but my own.

Educated SocietyEv’ry one singly considered is sensible, doubtless, and clever;But in a body the whole number of them is a dunce.10

Artistic DeviceDo you wish to appeal to both the worldly and the pious,Then paint voluptuousness – but forget not to paint the Devil as well.

To Incompetent CriticsDi� cult ‘tis to achieve; to � nd fault though is easy, you critics!Have you heart though to praise where praise be deserved? 11

8 Goethe and Schiller monument, Theaterplatz

XenionsÜber Nicolai 1775

10 Goethe and Schiller’s Xenions. Paul Carus (trans.), The Open Court Publishing Co., Chicago, 1915. 11 Trans: Robert Brambeer

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Seldom are personal words so closely associated with a public venue as is the case with the poem To the Actor Krüger and the To the Actor Krüger and the To the Actor KrügerTheaterplatz. Goethe addressed the text to the Berlin actor Georg Wilhelm Krüger (1791–1841) in 1827 and sent it to him together with a copy of Iphigenia in Tauris, to reward him for his excellent work in the performance of the piece. Goethe wrote the text in his own handwriting which underlines its intimate character. He also chose not to include it in his complete works. It wasn’t until after Goethe’s death that the text was cited again and again, so that it appeared to be directed at the general public. Its contents basically de� ne the relationship between the poet, the actor and the message of the work. Goethe reduces the intention of the drama to two words: “reine Menschlichkeit”(“pure humanity”). The actor’s task is to convey this message by presenting the work through acting and perfect speaking. This way, the poet’s goal can be achieved, namely to advance the read-er’s aesthetic education through art and perhaps instil in him a philanthropic disposition. The place for this kind of education is the theatre. The theatre in Weimar has been called the German National Theatre since 1919; the present building dates back to 1948. But Theatre since 1919; the present building dates back to 1948. But Theatrethe Weimar Court Theatre was built at this very same location in 1779, the theatre that Goethe later directed for many years. Goethe advocated high-quality training for actresses and actors. As gen-eral theatre director, he created the so-called “Weimar Style”, a novel combination of rhythmic declamation, body language and expression. For him, acting and speaking characterised the artist’s work, just as the � fth line of the following poem demonstrates.

9 9 German National Theatre

Using Art to Teach Mankind

Theatrical gestures, 1832

Y 10 Goethe National Museum | 400 mY

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What the poet within these bandsO� ers with trust entwined with hopeShall ring throughout the German landsBecause of the artist’s capable scope.Thus in acting, thus in speakingLovingly proclaim afar:For human weakness help we’re seekingHumanity, the purest star.12

Y 10 Goethe National Museum | 400 mY

9 German National Theatre

To the Actor KrügerIn a copy of Iphigenia in TaurisIn a copy of Iphigenia in TaurisIn a copy ofWeimar, 31 March 1827

12 Trans: Jayne Obst

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The aphoristic poem Old Age seems to take a relaxed attitude about a subject that Goethe took very seriously. Age, presented allegorically as a polite man, is welcome to no one and has to � nd his own way to reach people. Due to the irregular four-feet verse form, also called doggerel verse, it has a cheerful rhythm that still cannot disguise its pedantic character. In the end, the poem con-veys the insight that one cannot escape getting older and so it is better to accept it outright. For Goethe, ageing was a very real problem, because in real-ity, old age and its companions, i.e. sadness, su� ering and illness found their way into his home on Frauenplan. Especially after Schiller’s death in 1805, Goethe felt great loneliness that was exacerbated by the deaths of other friends and companions – Duchess Anna Amalia died in 1807, Wieland in 1813, his wife Christiane in 1816 – which culminated in loneliness and increas-ing estrangement from the younger generation of Romantic writers. The majority of his late lyric works are gnomic poems; they demonstrate his life-long enjoyment of sayings. Since his youth, he enjoyed hearing and using sayings and wrote them himself using folkloric language in doggerel verse. Thus, the re� ections on old age have a clearly wistful character, as they are associated with memories of his youth. At the same time, Goethe was con-scious of the gift of a long life. He spent the last two decades of his life in his house on Frauenplan carefully perfecting his works and staging his own legacy. He died at age 82 in his bedroom, located in the rear building of his home.

10 10 Goethe National Museum

Loneliness of the Spirit

Goethe at age 81, 1830

Y 11 Ducal Vault, Historic Cemetery | 800 mY

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When old age comes, he arrives politely,Knocks once or twice at the door quite quietly;But no one welcomes him in so pat,and to be left outside, well, he doesn’t like that.So he lifts the latch as quick as he can,And now they say: what an ill-mannered man.13

Y 11 Ducal Vault, Historic Cemetery | 800 mY

10 Goethe National Museum

Old Age1814

13 Johann Wolfgang von Goethe: Selected Poetry13 Johann Wolfgang von Goethe: Selected Poetry13 , David Luke (Trans.), Libris, London, 1999, p. 185.

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The Historic Cemetery provides the perfect atmosphere for read-ing the � rst part of A Trilogy of Passion, because the poem To Werther addresses the literary character who had met his demise Werther addresses the literary character who had met his demise Werthermany years before. Goethe wrote the poem in 1824 after the Leip-zig publisher Weygand had asked him to write a foreword for a special 50th anniversary edition of Werther. The occupation with the occurrences during Goethe’s youth combined with the most recent events – unreciprocated love and illness – roused painful emotions within him. In the poem, the aged writer is speaking, looking back on his life. The � rst stanza speaks to Werther as though he were an old school friend who died early, while the writer had been forced to face life. The second stanza re� ects on human life. It is interest-ing to note the words that Goethe often uses: shining and gloom, day and night. In his late works the choice of words is character-ised by formula-like speaking, by its own symbolism. The meta-phors of light and darkness are basically determined by a biblical order, but they are also important in the study of natural sci-ences. The visible world constitutes itself in the contrast between light and darkness, which man can observe, but whose secrets remain unfathomable. The next stanzas deal with the life experi-ence of the youth who believes he owns the world, but realises in the end how quickly the years have slipped through his � ngers. In the last sentence there is desperate hope: When the poet goes silent in his anguish about this insight, he is left only the hope that a higher entity will speak through him and his poetry will survive the passing time. Within the Ducal Vault, we perceive these “much lamented shades”; the Classical-period building designed by Clemens Wen-zeslaus Coudray serves as the � nal resting place of Duke Carl August and his family, as well as Johann Wolfgang von Goethe himself.

11 11 Ducal Vault, Historic Cemetery

The Shadows of the Past

Illustration of the room where Werther died, 1776

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And so you venture, much lamented shade, Once more into the light of day;On fresh green � elds you meet me, unafraidTo face me and not turn away.A visitor from earlier years you seem,Those years when the same grass and dew, my friend,Refreshed us both, and at day’s toilful endWe both rejoiced in the sun’s parting gleam.Fate chose: you went before me, I remained –Little you lost, and little I have gained.

How glorious seems a man’s allotted time,Each day delightful, and each night sublime!But scarcely born into this Eden, stillScarce blessed by the exalted sun, our will,At once confused, plunges into self-strifeOr strife with our surroundings. Thus our lifeDivides, not marrying to a whole; the lightThat shines in us an outward gloom may blight,Or outward splendour darken in our eyesAnd nearby joy we fail to recognise.

But then we think we see it! WomankindWith sudden powerful charm enchants our mind:Glad as in childhood’s � ower, in boyhood’s spring,Himself the spring, the young lover, wonderingWhat has bewitched him so, steps forth, looks roundAt the delightful world that he has found.An unchecked haste draws him afar, on high,No walls con� ning him; and as birds � yIn � ocks about the wooded mountain peaks,So he round his beloved, as he seeksFrom the ethereal sky to capture her,Her lovely eyes that hold him prisoner.

Too soon comes warning, then too late: his � ightIs checked, he feels himself ensnared, the sightOf her is joy, each parting is despair,Seeing her yet again too sweet to bear;For empty years one moment compensates,But last of all a cruel farewell waits.

Sadly you smile, friend, as be� ts your fameWho to a dreadful parting gave your name;For good or ill you left us here behind,Calling your pitiable fate to mind,Until once more passion’s uncertain mazeDrew us into its labyrinthine ways,And love’s repeated complicated pain;So till the end – parting and death again.How touchingly a poet can avoidParting and death! Yet by such anguish cloyedAnd half to blame, may he � nd words to sing,Taught by some god, that tell his su� ering.14

11 Ducal Vault, Historic Cemetery

To Wertherfrom A Trilogy of Passion, 1824

14 Johann Wolfgang von Goethe: Selected Poetry14 Johann Wolfgang von Goethe: Selected Poetry14 , David Luke (Trans.), Libris, London, 1999, pp. 205 ff .