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Introduction to Goethe. A review of Goethe and Faust: An Interpretation, by F. Melian Stawell and G. Lowes Dickinson; and Goethe’s Faust, trans. Anna Swanwick
- Johns Hopkins University Press
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It is a pity that the first of these books should have to be offered for sale at fifteen shillings. I know quite well the size of the public and the costs of production; under present conditions no publisher would launch such a book at a lower price. But the authors express the desire to “extend, in this country, the circle, still too narrow, of those who are interested in Goethe and his work”; and the persons among whom it is worth while to extend that interest will be mostly young and impecunious [1]. We can only hope for a run on the lending libraries, or a wave of American enthusiasm, so that the publishers may be able to produce the book later at a lower price. For the authors know their subject with scholarship and zeal; they have not made their book in a hurry; and it introduces a study which really needs introduction.
The book is an introduction to Goethe through Faust, and an introduction to Faust by an ingenious mixture of commentary and translation. The translations are so good that I at first regretted that Miss Stawell and Mr. Dickinson had not made two volumes, one the commentary and the other the complete translation of Faust which they say they have written.
As the authors of this book are perfectly aware, Goethe, the object of passionate adoration to mid-Victorians, is at present in eclipse. It is highly desirable that he should again be admired and studied. But it is not merely a question of reviving a reputation; it is, at least in England and America, a matter almost of establishing a new one, so completely must critical opinion be revised. There have been good biographies, but for pure literary criticism, I suspect that we must wait for another generation to find the knowledge and understanding. That is not altogether our fault; the decline of interest in Goethe was an inevitable moment of history; and is connected with the reasons for which he is a writer of permanent greatness. Goethe is, as Mr. Santayana made clear in an essay which is the nearest approach to a new critical opinion that I know, a philosophical poet.
It might be excessive to say that we cannot understand the nineteenth century without knowing Goethe; but it may be true to say that we cannot understand that century until we are able to understand Goethe. And perhaps the best way to understand many of the...