The Sorrows of Young Werther by J. W. von Goethe (early reader books TXT) ๐
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The Great Lisbon Earthquake of 1755 leveled the city of Lisbon and surrounding areas, and killed perhaps as many as 100,000 people. It came at a decisive time in the history of western thought: the melding of Faith, Philosophy, and Science into a post-enlightenment rational view of the universe. In some sense mankind had just begun to believe he had the universe figured out when the universe struck back with a tragedy so terrible in scale it could not be fit into any box of understanding. It was not predicted. It could not have been prevented. It was not rational. And it certainly could not have been the will of a benevolent God.
Lisbon was only one moment in a much larger contextโindustrialization was upending a pre-historic way of life, science was upending nature, and the first great republics in America and France were about to upend previously unchallenged forms of government. It was the awe, inspiration, and uncertainty of all this change that gave rise, ultimately, to Romanticism in art, literature, and music.
J. W. von Goethe is, by some accounts, the father of the romantic period in literature, or at least the proto-romantic Sturm und Drang (โStorm and Stressโ) period. And The Sorrows of Young Werther was its genesis. It was Goetheโs first major work, an immediate sensation upon publication, and made Goethe a household name.
While Voltaire parodied rationalism in Candide, Goethe transcended it with the semi-autobiographical story of Werther, a young man governed more by his emotions than his reason, whose only employment is his delight in the romantic ideals of the pastoral lives he finds in the rural town of Walheim. There he also finds Charlotte, and in her an idealized but unobtainable old-world domesticity. Wertherโs internal dialog about his growing obsession with Charlotte, and his inability to cope rationally with the fact that she is engaged toโand in love withโanother man, form the bulk of the book in the form of a series of ever more intense letters to a friend.
Wertherโs descent into sorrow has captivated readers for centuries, helped by Goetheโs intensely beautiful prose (translated here by R. D. Boylan), enchanting imagery, and obvious reverence for nature and a dying past.
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- Author: J. W. von Goethe
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I sit in my grief: I wait for morning in my tears! Rear the tomb, ye friends of the dead. Close it not till Colma come. My life flies away like a dream. Why should I stay behind? Here shall I rest with my friends, by the stream of the sounding rock. When night comes on the hill when the loud winds arise my ghost shall stand in the blast, and mourn the death of my friends. The hunter shall hear from his booth; he shall fear, but love my voice! For sweet shall my voice be for my friends: pleasant were her friends to Colma.
Such was thy song, Minona, softly blushing daughter of Torman. Our tears descended for Colma, and our souls were sad! Ullin came with his harp; he gave the song of Alpin. The voice of Alpin was pleasant, the soul of Ryno was a beam of fire! But they had rested in the narrow house: their voice had ceased in Selma! Ullin had returned one day from the chase before the heroes fell. He heard their strife on the hill: their song was soft, but sad! They mourned the fall of Morar, first of mortal men! His soul was like the soul of Fingal: his sword like the sword of Oscar. But he fell, and his father mourned: his sisterโs eyes were full of tears. Minonaโs eyes were full of tears, the sister of car-borne Morar. She retired from the song of Ullin, like the moon in the west, when she foresees the shower, and hides her fair head in a cloud. I touched the harp with Ullin: the song of morning rose!
Ryno. The wind and the rain are past, calm is the noon of day. The clouds are divided in heaven. Over the green hills flies the inconstant sun. Red through the stony vale comes down the stream of the hill. Sweet are thy murmurs, O stream! but more sweet is the voice I hear. It is the voice of Alpin, the son of song, mourning for the dead! Bent is his head of age: red his tearful eye. Alpin, thou son of song, why alone on the silent hill? why complainest thou, as a blast in the wood as a wave on the lonely shore?
Alpin. My tears, O Ryno! are for the dead my voice for those that have passed away. Tall thou art on the hill; fair among the sons of the vale. But thou shalt fall like Morar: the mourner shall sit on thy tomb. The hills shall know thee no more: thy bow shall lie in thy hall unstrung!
Thou wert swift, O Morar! as a roe on the desert: terrible as a meteor of fire. Thy wrath was as the storm. Thy sword in battle as lightning in the field. Thy voice was as a stream after rain, like thunder on distant hills. Many fell by thy arm: they were consumed in the flames of thy wrath. But when thou didst return from war, how peaceful was thy brow. Thy face was like the sun after rain: like the moon in the silence of night: calm as the breast of the lake when the loud wind is laid.
Narrow is thy dwelling now! dark the place of thine abode! With three steps I compass thy grave, O thou who wast so great before! Four stones, with their heads of moss, are the only memorial of thee. A tree with scarce a leaf, long grass which whistles in the wind, mark to the hunterโs eye the grave of the mighty Morar. Morar! thou art low indeed. Thou hast no mother to mourn thee, no maid with her tears of love. Dead is she that brought thee forth. Fallen is the daughter of Morglan.
Who on his staff is this? Who is this whose head is white with age, whose eyes are red with tears, who quakes at every step? It is thy father, O Morar! the father of no son but thee. He heard of thy fame in war, he heard of foes dispersed. He heard of Morarโs renown, why did he not hear of his wound? Weep, thou father of Morar! Weep, but thy son heareth thee not. Deep is the sleep of the dead, low their pillow of dust. No more shall he hear thy voice, no more awake at thy call. When shall it be morn in the grave, to bid the slumberer awake? Farewell, thou bravest of men! thou conqueror in the field! but the field shall see thee no more, nor the dark wood be lightened with the splendour of thy steel. Thou has left no son. The song shall preserve thy name. Future times shall hear of thee they shall hear of the fallen Morar!
The grief of all arose, but most the bursting sigh of Armin. He remembers the death of his son, who fell in the days of his youth. Carmor was near the hero, the chief of the echoing Galmal. Why burst the sigh of Armin? he said. Is there a cause to mourn? The song comes with its music to melt and please the soul. It is like soft mist that, rising from a lake, pours on the silent vale; the green flowers are filled with dew, but the sun returns in his strength, and the mist is gone. Why art thou sad, O Armin, chief of sea-surrounded Gorma?
Sad I am! nor small is my cause of woe! Carmor, thou hast lost no son; thou hast lost no daughter of beauty. Colgar the valiant lives, and Annira, fairest maid. The boughs of thy house ascend, O Carmor! but Armin is the last of his race. Dark is thy bed, O Daura! deep thy
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