On academic arts

Author: Goethe
Translator: Fan Dacan
Publisher:
Publish Date: 2005-01-01
Features: This is a work by Goethe, encompassing a vast range of art, including literature, poetry, and painting. From his own artistic perspective, Goethe offers his own assessments of certain paintings and introduces some poets. Through this book, readers can understand how these famous paintings and renowned literary figures are perceived by Goethe. The book is a collection of Goethe's essays on literary and artistic criticism and insights. It includes over a hundred illustrations, not only comprehensively covering the themes discussed in the collection but also featuring portraits of famous painters commissioned by Goethe and his own artworks, showcasing his life journey and presenting a vivid biography of his thoughts and life.
The literary movement of "no breeches" was featured in the third issue of "The Berlin Era and Its Interesting Library" with an article titled "On German Prose and Eloquence." The editors themselves admitted that they had reservations about publishing this article. As for us, we do not blame them for adopting this immature manuscript because a library should preserve evidence representing the characteristics of an era. Therefore, it is also its duty to permanently keep the ugly aspects of that era. Although the resolute tone and style used to express a broad-minded spirit are not new in our critical circles, it is noteworthy that some individuals have regressed to a more crude era, as no one can stop them. Thus, although the issues we must discuss have been discussed many times before, and perhaps previous discussions were even better than ours, "The Season Goddess" magazine still wishes to preserve a record within the scope of these issues, proving that in addition to the unfair and excessive demands made on our writers, there are still people who silently harbor fair and grateful feelings toward writers whose efforts are rewarded too meagerly compared to their efforts.
The author of the article laments that Germans have not produced outstanding, classical prose works. He lifts his foot high, as if taking a single step could almost leap over dozens of our outstanding writers. Without naming them, he portrays them with restrained praise and severe condemnation, making it difficult to recognize these writers in his cartoonish depiction. We are convinced that no German writer considers himself classic. Each of them has stricter demands for himself than the chaotic ones of Terzites. Terzites rebelled against a society that commands respect and does not demand praise for its efforts, but it can expect people to appreciate its efforts. We do not wish to comment on the inferiority of the article before us, whether in conception or writing. Our readers, after reading this article already marked with its source, will not only feel disgusted but also criticize and punish the crude and audacious practice of forcing one's way into the ranks of the outstanding, excluding the outstanding, and replacing them with oneself—a true practice of "no breeches." However, this crude demand for resistance is not yet sufficient.
Whoever believes that combining specific concepts with the words they use when speaking or writing is an absolute duty rarely uses expressions like "classic writers" or "classic works." When does a classic national writer arise, and where? Under the following circumstances: He discovers great events and their consequences in the history of his own nation, united in fortune and significance, he does not overlook the greatness in the thoughts of his compatriots, the depth in their emotions, or the steadfastness in their actions. He himself is imbued with a national spirit and feels, due to his innate talent, capable of resonating with both the past and the present. He finds that his nation has already achieved a high level of culture, making his own education less difficult. He gathers a wealth of materials, with the works of his predecessors, both perfect and imperfect, before his eyes. So many external and internal circumstances combine to allow him to conceptualize and arrange a great work in his prime, without paying a high tuition, and to complete it with full devotion.
If we compare the conditions under which a classic writer, especially a classic prose writer, can arise with the working environment of the most outstanding Germans of this century, then any person with a clear perspective and fair judgment will admire the success of these most outstanding Germans with respect and genuinely regret their failures. A significant article, like a significant speech, is merely a result of life. Writers, like ordinary people, cannot create the conditions for their birth and work. Every individual, including great geniuses, suffers in some aspects from the hardships of the century they live in, just as they benefit in others. Therefore, the birth of an outstanding national writer can only be demanded from the nation. However, we cannot blame the German nation for being closely tied together by geography while being politically fragmented. We do not hope for a transformation that could create conditions in Germany for the birth of classic works. Thus, the accusation of demanding a change in perspective is unjust.
As long as people look at our past and present circumstances and observe the special environment in which German writers arise, they will easily find the stance they should take when commenting on these writers. There is no social center in Germany where writers can gather, where each writer can receive an education in their profession, but this education is conducted in a certain way, guided by a certain idea. German writers are born everywhere, with diverse educations, most of them immersed in themselves and the impressions created by different circumstances; they are obsessively fond of certain examples from their own or foreign literature. To test their strength without guidance, they must make various attempts, even some shoddy ones; only through careful consideration do they slowly realize what they should do, and only through practice do they gradually know what they can do; they are repeatedly led astray by a large number of readers with no aesthetic sense, who, after absorbing the good, just as eagerly consume the bad; then they are inspired by meeting educated readers, but these readers are scattered throughout this great empire; they are encouraged by their companions who work and strive alongside them. After going through all this, German writers finally reach adulthood. At this point, they must seek external support to secure funds to bring their trained talents to fruition, often having to take on work they themselves do not value with a sense of great sorrow. Which respected German writer does not recognize himself in this image? Which writer does not humbly and sorrowfully admit that he has often longed for the opportunity to early submit his unique talent to the culture of the entire nation? Yet, unfortunately, he has not found this culture yet. The education of the upper class comes from foreign customs and foreign literature, though it has brought us many benefits, it still prevents the Germans from developing into Germans at an early stage.