Sunday, April 6, 2014

Goethe in the Veneto

Villa "La Rotonda"in Vicenza
I spent the past two days at a conference organized by Al Coppola, who now chairs the Seminar on Eighteenth-Century European Culture at Columbia University. (I was chair of the Seminar for several years, until 2007.) Though it took a bit of time to get off the ground, the conference commemorated the founding of the seminar 50 years ago, in 1962. Here is a link to website of the Seminar; scrolling down will bring you to the conference and a link to the program.

Among the Seminar's eminent founders were Peter Gay, Rudolf Wittkower, and James Clifford, all Columbia professors. For a talk I gave on the history of the 18th-century Seminar on February 5, I did a little research in the Seminar's archives. The early presentations centered around the concept of "Enlightenment." In going through the minutes of early meetings, I discovered that one trend of the Seminar has been a move from "big ideas" to "culture studies," with the latter focusing on very narrow aspects of material life in the 18th century. This trend represents a larger trend in 18th-century studies generally. In the opening roundtable the historian Isser Woloch described the transition in Norton anthologies from a concentration on "Kings and Philosophers" in the 1960s, to more recent presentations of the 18th century as "dynamic." Thus, a focus on population studies, religious life, the slave trade, private lives, including the role of women, and so on.

Architectural rendering
Thus, in the past half-century of the Seminar, topics of the meetings have focused on ever narrower micro-aspects of the 18th-century. In the U.S., and some extent at the Seminar, there has also been a strong bias toward the English 18th century, especially literature. Not having done a count, I can't say whether the recent ASECS conference, held in Williamsburg, was oriented in that direction, but the "micro" direction is evident from a cursory glance at the program.

The "rotonda"
Both Al and I have tried to keep the picture wide, and the recent conference did offer such a wider view of the 18th century. The paper by Sally Grant (recent Ph.D. from the University of Sydney, Australia) concerned the country house decoration of the Villa Vendramin Calergi at Noventa in the Veneto. I spoke with Sally afterward and brought up Goethe's visit to the Veneto. Goethe's renown travels far and wide, and she immediately mentioned the Villa "La Rotonda" (proper name: Villa Almerico Capra) as the villa Goethe had visited and described in Italian Journey. I include here some views of the villa, including the cupola interior (click to enlarge) that Goethe apparently saw. This site is of interest for its very detailed, critical discussion (in German) by Hubertus Günther of Goethe's architectural "insights" regarding Palladian architecture.

Friday, April 4, 2014

From philosophy to art

 I mentioned in an earlier post that one could learn a lot about Hegel by reading what others have written about him. Since then I have begun reading Hegel himself, at least his Aesthetics. Right from the beginning, when Hegel excludes "das Naturschöne" from his aesthetics, it was apparent why Goethe would not have traveled that road. What interests Hegel is "das Kunstschöne," which is superior to the beauty of nature because it is beauty born and reborn "aus dem Geiste." He goes on:

Ja formell betrachtet ist selbst ein schlechter Einfall, wie er dem Menschen wohl durch den Kopf geht, höher als irgen ein Naturproduct; denn in solchem Einfalle ist immer die Geistigkeit und Freiheit präsent.

Natural existences like the sun, he writes are indifferent, "nicht in sich frei und selbstbewußt."

Frankly this kind of thinking appeals to me.  It is not surprising that I am a scholar of the 18th century, not of the Romantic period. While I admire the beauty of the natural world, especially the order that it manifests, my heart does not leap when I behold a rainbow in the sky. I recall now that my heart kept beating after after Rick's death, but life no longer seemed worth living. When the first spring arrived, it was only with intellectual curiosity that I noted the rebirth of the flowers and the cherry blossoms in Central Park. It was Kant's observations on aesthetic judgment that pre-occupied me.

Kant is also a philosopher that one can learn a lot about by reading what others have said, although I did spend some time in graduate school grappling with the Critique of Judgment. And at some stage I got Kant's point: it is our ability to respond subjectively -- whether to the beauty of sunsets or to the Sistine Chapel -- that makes our other cognitive accomplishments possible. In other words, because we feel we can also think. Which doesn't mean that our feelings of pleasure or displeasure are objective, but these feelings seem validated because other people feel the same way. A kind of "universal hand" operates, especially in our public judgments, whether it concerns art or politics, and we find ourselves in a community of people who think the same way. (For this reason "TED talks" have always annoyed me: see this particularly obnoxious clip. The outtake? See how virtuous we are, and you can be, too, if you think like us.)

This may not be the usual way of interpreting Kant, but lately I came up with another new interpretation. Kant was laying down the condition for the possibility of experience. To 21st-century ears, Kant's statement about "enlightenment" -- "Enlightenment is the human being’s emergence from his self-incurred minority" -- suggests autonomy, with its demand of independence from the opinions of others. From where we stand now in the 21st century, that statement seems to suggest that everyone should be independent of everyone else. But if everyone agrees on such an interpretation, it too is a subjective aesthetic judgment; it is "true" because "everyone" agrees. Freedom of thought, therefore, might lead to adherence to authority, not rejection of it.

In our critical judgments, in our evaluation of how we are to act, we may choose dependence, not for the extreme cases of which the philosophes spoke in the eighteenth century, but, for instance, in adhering to our marriage vows or our responsibilities toward our children or our students. (Diderot, however, sought philosophically to undermine the first.) In the modern world we are all in the same boat, but our "self-determining freedom" does not mean that we all evaluate life in the same way. I don't know if Kant predicted or hoped for the extreme outcome of autonomy in practice, but it does not follow that we are unfree if we accept our dependencies, especially in our relationships with others. Of course, it also follows that we critically evaluate the choices we wish to embark on, e.g., whether to marry or to have children. For most people, and I include myself here, critical evaluation often comes après (not avant) la lettre, at which point we are left with contemplating what role duty should play in determining our behavior.

The title of this post indicates what I had actually wanted to write about, namely, the 19th-century turn away from philosophy and toward art. Stay tuned.

Pictures sources: Hplus magazine; America Reads

Wednesday, March 26, 2014

Kotsebue!!! Ermordung

Kotzebue is assassinated
On this date in 1819 Goethe recorded the following in his diary: "Kanzler von Müller die Nachricht von Kotzebue!!!! Ermordung." It is interesting how slow news traveled in those days: Kotzebue was murdered three days before in Mannheim. Three days for news to travel 216 miles (346 km).

August von Kotzebue was a very popular writer and dramatist in his day. In an article on world literature and literary history from 1930, Fritz Strich writes that the concept of world literature "posits criteria of supranational appreciation and dissemination," but goes on to note that, if this criterion is observed, then Kotzebue is "more of a world literary author than Goethe, ... [Edgar] Wallace with his detective stories more than Cervantes with his Don Quixote. In such a case it might offer a way out if one says: Kotzebue and Wallace do not belong to world literature because they do not belong to literature to being with."

Kotzebue was a conservative and his death was a political assassination by a nationalist student. The authorities used the event to crack down on the universities and the press.

An interesting fact: Jane Austen saw a play by Kotzebue, The Birthday, at Bath in 1799. The theatrical in her novel Mansfield Park is based on an adaption of the play by Elizabeth Inchbald. Since it includes sex outside of marriage, kissing, and illegitimacy, it was no wonder that Sir Thomas Bertram was very upset when he unexpectedly returned home and discovered the young people making preparations to perform it.

Friday, March 21, 2014

Grillparzer on Goethe

Grillparzer, ca. 1827, by Moritz Michael Dafflinger

I love this epigram by Franz Seraphicus Grillparzer about Goethe:

Er war nicht kalt, wie ihr wohl meint,
Nur hielt er die Wärme zu wenig vereint
Und da er sie teilte zuletzt ins All,
Kam wenig auf jeden einzelnen Fall
.

Grillparzer is a German-language writer whom I have barely studied (likewise, Jean Paul), but Fritz Strich wrote his dissertation on the Austrian writer: Franz Grillparzers Ästhetik (1905, under Franz Muncker; reprinted Hildesheim, 1977). In it, the "inductive aesthetician" Grillparzer was portrayed developing his anti-Romantic theories on the writings of Lessing, Goethe and Schiller, Kant, the German Romantic theorists (toward whom he felt a special animus), Hegel and his followers, and Friedrich Bouterweck.

According to my friend Paula Fichtner, author of Historical Dictionary of Austria (Scarecrow Press, 2nd ed., 2009), Grillparzer's career as author and dramatist "developed even as he toiled somewhat resentfully as a bureaucrat." At his death in 1856 he was director of the imperial treasury archives. There were literary successes in his life, but also failures. According to Fichtner, the negative public reaction to his play Weh dem der Lügt (Woe unto the Liar, 1838) caused the "hypersensitive dramatist to stop writing for the state altogether." He also had unpleasant experiences with government censorship.

Source: Franz Grillparzer, Sämtliche Werke, vol. 1 (Munich, 1960–1965), p. 476.

Sunday, March 16, 2014

The end is near


Last entry in Goethe's diary on this day, 1832: "Den ganzen Tag wegen Unwohlseyn im Bette zugebracht."

Picture credit: Deutsche Welle

Monday, March 10, 2014

Eichendorff's Birthday

Ich schlaf am liebsten unterm Himmelsbette,
leicht mit dem Sternenmantel zugedeckt.

100th death commemoration
Joseph von Eichendorff was born 226 years ago, in 1788. A lot of interesting figures in German letters were born in that decade: Carl von Clausewitz (1780), Karl Friedrich Schinkel and Achim von Arnim (1781), Sulpiz Boissereé (1783), Jacob Grimm, Bettina von Arnim, Harmann von Pückler-Muskau  (1785), Ludwig Börne, Ludwig I, and Carl Maria von Weber (1786), Ludwig Uhland (1787), Arthur Schopenhauer (1788), and Georg Simon Ohm (1789).

Of course, I didn't know all of these dates by heart. I frequently look at geboren.am. One of my professors in graduate school used to say: "Die Daten, meine Damen und Herren, sind sehr wichtig."

As an undergraduate I loved Eichendorff's stories. In fact, the literature of the Romantic period was my real introduction to the study of literature, in contrast to simply reading and enjoying it.

Postcard picture credit: Goethezeitportal

Sunday, March 9, 2014

Goethe illustrations

The above image was posted on arthistoricum.net, via which I have now come across a rich source of Goethe illustrations: the digital catalogue of the Frankfurt Goethe-Haus. The drawing, a "study for Werther, is by the German Impressionist painter Franz Skarbina.

Searching through digital museum site, I also found this contemporary "Idealportrait Werthers in Medaillon, darunter Szene mit Werthers Abschied von Albert und Lotte." It is by "D. Chodowiecki del.," and appeared in the first volume of Goethe's writings in the 1779 "Gesamtausgabe." The difference in sensibility between the two images is quite striking. Did Goethe's contemporary readers visualize Lotte as the finely dressed lady to whom Werther is bidding farewell? Everything Goethe writes about her in The Sorrows of Young Werther suggests domesticity, not finery.