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Werther (German Edition), by Johann Wolfgang von Goethe
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Johann Wolfgang von Goethes 'Die Leiden des jungen Werther' ist einer der erfolgreichsten Romane der gesamten Literaturgeschichte. Der Autor wurde durch ihn mit einem Schlag weltberühmt. Selbst Napoleon trug stets ein Exemplar mit sich herum.
Die Geschichte des unglücklich liebenden Werther ist auf eine für die Zeit sehr moderne Weise dargestellt: Als Sammlung von Briefen, die der Gescheiterte hinterlassen haben und die der 'Herausgeber' mit Erläuterungen versehen haben soll.
Professionell edierte Ausgabe inklusive der Anmerkungen des originalen Texts. (Diese sind für Goethes Konzeption und somit für das Gesamtverständnis wichtig, fehlen aber in vielen Billigausgaben.)
- Sales Rank: #2062758 in eBooks
- Published on: 2016-01-03
- Released on: 2016-01-03
- Format: Kindle eBook
Language Notes
Text: German
About the Author
The German poet, novelist, playwright, courtier, scientist, and philosopher Johann Wolfgang von Goethe (1749-1832) ranks among the greatest authors of Western literature. His best known writings include "The Sorrows of Young Werther" (his first novel) and "Faust" (a drama in two parts).
Most helpful customer reviews
3 of 3 people found the following review helpful.
The one to get.
By Christopher (o.d.c.)
This book was a sensation when it appeared in Germany in 1774. This e-book is based on Goethe's revision of 1787. It contains parts one and two, with some good illustrations in the back: portraits of "the real Charlotte," of Goethe as a young man, and some of the popular illustrations for the bestselling 18th Century edition.
Of course I read this book long ago, about the age of Werther, or Goethe himself when he wrote this impassioned (Leiden = passions, sufferings) epistolary novel. Reading it today, when my own Sturm und Drang period is well behind me, it was harder to sympathize with Werther, and easier to see his "love" as neurotic- infantile, narcissistic, what have you. Werther seems to feed on its very hopelessness.
Goethe used Werther to exorcise his own young self (the book is clearly autobiographical)- he could simultaneously be the young letter writer, and look down, or back, at him.
Here is a sample of the German:
"... Die Kutsche fuhr vorbei, und eine Träne stand mir im Auge. Ich sah ihr nach und sah Lottens Kopfputz sich zum Schlage herauslehnen, und sie wandte sich um zu sehen, ach! Nach mir? - Lieber! In dieser Ungewissheit schwebe ich; das ist mein Trost: vielleicht hat sie sich nach mir umgesehen! Vielleicht! - Gute Nacht! O, was ich ein Kind bin!
Am 10. Julius
Die alberne Figur, die ich mache, wenn in Gesellschaft von ihr gesprochen wird, solltest du sehen! Wenn man mich nun gar fragt, wie sie mir gefällt? - gefällt! Das Wort hasse ich auf den Tod. Was muss das für ein Mensch sein, dem Lotte gefällt, dem sie nicht alle Sinne, alle Empfindungen ausfüllt! Gefällt! Gefällt! Neulich fragte mich einer, wie mir Ossian gefiele!"
The best English version remains Steinhauer's: The Sufferings of Young Werther
1 of 1 people found the following review helpful.
Goethe's Masterpiece
By A Customer
Although this was one of Goethe's earliest works, it is quite possibly his greatest. It allows the reader to experience the ups and downs of the irrational main character as he falls blindly and passionately in love with a married woman. Werther is the most passionate character ever created in literature, becoming possessed by nature, love, and himself. Although he sees his own destruction coming, he can and will do nothing to stop it. The first book is mostly autobiographical, based on Goethe's love for Charlotte Buff. Book two is a mor ebiographical account of one of Goethe's acquaintances. The story is truly captivating and emotionally draining. The language, in the English and even more so in the German, is powerful and fits perfectly to the overall mood of the story. There is beautiful imagery and the role of nature is carefully portrayed. This book should be read by all.
0 of 0 people found the following review helpful.
An incisive critique of bourgeois vices
By Peter Capofreddi
In the Enlightenment attempt to justify the institutions of bourgeois liberalism, one of the most glaring failures is the case of punishment. The Enlightenment can prove that a certain kind of peace is possible among those who accept its peculiar form of bourgeois reason. But the cruel treatment of dissenters who are either unable or unwilling to accept this sort of rationality—for this the Enlightenment has no justification. In a conversation with his bourgeois rival Albert, Werther brings up this unpaid debt of the Enlightenment. What should we say about a thief who steals to feed his starving children? Who would cast the first stone at him?
A man overcome with passion, says Albert, loses his senses, as if he were drunk or insane. Rational, reasonable bourgeois people like Albert designate the dissenter who refuses to accept their form of rationality as an outsider, who, because of his so-called irrationality is unworthy of sympathy. The cold-blooded cruelty of the bourgeois regime is rationalized by precisely such dehumanization of its victims.
The fundamental principle of the Enlightenment, as Kant would articulate it, is that each individual mind must overcome its self-imposed immaturity and learn to think without guidance from another. While the middle class of the eighteenth century were proud that the philosophical representatives of their age had overcome the superstitions of earlier ages and emerged from their state of self-imposed immaturity, individual bourgeois minds were by no means prepared to make this emergence themselves.
Werther is frustrated because he speaks “from his whole heart,” while Albert only replies with “meaningless platitudes.” Albert can’t be forced to think about who will cast the first stone at the poor thief, because public institutions, which feel no mercy, are perfectly willing to cast the stone on his behalf. Albert isn’t forced to think. Therefore, he doesn’t want to think. To this end, he has at his disposal many rough and ready phrases that can defuse such uncomfortable questions without demanding even the slightest glimmer of sincere thought. The bourgeois mind remains in its own peculiar state of self-imposed immaturity, in which phrases prepared in advance under the guidance of others can be assembled without guidance from others, but individual words cannot.
We might draw an analogy between Werther’s frustrated attempts to draw Albert into a sincere debate about bourgeois morality and Socrates’ frustrated attempts to embroil his conversation partners in serious philosophical debates. Under no circumstance does Albert want to think for himself. All Werther’s attempts are therefore useless.
The foremost reasons the majority of minds insist on remaining immature, according to Kant, are indolence and cowardice. Middle class functionaries like Albert call themselves “reasonable people,” but the reason they use isn’t Kant’s reason, which can think without direction from another, but a fraudulent bourgeois form of reason that consists of no more than meaningless platitudes—platitudes that seek to legitimize and rationalize precisely the indolence and cowardice Kant so detests.
Werther draws an analogy between the coldhearted reason of the middle class and the coldhearted legalism of the Pharisees. The indolence and cowardice of the middle class, just like that of the Pharisees, consists in this—they aren’t ruled by themselves, but rather by a faceless, cold-blooded and formalistic legalism. Werther explains the mistake of the middle class with a parable. A horse is impatient to do something. So he lets himself be saddled. Later, as his owner rides him to death, he regrets his decision. As I interpret the parable, the horse represents the conscience of the bourgeois. The owner represents things the bourgeois respects like money, reputation and law. In exchange for a comfortable salary, a bourgeois functionary like Albert sacrifices the authority to think for himself. From now on he must accept arguments, no matter how illogical, when they come from his superiors. The bourgeois can therefore no longer be a philosopher. It’s useless to try to change his mind, because his mind no longer belongs to him—and, as Werther explains, “When we lack ourselves, we lack everything.”
Werther elucidates the mistake of the middle class not only parabolically, but also explicitly. “A man who works at another’s will, not for his own passion or his own need, but for money or honor, is always a fool.” The bourgeois is so eager to obtain the money and honor that allow him to rule his subordinates, in exchange he makes himself into a servile subordinate. Werther, on the other hand, loves his freedom and independence. Under no circumstance will he submit to the will of a superior whom he doesn’t recognize as a better, more virtuous man.
In a 1992 essay, J. M. Coetzee describes Erasmus’s technique for offering philosophical critiques of contemporary society in fiction. According to Coetzee, Erasmus deliberately puts his cutting critiques in the mouth of a character intended to be perceived as a fool. He does this in order to present contentious ideas as uncontentiously as possible, taking them, as Coetzee says, “off the stage of political rivalry.” This is a way of presenting a statement that, politically speaking, must be false, because it is utterly incompatible with the way society is organized, and yet at the same time, in other important senses, is very true.
We know, for example, that the nominally adult bourgeois chases money, and the sensory pleasures it procures, with the same eager avidity of a boy awaiting cookies and cakes. But we would really prefer not to be reminded of this. Goethe wants to remind his bourgeois readers that we’re all servile cowards, without prompting us to slam the book shut in indignation, and thus lose the opportunity to hear all Goethe’s other biting criticisms of bourgeois life. He therefore puts his criticisms in the mouth of a character prone to hyperemotionality, sentimentality and exaggeration.
By putting his criticisms in the mouth of the emotionally fragile Werther, Goethe gives his readers what we might call a "time-release capsule of thought." Because Werther is so emotional and sentimental, we dismiss his criticisms as absurd when we first hear them. But, at the same time, they’re expressed so eloquently that we’re unlikely to forget them. We recall them later when we ourselves are exasperated with bourgeois life, and in the mood to listen to criticisms.
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