No More Learning

They like to

Form their own image of me, just as the poet has done.

Nor do the girls take offense when they see me--by no means the matrons.

None finds me ugly today, though I am monstrously strong.

Half a foot long, as reward, your glorious rod (dear poet)

Proudly shall strut from your loins, when but your dearest commands,

Nor shall your member grow weary until you've enjoyed the full dozen

Artful positions the great poet Philainis describes.




ABOUT THE ELEGIES


Goethe cultivated a special, italianate hand for this portfolio of
twenty-four "elegies," so called because he was emulating the elegiasts
of Imperial Rome, Tibullus, Propertius, Catullus. The Elegies have
never before been published as here, together in the cyclical form of
their original conception. Experts even denied that the two priapeia (I
& XXIV) were by Goethe at all, although they are in the same hand as the
rest. To be sure, these two are not numbered, so that I was long
undecided as to just what their proper position might be. At one time I
imagined they must belong at the middle of the cycle where at the end of
Elegy XIII Priapus' mother summons her son. Obviously Goethe, just
returned north from his two years in Italy (1786-88), and alienated from
prim, courtly friends (especially since he had taken a girlfriend into
his cottage), had no thought of publication when he indited these
remembrances of Ancient Rome. But he did show them to close friends,
one of whom was the wonderful dramatist Friedrich Schiller. In 1795,
Schiller undertook a new periodical, Die Horen. This thoughtful and
responsible man initiated the journal with an essay of his own,
explaining how forms of entertainment are actually at the same time our
primary modes of education. It makes for pretty difficult reading in
our present, less interested epoch. But he did break the essay up with
diversions solicited from the best minds of his era.
For a discussion
of all this, see

_Professor Worthy's Page_

For now, it is enough to say that among Schiller's examples for
"aesthetic education," as he called it, were these Elegies by his much
admired friend, Wolfgang Goethe. Editor and author made substantial
changes for propriety's sake--despite Goethe's having lashed out to the
contrary in the first Elegy (which he now suppressed, along with the
final one). My attempt has been--for the very first time by the way, in
any language--to restore Goethe's cycle to his early conception. Since
I have been unwilling to intrude with learned notes, I must apologize
for Goethe's many classical allusions, which were as familiar to his own
readership as are, in our publications today, the dense references to
media celebrities. Modern editors of what they call the "Roman Elegies"
bring abundant annotation, and often detail Goethe's own emendations.
What I bring here is merely translated from his manuscript in the
Goethe-Schiller Archive in Weimar.






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