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And there were some » factors so intelligent, so humane, so massive in their serene » benignity, that they could not be wholly spoilt » even by a traduttore, who at minimum, as regards the » feeling of every single poem, strove not to be a traditore.» Lay audience who come about to have at hand that volume of Edward Dowden’s Essays will do nicely to established apart this Foreword and look for their in- formation about the Divan in that Essay as a complete. (I may well point out right here that it has been translated into German and posted in the » Erd-geist » by Herr Paul Tausig of Vienna, trans- lator of other writings of E. Dowden.) For audience who are not able to instantly refer to that Essay for facts, if they need to have these, I give here for advice some of the info observed therein. Goethe, from his early yrs, had been captivated to the poetry of the East. In the period of his youthful Titanism he had preferred Mohammed as the central determine of a remarkable poem, and had organized himself for the endeavor never to be accom- plished by a analyze of the Koran. In 1774 he educated his good friend Merck that he had translated Solomon’s «Song of Songs,» » the most superb collection of appreciate-tracks at any time xii FOREWORD fashioned by God.» At Weimar he had trans- lated a single of the pre-Islamic poems of the Mu’alla- kat. He experienced been charmed by the Indian drama Sakuntula. Roses from Saadi’s Garden and Jami’s Loves of Laila and Majnun experienced launched him to Persian poetry. But it was not until just after the publication of Joseph von Hammer’s celebrated translation of the Divan of Hafiz in 1812 that the terrific German poet grew to become, as it happy him to envision him- self, a wandering merchant in the East, trucking his wares for those people of Persian singers. He speaks of himself in this character in the dissertation which follows the verse of the West-Eastern Divan. Is Goethe below only assuming an Eastern garb? No he interprets in his own way a tendency of the time. The dominating classical influences, Greek and Italian, had waned and the new romantic literature was turning to the East. But the East of Goethe’s creativeness was not the East of the English poets who had appeared East- ward: Sout hey, Shelley or Byron. From Byron’s East, without a doubt, it was as remote as probable. If he grew to become a Romantic poet all over again it was in his possess initial and incomparable fashion. He felt profoundly hostile to the neo-Catholic celebration in the Romantic School, and in the Divan some shrewd thrusts are sent against them by the old Pagan the old Pagan who was in spirit far more FOREWORD xiii spiritual than they who had discovered, like Hafiz, the secret of becoming » selig » with no becoming «fromm,» which truth they in no way could admit nor underneath- stand. Goethe turned to the East as to a refuge from the strife of tongues, as well as from the community strife of European swords. There the heavens were boundless, and God the one God seemed to preside over the sand- squander. There Islam sub- mission to God’s will seemed to be the pretty rule of existence. Before all else the items which Goethe sought to purchase in the East was wisdom and piety and peace. These the Persian Hafiz had someway observed. Hafiz gay but also intelligent possessed of inward piety, did not go after with zeal the outward tactics of faith. The exclusive top quality, as Goethe perceived, of the Persian poet was his spontaneity he was a true poetic fount: » wave welling soon after wave/’ like Goethe’s own lyrical impulses in his before days, when song seemed to have him rather than to be held in possession