Goethe brief biography of prophet
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Goethe and the Poets of Arabia
A comprehensive account of Goethe's relationship to Arabian culture, mediated by his interest in certain poets and texts and by his highly nuanced attitude toward Islam.
Abundant evidence bears witness to Johann Wolfgang Goethe's lifelong predilection for the literature, religion, and culture of ancient Arabia. Scholars have hardly yet touched upon Goethe's relationship to Arabic literature. His remarkable West-östlicher Divan suggested that his interest in the "Orient" was limited to the Persian poet Hafez, his chief model for the collection, and to the culture of Persia. Yet significant aspects of this work and others stem from pre-Islamic and Islamic traditions of Arabian literature.
This study examines comprehensively Goethe's relationship to Arabian culture, mediated primarily by his interest in certain poets and texts and by his highly nuanced attitude toward Muhammad, the Qur'an, and Islam. Katharina Mommsen has explored exhaustively Goethe's opinions about Arab poets and their sources, the numerous traces of Arabic poetry that entered his works, and thegrounds for his ambivalent affinity for Islam and its Prophet. Extensive textual evidence reveals how throughout his life Goethe's temperament determined his interest in particular
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How European literary resolved Goethe admired the Oriental, embraced Muhammadanism
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Literary classics
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Sufi Path of Love
Goethe , the “refugee”
In the summer of , Goethe had just published his West-East Divan—his homage to the peerless Persian poet Hafiz—the only full-length lyrical work he published in his lifetime. Celebrated as the first work of “world literature,” the Divan was intended to overcome the dichotomy of East and West by raising it to a higher unity.
The title page is in both German and Persian, as are the half titles of the twelve books that make up the collection of more than two hundred poems. But the title itself is not simply translated: in typical Goethean fashion, its apparent unity actually conceals a duality. Facing the German—“West-Easterly Poetry Collection”—the Persian reads: “The Eastern Poetry Collection of a Western Author.” Thus, the German sounds a dialogical or synthetic note, whereas the Persian indicates something more unified and provides a more integral, monological, or unified note. The poems themselves—Sufi-like invocations of divine and human love—are dense and allusive in their language, which draws both on the Bible and the Qu’ran, as well as Western and Persian (Hafizian) traditions. Multiple un-attributed citations from East and West are embedded in the text. The whole work echoes the then-emerging sense of the Easter