Wandrers Sturmlied

This thesis presents an in-depth study of Goethe's early hymn "Wandrers Sturmlied." Written in 1772/3, this poem was not published by Goethe until 1815, and he himself referred to it as "half nonsense." Despite Goethe's apparent disdain for the work, scholars continue to wrestle with it, as it is one of the poet's most intriguing poems.

"Wandrers Sturmlied" concerns a poet-wanderer who, when overtaken by a storm, finds comfort in the knowledge that his Genius will shelter him from life's set-backs. He thinks of the Muses and the Graces that have blessed his life. The sight of a peasant returning home happy in his anticipation of wordly pleasures makes the poet acutely aware of his own inadequacies. He begins to look elsewhere for inspiration: to Bromius, the god of wine; to Apollo, the sun-god. He realizes that he must contribute something of himself, and not merely be a passive recipient of inspiration. The poet becomes aware that his immediate source of inspiration is Jupiter, the god of rain. He then compares his situation with that of two pastoral poets, Anacreon and Theocritus. They are compared unfavorably with the fiery Pindar. The final stanza, written a year after the rest of the poem, reflects the atmosphere of a Pindaric ode, as Goethe perceived it. The poet, now exhausted, no longer thinks of poetry or inspiration: all he asks is the strength to reach his hut.

The first chapter of this thesis places the work in its historical perspective and presents the text of the poem. Chapter 2 discusses the structure of the poem and tries to clarify the images and mythological references that abound in the work. The third chapter is a detailed study of the meter and vocabulary that Goethe used in the poem. Chapter 4 discusses the influence that the works of Pindar, Klopstock and Herder had on the young poet. The final chapter deals with some of the more problematic areas of the poem and presents an overview of the scholarship concerning this work during the past century. It also suggests a conclusion as to the significance of the poem, in itself and as a landmark in Goethe's poetry.