Goethe Yearbook 333 with Euler. The rapprochement with Newton is more convincing in Arnim, who is most interestingly dealt with in chapter five, subtitled "The Galvanic Eye." After chapters dealing with Wordsworth and with Coleridge in relation to Jean Paul and then to Friedrich Schlegel, Goethe returns to figure prominently, if obliquely, in the final one, "Shelley: The 'Traces' oiFaust." The chapters ofThe Damnation of Newton work as self-contained essays linked by related topics and a consistent authorial point of view. Each is stimulating and enjoyable in its own right, and in the aggregate there is much information and insight. That there is no totalizing thesis answering to the titillating title is not to be regretted but appreciated. Burwick provides an exemplary blending of judicious intellectual history and subtle textual interpretation. University of Texas, Austin Jeffrey Barnouw Spaethling, Robert, Music and Mozart in the Life of Goethe. Columbia, S.C: Camden House, 1987 (Studies in German Literature, Linguistics, and Culture, vol. 27). Spaethling's attractively bound monograph is accurately described by its title as a book "about Goethe and the role of music, particularly Mozart's music, in Goethe's life and art" (16). Written for the English-speaking general public (all German quotations are translated), it aims to "illuminate [...] the unique gift that Goethe and Mozart bestowed on their culture and the world" (18). To write it was "a personal need as much as a scholarly challenge" for the author (19), who, in describing the similarities and affinities between Goethe and Mozart, endorses their victory over the "lures of inwardness and death" and their creation of "a form of universe based on harmony, reconciliation, and the golden mean" (18). Spaethling acknowledges "that Goethe concealed within himself a powerful potential for nihilism and tragedy. [... ] But all his life the poet battled to overcome his destructive inclinations, and he succeeded" (173)· Mozart too "presents [...] the total scale of human feelings" (172), but Goethe perceived and endorsed in Mozart's major works "a fully integrated art form, an essentially non-violent and non-tragic view of life" (173). Spaethling follows "the traditional path of humanistic scholarship," which, he believes, "requires no special methodological introduction" (17) or even justification . His book is thoroughly researched, scrupulously documented, sensibly organized, and carefully written — its confessional aspects eliciting respect if not always unqualified assent (in this reader, at least). It is full of interesting information and impressive evidence of the author's knowledge and appreciation not only of Goethe but of Mozart and of music in general. Just the right amount of context and illustration is provided. Spaethling discusses, for example, the circumstances of literary and musical publication in the 18th century and the economic facts of Mozart's life (his income was far from paltry — 12,000 Gulden a year at the height 334 Book Reviews of his career, which was ten times as much as the income of a chief surgeon at the Allgemeines KrankenspitalIn Vienna [82]). He also notes the difference in capacity between the singers in Vienna and those in Weimar as weil as the inferior quality of props and equipment with which Goethe had to make do at the Ducal Court Theatre. It was news to this non-musicologist that Mozart not infrequendy described his programmatic purposes and successes, often in letters to his father (e.g., pp. 159-60), and enlightening that Goethe used the Papageno theme in poems and songs of his own. The information that Charles Ives was among those who have set "Über allen Gipfeln ist Ruh" to music sent me scurrying to the music library to hear the piece. No book is without shortcomings, but almost everyone will be enriched by reading this one. The work is divided into two main parts, followed by the text of Goethe's Der Zauberflöte zweiter Teil (with Eric Blom's English translation), an extensive bibliography, and an index. Part I deals with Goethe and music, and surveys Goethe's active music making (he had lessons on the piano, the flute, and the cello as a youth and later founded a singing group called the "Liebeshof ' and sang bass in another that he called his "Hauskapelle" or "meine...
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