ABSTRACT

Illustrations accompanied the Divan from the first publication of poems in the Taschenbuch für Damen auf das Jahr 1817 and the frontispiece with writing in Arabic, arabesque ornamentation, and framing of the title page in the 1819 complete first edition. My article investigates the reception of Goethe’s Divan by contemporary artists who provided frontispieces, Titelkupfer, or vignettes for editions of Goethe’s works in the last decade of his life (Ramberg, Eichholzer, and Schnorr von Carolsfeld). It appears that the publishing market was not ready for a wider adaptation of a new West-East combination of traditions suggested by Goethe; the editions were illustrated in the established figurative style, including some clichéd orientalism.

摘要

Divan的插图与1817年TaschenbuchfürDamen auf das Jahr诗歌首次出版时有关的插图以及用阿拉伯语，阿拉伯风格装饰写成的正面作品以及1819年第一版完整的书名框架。我的文章研究了歌德的接收合集由谁提供frontispieces，当代艺术家Titelkupfer，或歌德生命中最后十年（Ramberg，Eichholzer和Schnorr von Carolsfeld）作品的短片。看来，出版市场还没有为歌德建议的新的东西方传统的更广泛的适应做好准备；这些版本以既定的象征风格进行了说明，包括一些陈词滥调的东方主义。