Author
Friedrich Gottlieb Klopstock is documented in Fuller’s books, journals, and manuscripts (1840–1841). 2 distinct works are named, most often in The Dial, and the most intensive engagement recorded is “analyzed”.
Reprints, Memoirs passages, and repeat notes within a single manuscript are shown but never counted twice. Evidence for this author is selective, not exhaustive. Methodology →
“Influence of Klopstock [...] Klopstock scene between him & Cornelia. "The Harmonious curses" Partie G found of Klopstock because smuggled in by Herr Schneider [...] Trace love for hexameters to this period. He did not know that Klopstocks were not good till [told] the secret after the amiable poet's death [...] The first thing that struck G. about Klopstock was "what a fancy name, But what is that to Seekatz or Nothnagel.”
This page brings together documented engagements currently identified within the Fuller Reading Worlds catalog.
Selected passages from Fuller’s own writings, in chronological order.
“The old plan of letters from Klopstock to Meta after her death still seems to give room for the analysis of feeling and poetic contemplation of the spiritual world.”
Fuller, Margaret. "Journal 1840." Houghton Library, Harvard University; bMS Am 1086 (85); Box 5 (85).
Inferred Title inferred: Fuller names the author and addressee but not a specific published text.
“Weak, fond wretch that I am! I, the bard of the Messiah! To what purpose have I nurtured my soul on the virtues of that sublime model, for whom no renunciation was too hard?”
Fuller, Margaret. Life Without and Life Within; or, Reviews, Narratives, Essays, and Poems. Edited by Arthur B. Fuller. Boston: Brown, Taggard and Chase, 1860.
Fuller’s footnote identifies Klopstock as "one of Germany’s most celebrated poets." The essay is a fictionalized account of Klopstock's grief following Meta's death.
Undated
Pieces with no legible date. They are part of the record but cannot be placed on the lifeline.
“I, the bard of Messiah – To what purpose have I nurtured my soul on the virtues of that sublime model.”
Fuller, Margaret. "Journal 1833–1842." Houghton Library, Harvard University; bMS Am 1086 (83); Box 5 (83).
Inferred The character Klopstock calls himself 'the bard of Messiah' (p. 5), directly naming Klopstock's famous religious epic, Der Messias (first 3 cantos 1748; complete 1773). The reference to 'crown of his board and garnish of his dish' on p. 3 is likely a proverbial or literary echo describing a wife's role, not a direct quotation from Klopstock's text.
“[illegible] hexameters. Klop- / Stock. [illegible]”
Fuller, Margaret. "Journal 1837–1843." Houghton Library, Harvard University; bMS Am 1086; Box 5.
“Klopstock & Meta }Dial”
Fuller, Margaret. "Notes, 1st Issue of the Dial." Houghton Library, Harvard University; MS Am 1086.
“Klopstock and I were wont to picture to ourselves beyond The gate of Death. [...] Thou wilt but wait here a season till Klopstock comes.”
Fuller, Margaret. "Meta in Elysium." Houghton Library, Harvard University.
“p7: 'Love for skating. Taste for this given by Klopstock.'; p11: 'Klopstock (well painted)”
Fuller, Margaret. "Notes toward The Life of Goethe." Houghton Library, Harvard University.
“Influence of Klopstock [...] Klopstock scene between him & Cornelia.”
Fuller, Margaret. "Plan for a Life of Goethe." Houghton Library, Harvard University.
Inferred Fuller names Klopstock repeatedly and associates him specifically with hexameters and his major epic; Der Messias is the work that introduced German hexameters. Klopstock is named multiple times in the context of Goethe's childhood literary education.
“Klopstock & Meta } [Dial?]”
Fuller, Margaret. "Outline for a Collected Volume." Houghton Library, Harvard University.