WorkJohann Wolfgang von Goethe

Tasso

TranslatedAnalyzedRead

Documented 1846

Books

Selected engagements, in chronological order.

Totals count documented engagements, once at the earliest witness. How we count →

Reprints, Memoirs passages, and repeat notes within a single manuscript are shown but never counted twice. Evidence for this work is selective, not exhaustive. Methodology →

DemonstratedConfirmed reading1833–1839Evidence ↓

Confirmed reading

Passages where the evidence goes beyond allusion to indicate that Fuller had this work in hand — an explicit statement of reading, sustained excerpting or translation, or a specific reading episode recorded by those who knew her.

Dated
1832Faust, Tasso, Iphigenia, Hermann and Dorothea, Elective Affinities, MemoirsPossiblePosthumous testimony
“Within the year, she had read Goethe's Faust, Tasso, Iphigenia, Hermann and Dorothea, Elective Affinities, and Memoirs”
Mem-2 Memoirs of Margaret Fuller Ossoli · within the year [1832]
Specific dated memoir claim listing exact Goethe works Fuller read 'within the year' (1832).
1833Torquato TassoDemonstrated
“Send me the journal and I will send you Tasso when I have finished it.”
Letters of Margaret Fuller ed. Hudspeth · [ca. 22 April 1833]
Engagement type Translated (Fuller translating Goethe's Tasso) automatically qualifies per rule.
1833Torquato TassoDemonstrated
“I have nearly finished the third act of Tasso- I could get through the play in three days”
Letters of Margaret Fuller ed. Hudspeth · Groton 3d May 1833
Engagement type Translated (progress on translating Tasso) automatically qualifies per rule.

When Fuller engaged with this work

I. Childhood

II. Adolescence

III. Self-Directed

IV. Transcendentalist

V. New York

VI. Europe1record

✦. Memoirs (1852)

1810

1820

1832

1836

1844

1846

1850

1846—

A Rhythmical Translation of Goethe's Tasso

“A Rhythmical Translation of Goethe's Tasso”

analyzed · read

“The central situation of Tasso, the manner in which his companions draw him out, and are in turn drawn out by him, the mingled generosity and worldliness of the Realist Antonio, the mixture of taste, feeling, and unconscious selfishness in Alphonso, the more delicate but not less decided painting of the two Leonoras, the gradual but irresistible force by which the catastrophe is drawn down upon us, concur to make this drama a model of Art, that art which Goethe worshipped ever after he had exhaled his mental boyhood in Werther.”

Fuller, Margaret. Papers on Literature and Art. New York: Wiley and Putnam, 1846. · p356

Also printed in Art, Literature, and the Drama (1869), p356; page given is to the 1869 reprint.