What to read after Iphigenie Auf Tauris?

Similarities of conception or expression naturally occur ring in similar dramas of Goethe's predecessors (wieland, Joh. Elias Schlegel, Gotter, and others) have not been pointed out in the present edition. Such passages are to be regarded as interesting parallels, but not as models which were consciously imitated by Goethe. T hey are freely quoted in the excellent American edition by L. A. Rhoades (boston, where they are easily accessible. Only such references have been given as tend to illustrate Goethe's text, and the parallels have been chosen mainly from Goethe's own poetry or from that of his friend Schiller. Ordinary points of grammar (ag. The mood of betrfite, l. 5) have not been discussed, as the editor is strongly of opinion that Goethe's noble drama should be put into the hands of such students only as have read a good deal of German prose and poetry. N 0 help has been given where it was thought that the meaning of words or the structure of phrases could be found out by a little thought or by reference to ordinary grammars and dictionaries. Mere translation notes have, as a rule, been purposely avoided. Hardly any etymological notes are given in this edition, but a number of notes are given on word-formation - especially in case of intentional imitations of classical diction - and peculiarities of Goethe's own language which are inadmissible in ordinary modern prose have been carefully pointed out. Classical allusions have been usually explained, as the book will be used by many who have not had a special training in classics; but familiarclassical terms such as Olympia; Parzen and others have been left without a note. In the explanation of classical allusions the fullest use has been made of Sir William Smith's excellent Classical Dictionary. The translations were in some cases suggested by happy renderings of Goethe's text by Miss Swanwick or William Taylor (of Norwich).

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