Konkrete Figuration: Goethes »Seefahrt« Und Die Anthropologische Grundierung Der Meeresdichtung Im 18. Jahrhundert
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Am 7. November 1775 trat Goethe in den Kreis des Weimarer Hofes. Die im September des folgenden Jahres entstandene Dichtung Seefahrt gilt als biographisch getreuer Spiegel dieser veränderten Lebenswelt. Ziel der Untersuchung ist demgegenüber ein doppeltes: sie zeigt, da dem Gedicht ein genau kalkuliertes poetologisches Programm zugrundeliegt, das Goethe in der Auseinandersetzung mit Salomon Gessners Idylle Der Sturm erprobte; sie entfaltet darüber hinaus den anthropologisch grundierten Erfahrungshorizont, in den die Meeresdichtung des 18. Jahrhunderts, von Barthold Heinrich Brockes und James Thomson über Wieland, Mendelssohn und Klopstock bis hin zu Stolberg und Herder, gestellt ist. Die Lebensstimmung, die in Goethes Seefahrt zum Ausdruck kommt, umrei t eine Situation, die den Menschen in der Krisis eines "physisch-moralischen" Konfliktes zeigt. Der Handlungsverlauf des Gedichts, das sich zunächst als präzise Kontrafaktur des Psalms 107 gibt, reflektiert im Kern eine Motivkonstellation, die sich als beinahe centonenhafte Überformung horazischer Dichtungen herausstellt. Herders Odenkonzept und Diderots Dramentheorie haben die strukturelle Einheit der Dichtung wesentlich geprägt. Zwanzig Jahre später hat Goethe diesen "physisch-moralischen" Konflikt zu einer ästhetisch-sittlichen Spannung umgedeutet: Alexis und Dora ist der spielerische Reflex einer Lebensform, die, wie in der Dichtung Seefahrt , die Lösung des Konflikts bewu t verweigert. Der Band enthält neben einem Ausblick auf die Meeresdichtung Heines, Baudelaires und Rimbauds sowie einem detaillierten Register den Erstdruck von Herders Horaz-Adaption An ein Schiff .
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