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Exceptionally fine poetry by Germany's greatest literary figure, from his earliest, "An den Schlaf" ("To Sleep"), written when he was 18, to his last great poem, "Verdächtnis" ("Legacy"), written when he was 80.

Harrison uses the Greek myth of Prometheus (who stole fire from the gods to give to man) as his starting point in this verse play, to address man's misuse and abuse of the environment.

This bibliography was commissioned by the English Goethe Society as a contribution to the celebration in 1999 of the 250th anniversary of Goethes birth. It sets out to record translations of his works into English that have been published in the twentieth century, up to and including material published in that anniversary year. It aims to serve as wide a constituency as possible, be it as a simple reference tool for tracing a translation of a given work or as a documentary source for specialized studies of Goethe reception in the English-speaking world. The work records publications during the century, not merely translations that originated during this period. It includes numerous reprintings of older material, as well as some belated first publications of translations from the nineteenth century. It shows how frequent and how long enduring was the recourse of publishers and anthologists to a Goethe Victorian in diction, a signal factor in perceptions and misperceptions. Derek Glass was putting the finishing touches to the bibliography at the time of his sudden death in March 2004. Colleagues at Kings College London have edited the final manuscript, which is now published jointly by the English Goethe Society and the Modern Humanities Research Association both as a worthy commemoration of Goethes anniversary and as a tribute to Derek himself.

Cutting-edge scholarly articles on diverse aspects of Goethe and the Goethezeit, featuring in this volume a special section on acoustics around 1800. The Goethe Yearbook is a publication of the Goethe Society of North America, encouraging North American Goethe scholarship by publishing original English-language contributions to the understanding of Goethe and other authors of the Goethezeit while also welcoming contributions from scholars around the world. Volume 25 features a special section on acoustics around 1800, edited by Mary Helen Dupree, which includes, among others, contributionson sound and listening in Ludwig Tieck's Der blonde Eckbert (Robert Ryder) and on the role of the tympanum in Herder's aesthetic theory (Tyler Whitney). The volume also contains essays on Goethe and stage sequels(Matthew Birkhold), on figures of armament in eighteenth-century German drama (Susanne Fuchs), on the dialectics of Bildung in Wilhelm Meister (Galia Benziman), on the Gothic motif in Goethe's Faust and "Von deutscher Baukunst" (Jessica Resvick), on Goethe and Salomon Maimon (Jason Yonover), on Goethe's "Novelle" (Ehrhard Bahr), and on Schiller's Bürger critique (Hans Richard Brittnacher). Contributors: Ehrhard Bahr, Galia Benziman, Matthew H. Birkhold, Hans Richard Brittnacher, Linda Dietrick, Mary Helen Dupree, Susanne Fuchs, Deva Kemmis, Jessica C. Resvick, Robert Ryder, Patricia Anne Simpson, Chenxi Tang, Tyler Whitney, Jason Yonover, Chunjie Zhang. Adrian Daub is Associate Professor of German at Stanford University. Elisabeth Krimmer is Professor of German at the University of California Davis.

Franz Schubert's song cycles Schone Mullerin and Winterreise are cornerstones of the genre. But as Richard Kramer argues in this book, Schubert envisioned many other songs as components of cyclical arrangements that were never published as such. By carefully studying Schubert's original manuscripts, Kramer recovers some of these "distant cycles" and accounts for idiosyncrasies in the songs which other analyses have failed to explain. Returning the songs to their original keys, Kramer reveals linkages among songs which were often obscured as Schubert readied his compositions for publication. His analysis thus conveys even familiar songs in fresh contexts that will affect performance, interpretation, and criticism. After addressing problems of multiple settings and revisions, Kramer presents a series of briefs for the reconfiguring of sets of songs to poems by Goethe, Rellstab, and Heine. He deconstructs Winterreise, using its convoluted origins to illuminate its textual contradictions. Finally, Kramer scrutinizes settings from the Abendrote cycle (on poems by Friedrich Schlegel) for signs of cyclic process. Probing the farthest reaches of Schubert's engagement with the poetics of lieder, Distant Cycles exposes tensions between Schubert the composer and Schubert the merchant-entrepreneur.