Goethe's Morphology: Urphänomene and Aesthetic Appraisal

Abstract

This paper examines the relationships betweenGoethe's morphology and his ideas on aestheticappraisal. Goethe's science of morphology was toprovide the method for making evident purephenomena [Urphänomene], for makingintuitable the necessary laws behind theperceptible forms and formation of livingnature, through a disciplined perception. Thisemphasis contrasted with contemporary studiesof generation, which focused upon hiddenformative processes. It was his views onaesthetic appraisal that informed theseepistemological precepts of his science. Hisstudy of antique artefacts convinced Goethethat these should be prototypes for all art,since they made perceptible the ideal of art,its archetypes or objective forms. His ambitionwas to eliminate the subjective elements hecontended were leading contemporary art astray.He argued that the techniques he developed forcultivating the perception of the idealexemplars of art could become a model forscience, enabling the intuition of theobjective forms of nature through a similardisciplined and cultivated perception. Thispaper also examines some of the widermotivations for the particular emphases Goethegave to his science and aesthetics, noting asimilar impulse to discipline unruly forces inhis life – in his work as an administrator forthe Weimar court and Jena University, in hisvision of an ideal German culture centred onthe aristocracy, and in his literaryproductions and biographical writings. Finallyit discusses the extent to which those unrulyelements nevertheless remained a potent anddisturbing presence in his understanding ofnature, his art and his life.