contemporary Goethe he received from the East no impulse that stimulated
him to production. His one-sided preference for the purely didactic
element rendered him indifferent to the lyric beauty of H̱āfiḍ and
caused him to proclaim Saʻdī as the model most worthy of imitation.[85]
Yet it was H̱āfiḍ, the prince of Persian lyric poets, the singer of wine
and roses, who fired the soul of Germany's greatest poet and inspired
him to write the _Divan_, and thus H̱āfiḍ became the dominating
influence and the guiding star of the _west-östliche Richtung_ in German
poetry.


FOOTNOTES:

[79] See the edition by Meyer (KDNL. vol. 74) i. 1. pp. 164, 165.

[80] Given by Redlich in the edition by Suphan, vol. 26, p. 435 seq.

[81] We may state here that the work in question has been thoroughly
commented on by such scholars as Düntzer and Redlich, and their comments
may be found in the editions of Suphan and Meyer. The same has been done
for Goethe's Divan by Düntzer and Loeper. The former's notes are in his
Goethe-edition in the Kürschner-series, the latter's in the edition of
Hempel. In this investigation, therefore, the chapters on Herder and
Goethe are somewhat briefer than they otherwise would be, as further
details as to sources, etc., are easily accessible in the editions just
mentioned. In all cases, however, the Sanskrit or Persian originals of
the passages cited have been examined.

[82] Poeseos Asiaticae commentariorum libri vi, publ. at London, 1774.
Reprinted by Eichborn at Leipzig, 1777.