Marketing” () analyzes Werther's consumer demand as a product (). with Lotte. Their relationship commences on 16 June , the night of the ball. To cope with recent drama, South Korea's Lotte conglomerate turned to its 'It's Been a Rout': Apple's iPhones Fall Flat in World's Largest Untapped Market . Lotte Group puts a copy of “The Sorrows of Young Werther” in the Corporate Comms & Investor Relations, Corporate Strategy, Culture &. The relationship between Werther and Lotte the public and some other non- market environments may be the reason for the organization to.
Much like the sublime found in nature, the sublime within Werther is dark, terrifying, and yet pleasurable. Though he is in agony, Werther views his passions as a work of genius, much like an artist who throws himself entirely into his work and suffers for his art.
Ah, you sensible people! You are so calm and collected, so indifferent, you respectable people […] passing by like the priest and thanking God like the Pharisee that you are not as other men. I have been intoxicated more than once, my passions have never been far off insanity, and I have no regrets: Werther considers his emotional outpouring as a great thing, no matter how painful it may be.
What he does not seem to have anticipated, however, is that by devoting himself entirely to Lotte and the desire he has for her, he has lost the connection between love, art, and nature: By living for Lotte, he has ceased to live for himself, and in creating his own inner world he has lost the natural state of his being. He has created a paradox within himself in which he has formulated wildness, created a chaos that has no end.
In an attempt to put an end to the wildness of his passions, Werther leaves Lotte and moves to a new town to live a respectable life. During his conversation with Miss von B.
After losing respect for his new friends, who pity him rather than understand him, Werther returns to Lotte, knowing that he is reopening the gates of his passion, intending to lose himself entirely to his devotion to her: Suicide then becomes a more suitable escape from inexhaustible passion, rather than repression, as it represents the power of his emotional excesses.
By transforming into an artistic figure within the story, Werther becomes less a figure to emulate, than to study.
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By submitting himself to his passions, Werther lets go of the role of the artist and embraces the role of the tortured artistic subject. By returning to the sublime within himself, he becomes the subject that poets write about, and becomes the work of art that he strove for in the beginning of the novel. He even recognizes himself in the artistic portrayal of other tragic figures in fiction: I have so much to endure!
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Though he sees in himself the potential to be the beautiful tragic figure of poetry and art, he realizes that this vision will only be fulfilled through a truly tragic ending. Though for Werther, emotion, the self, art, and nature are all connected, it still does not directly answer the question: None of the deep, abiding human connection which characterizes true love is to be found here.
Like everyone else, Lotte exists for Werther only in relation to himself and for his pleasure. Werther's "love" for Lotte is much more intense but just as shallow as his affection for the village children. If he is in love with anything, it is with the idea of romantic love itself.
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Poetry and moonlit walks are wonderful, but a deep relationship requires much more and Werther is completely unable to make that leap. Ironically, Lotte, even though considerably younger than Werther, is much more emotionally mature than him and recognizes Werther's shortcomings. She is never seriously tempted to replace the steady, quiet affection of Albert with Werther 's tempestuous obsession. This is not to say that Lotte has no feelings for Werther. She obviously does and probably enjoys the attention lavished upon her.
As Werther's feelings grow stronger, she begins to pity him and is too kind-hearted to make a clean break of their relationship -- until Werther definitively crosses the bounds of propriety, at which point she suffers considerably but nevertheless knows where her loyalty lies. And here we come to the most damning indictment of all.
Werther brings enormous suffering to Lotte over the course of the novel and never gives the slightest consideration to the effect his behavior is having upon her. Surely a mature lover would at least stop to wonder at some point whether Lotte might be genuinely happy and satisfied with Albert and if it might be time to exit the scene for her sake.
Werther does no such thing, preferring to wallow in his own self-pity and doing his best to pull Lotte into the mire with him. His suicide letters go beyond the almost pathological self-absorption he has displayed up to that point and cross into active vindictiveness. Werther petulantly wants to hurt Lotte, and hurt her deeply, for having rejected his love.
The last moments of his life are filled not with poetic tragedy but with the most extreme pettiness. A reader might agree with my very unflattering depiction of Werther, yet simply see the novel as the product of a young author every bit as immature and self-absorbed as his protagonist.
However, even without considering the towering intellect Goethe would soon prove himself to be, many hints can be found that this is not the case. Auden points to the character of Albert as noteworthy.
If he truly wished for us to admire Werther, one would expect Goethe to demonize Albert, yet he does no such thing. Albert is a good-natured, even-tempered fellow, perhaps not much of a romantic but to all appearances genuinely in love with Lotte, as she is with him. He is extraordinarily patient and kind to Werther even though he must realize that Werther's intention is quite literally to steal his wife.
Only after months of Werther's constant presence does he begin to lose patience, and even then he cannot bring himself to banish Werther from his home forever or even to seriously scold Lotte.
Such behavior borders on amazing given the social mores of the time.
Subtler clues about Goethe's attitude toward Werther are sprinkled through the text. I know, of course, as well as anyone, how necessary class distinctions are, and how many advantages I myself gain from them; but they should not stand in my way just when I might enjoy some little pleasure, some gleam of joy on this earth One senses on such occasions that Goethe is as aware as we of the flaws and contradictions of his character and is subtly smiling at us between the lines.
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There are too many differences between Goethe and Werther to link the two in a directly autobiographical sense. At the age of 24, Goethe had already written plays and lyric poetry, was conducting scientific research and with the publication of Werther now had a novel to his name. He would go on to become one of the greatest intellectuals of his generation, the last of the Renaissance men. Werther at the time of his death presumably in his mid-twenties had accomplished nothing and showed no signs of doing so, even had he not met Lotte and ended his life so young.
Finally, an even more obvious contrast exists; whatever sorrows Goethe endured due to his own ill-fated love, he was able in the end to pick up the pieces and move on to make an extraordinary life for himself.
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Werther could move on only by ending his life. Still, I do not feel that Goethe intended Werther as an object for contempt or ridicule. He must have identified strongly with the feelings expressed by his protagonist and have seen many of the same self-destructive tendencies in himself. Werther is not deserving of the adoration, even emulation, lavished upon him by the reading public of the 's, but he is deserving of our pity.
The fate he suffers is tragic, but not in the grand Shakespearan sense he imagined. His tragedy is that of the wasted life, of potential frittered away. A bright, sensitive young man with many good qualities, he stands as a warning about the consequences of unfettered emotionalism and a complete lack of self-discipline.
A wise man once said that all things should be taken in moderation, a concept which completely eludes Werther. In later years, Goethe came to see Werther and its success as a profound annoyance.