Gloucester as a criminal. He and his sons now gathered the whole force of their earldoms, and marched towards Gloucester in arms. They demanded the surrender of Count Eustace and of the other strangers who had done outrages, whether at Dover or in Herefordshire. The king called the other earls to liis help; war was hindered by the mediation of Leofric, and matters were adjourned to another meeting in London. There the king appeared with an army; Godwine and his sons were arraigned as criminals, and, on refusing to appear without a safe-conduct, were outlawed. Godwine and his whole family now left the kingdom, except his daughter, the Lady Eadgyth, who was banished from court to the monastery of Wherwell. The foreign favour ites of the king were now supreme.

The next year the tide turned; the feeling of the nation showed itself in favour of Godwine. When his petition for a removal of his outlawry was refused, he came back from his shelter in Flanders at the head of a fleet. In most parts of England he was welcomed; he sailed up the Thames to London; the army gathered by the king refused to fight against him; and, in a great meeting outside the walls of London, he and his family were restored to all their offices and possessions, and the archbishop and many other Normans were banished.. Godwine's friend Stigand succeeded to the archbishopric. The next year Godwine was smitten with a fit at the king's table, and died | three days later, April 15, 1052. His death was worked up into a fabulous tale by his Norman.enemies.

The patriotism and good government of Godwine are undoubted; but it is plain that he accumulated vast wealth for himself. Sometimes, it was said, he showed little regard to the rights of the church; but in the only case where we hear both sides, that of some lands in Kent disputed between him and the Norman archbishop, it appears that he had a legal claim. It is much more certain that he was unduly bent on the promotion of his own family. His eldest son Swegen gave great and deserved offence by the seduction of Eadgifu, abbess of Leominster, and still more by the treacherous murder of his cousin Beorn. He was outlawed, but was afterwards restored to his earldom. He accompanied his father to Flanders, but did not come back, having gone on a pilgrimage to Jerusalem, on his return from which he died. Of his other sons, the second, Harold, succeeded Godwine in his earldom and Eadward in his kingdom; Tostig, Gyrth, and Leofric, all earls, play a part in the later history; Wulfnoth, the youngest, was a captive of William. Of his daughters the Lady Eadgyth survived her father, husband, and brother, and lived in great honour under the Conqueror. The others were Gunhild and Ælfgifu, the latter of whom appears in the story of Harold's oath to William. See the English Chronicles and Florence of Worcester, 1035-52; the Life of Eadward, published in the Chronicles and Memorials; the Encomium Emma or Gesta Cautonis, published by Pertz, and elsewhere; various notices in Domesday, and in the writers of the time generally. All the passages, historical and legendary, bearing on Godwine's life, are collected and examined in the appendices to Freeman's History of the Norman Conquest, vols. i. ii. (E. A. F.) GODWIT, a word of unknown origin, the name commonly applied to a marsh-bird in great repute, when fattened, for the table, and formerly abundant in the fens of Norfolk, the Isle of Ely, and Lincolnshire. In Turner's days (1544) it was worth three times as much as a Snipe, and at the same period Belon said of it-"C'est vn Oyseau es delices des Françoys." Casaubon, who Latinized its name "Dei ingenium" (Ephemerides, 19th September 1611), was told by the "ornithotropheus" he visited at Wisbech that in London it fetched twenty pence. Its fame as a delicacy is perpetuated by many later writers, Ben Jonson among them, and Pennant says that in his time (1766) it sold for half-a-crown or five shillings. Under the name Godwit two perfectly distinct species of British birds were included,

but that which seems to havo been especially prized is known to modern ornithologists as the Black-tailed Godwit, Limosa ægocephalu, formerly called, from its loud cry, a Yarwhelp, Shrieker, or Barker, in the districts it inhabited. The practice of netting this bird in large numbers during the spring and summer, coupled with the gradual reclamation of the fens, to which it resorted, has now rendered it but a visitor; and it probably ceased from breeding regularly in England in 1824 or thereabonts, though under favourable conditions it may have occasionally laid its eggs for some thirty years later or more (Stevenson, Birds of Norfolk, ii. p. 250). This Godwit is a species of wide range, reaching Iceland, where it is called Jardraka (= earth-raker), in summer, and occurring numerously, it is said, in India in winter. Its chief breeding-quarters seem to extend from Holland eastwards to the south of Russia. The second British species is that which is known as the Bar-tailed Godwit, L. lapponica, and this secins to have never been more than a bird of double passage in the United Kingdom, arriving in large flocks on the south coast about the 12th of May, and, after staying a few days, proceeding to the north-eastward. It is known to breed in Lapland, but its eggs are of great rarity. Towards autumu the young visit our coasts, and a few of them remain, together with some of the other species, in favourable situations throughout the winter. One of the local names by which the Bar -tailed Godwit is known to the Norfolk gunners is Scamell, a word which, in the mouth of Caliban (Tempest, act ii. scene 2), has been the cause of much perplexity to Shakespearian critics.

The Godwits belong to the group Limicole, and are about as big as a tame Pigeon, but possess long legs, and a long bill with a slight upward turn. It is believed that in the genus Limosa the female is larger than the male. While the winter plumage is of a sober greyish-brown, the breeding-dress is marked by a predominance of bright bay or chestnut, rendering the wearer a very beautiful object. The Blacktailed Godwit, though varying a good deal in size, is con stantly larger than the Bar-tailed, and especially longer in the legs. The species may be further distinguished by the former having the proximal third of the tail-quills pure white, and the distal two-thirds black, with a narrow white margin, while the latter has the same feathers barred with black and white alternately for nearly their whole length.

America possesses two species of the genus, the very large Marbled Godwit or Marlin, L., fedoa, easily recognized by its size and the buff colour of its axillaries, and the smaller Hudsonian Godwit, L. hudsonica, which has its axillaries of a deep black. This last, though less numerous than its congener, seems to range over the whole of the continent, breeding in the extreme north, while it has been obtained also in the Strait of Magellan and the Falkland Islands The first seems not to go further southward than the Antilles and the Isthmus of Panama.

From Asia, or at least its eastern part, two species have been described. One of them, L. melanuroides, differs only from L. @gocephala in its smaller size, and is believed to breed in Amurland, wintering in the islands of the Pacific, New Zealand, and Australia. The other, L. uropygialis, is closely allied to and often mistaken for L. lapponica, from which it chiefly differs by having the rump barred like the tail. This was found breeding in the extreme north of Siberia by Dr von Middendorff, and ranges to Australia, whence it was, like the last, first described by Mr Gould. (A. N.)

GOES, or TER GOES, a town of the Netherlands in the province of Zealand, on the island of South Beveland, with railway communication since 1868 with Bergen-op-Zoom, and since 1872 with Middelburg, its distances from these 1 This name seems to have survived in Whelp Moor, near Branilon, in Suffolk.

Birth

and edu

cation.

places being respectively 12 and 15 miles. The Reformed church, called in the olden times St Mary Magdalen's, is considered the finest ecclesiastical building of Zealand, and dates from 1423. In the one half, known as the Preekkerk or preaching church, there is a splendid organ, and in the other half, known as the Wandelkerk or walking church, stands the tomb of Frans Naerebout the philanthropist. Goes further boasts of a fine old town-house, a high school, and the remains of the old castle of Ostende, which was the nucleus round which it began to form itself in the 14th century. The industries of the town are varied but not extensive, dealing with linen, dyes, chocolate, oil, flour, straw hats, wood, and cigars. Shipbuilding is also carried on, as well as a trade in wood and coals. The harbour, which is defended by a fort, is formed by a short canal communicating with the eastern Scheldt, extended and improved in 1818-19. The population of the town, which received its municipal rights in 1406, and was surrounded with a wall about 1420, numbered 4916 in 1860, 5205 in 1870, and 6063 in 1876.

GOES, HUGO VAN DER (1482), a painter of considerable celebrity at Ghent, was known to Vasari, as he is known to us, by a single picture in a Florentine monastery. At a period when the family of the Medici had not yet risen from the rank of a great mercantile firm to that of a reigning dynasty, it employed as an agent at the port of Bruges Tommaso Portinari, a lineal descendant, it was said, of Folco, the father of Dante's Beatrix. Tommaso, at that time patron of a chapel in the hospital of Santa Maria Nuova at Florence, ordered an altar-piece of Hugo van der Goes, and commanded him to illustrate the sacred theme of "Quem genuit adoravit." In the centre of a vast triptych, comprising numerous figures of life size, Hugo represented the Virgin kneeling in adoration before the new-born Christ attended by Shepherds and Angels. On the wings he portrayed Tommaso and his two sons in prayer under the protection of Saint Anthony and St Matthew, and Tommaso's wife and two daughters supported by St Margaret and St Mary Magdalen. The triptych was sent to Florence, and placed on the altar upon which it still remains. Van der Goes, like Hubert Van Eyck and Jodocus of Ghent, has bequeathed but this one picture to posterity; but it is a picture which shows that he was an artist of whom Ghent might be proud, as Bruges was proud of John Van Eyck and Brussels of Roger van der Weyden. Unhappily the triptych of Santa Maria Nuova suffered so much from decay

and restoring that the defects peculiar to the Flemings became unduly prominent as time and neglect effaced the brilliancy and harmony of the principal colours. We can only discern at the present day that the art of Van der Goes is a variety of that which characterizes Van Eyck und Van der Weyden. Less fiuished and less coloured than the work of the first, it is less subtle and expressive than that of the second. It lacks depth of religious feeling, and hardly rises above the common level of the school in respect of feeling or execution. It is a cold and stiff art, marked by hardness of surface, dryness of contour, angularity of drapery, overladen ornament, and ill-balanced light and shade. Imposing because composed of figures of unusual size, the altar-piece is more remarkable for portrait character than for charms of ideal beauty. There are small pieces in public galleries which claim to have been executed by Van der Goes, but none that are certified as the work of his hands. One of these pictures in the National Gallery in London is more nearly allied to the school of Memling than the triptych of Santa Maria Nuova; another, a small and very beautiful John the Baptist, at the Pinakothek of Munich, is really by Memling; whilst numerous fragments of an altar-piece in the Belvedere at Vienna, though assigned to Hugo, are by his more gifted countryman of Bruges. Any one who visits Continental collections will see that the name of Van der Goes was given to pictures of which he could not have been the author. None of the compositions mentioned by historians have survived except the altar-piece of Florence. But Van der Goes was not habitually a painter of easel pieces. He made his reputation at Bruges by producing coloured hangings in distemper. After he settled at Ghent, and became a master of his guild in 1465, he designed cartoons for glass windows. He also made decorations for the wedding of Charles the Bold and Margaret of York in 1468, for the festivals of the Rhetoricians and papal jubilees on repeated occasions, for the solemu entry of Charles the Bold into Ghent in 1470-1, and for the funeral of Philip the Good in 1474. The labour which he expended on these occasions might well add to his fame without being the less ephemeral. About the year 1475 he retired to the monastery of Rouge Cloitre near Ghent, where he took the cowl. There, though he still clung to his profession, he seems to have taken to drinking, and at one time to have shown decided symptoms of insanity. But his superiors gradually cured him of his intemperance, and he died in the odour of sanctity in 1482.

were citizens of that imperial town, and Wolfgang was their only son and their eldest child. His father was born on July 31, 1710, and in 1742 received the title of imperial councillor. He married on August 20, 1748, at the age of thirty eight, Catherine Elizabeth Textor, a girl of seventeen, Her family was better than his own, and held a higher position in the town. Her father was imperial councillor, and had been schultheiss or chief magistrate. In December 1750 was born a daughter, Cornelia, who remained until her death, at the age of twenty-seven, her brother's most intimate friend. She was married in 1773 to John George Schlosser. The house in which Goethe was born is still to be seen in the Hirschgraben. Goethe has described to us how it was rebuilt, and it has since been much altered. His education was irregular; he went to no school, and his father rather stimulated than instructed him. But the atmosphere by which he was surrounded gave him, perhaps, the best education he could have received. Frankfort, a

its citizens naturally grew up with a strong sense of independence, and a power of realizing the unity of Germany which was wanting in a small state. The boy from his earliest youth was accustomed to the companionship of his elders. His father was strict and formal, his mother quick and lively, inspired with no small share of the genius of her son. Goethe lived in the freest intercourse with every kind of society in the town, in which he might expect some day to be an important personage. There was no capital like London or Paris to call him away; Berlin was poor and distant, Vienna half Italian and half Spanish. Goethe must have been brought up with the ambition to take his degree at the university as doctor, to return home and become an advocate, to make a rich marriage, to go through the regular course of civil offices, to inherit his father's house, and perhaps one day to be burgomaster. His home was a cultivated one." The father was fond of art, and of the German poetry

then in fashion. The influence of Lessing had scarcely made itself felt; Herder was only five years older than Goethe himself. Gellert and Gottsched were the two oracles of poetry,-Gottsched a pedantic product of the earlier French culture, Gellert old and immovable, and unable to comprehend the new spirit. The chief debt that Goethe owed to him was the improvement in his banwriting, on which Gellert laid great stress, and which ho coupled with moral excellence. Goethe's father had a great respect for these rhyming poets, and he so strongly objected to the new German hexameters that Wolfgang could only read Klopstock's Messiah with his sister in the greatest secrecy and in terror of discovery. He did, how ever, read it, and learned much of it by heart. French culture gave at this time the prevailing tone to Europe. Goethe could not have escaped its influence, and he was destined to fall under it in a special manner. In the Seven Years' War, which was now raging, France took the side of the empire against Frederick the Great. Frankfort was full of French soldiers, and a certain Comte Thorane, who was quartered in Goethe's house, had an important influence on the boy. Still more strongly was he affected by the French company of actors, whom ho came to know both on and off the stage. He learned to declaim in this manner passages of Racine without understanding a word of them. At a later period he knew French thoroughly well, and composed both prose and poetry in that language. His first writings were imitations of the French manner; his earliest play was the imitation of a French after-piece. We can understand how these different forces were to work upon his future life. From bis father he derived the steadfastness of character which enabled him to pursue an independent career of self-culture and devotion to art in the midst of every kind of distracting influence; from his mother he inherited the joyous nature and lively sympathy, the flow of language and love of narration, without which he could not have been a poet. Before the age of sixteen he had seen every kind of life in a city particularly favourable to a richness of individual character; he was entirely free from the prejudices of a small state; and as far as he cared for Germany he cared for it as a whole. He was tinged at an early age with the influence of the clearest and most finished language in Europe, and this influence, uniting with the natural clearness of Goethe's mind, made his prose a new phenomenon in the literature of his country, unlike anything which had been seen before. Lastly, with the most passionate aspirations for freedoin and independence of life, he was born into the slavery of a mechanical career of prosaic prosperity, the pressure of which was not strong enough to confine him, but was strong enough to stimulate all his efforts to break the bonds.

Goethe, if we may believe his autobiography, experienced his first love about the age of fifteen in the person of Gretchen, whom some have supposed to be the daughter of an innkeeper at Offenbach. He worshipped her as Dante worshipped Beatrice. She treated him as a child, much as Miss Chaworth treated Byron. But there is no other evidence of this first love, and it would be quite in accordance with Goethe's manner to enlarge on a very small foundation, or to concentrate on one person the feelings which were devoted to several individuals. His letters speak of a boyish love for one Charitas Meixner, a friend of his sister, two years younger than himself, the daughter of a rich merchant at Worms. He expresses his affection for her with all the fervour of French phraseology, and the passion did not leave him when he had removed to Leipsic. But Charitas was able to console herself with another engagement. She married in February 1773 a merchant of her native town, and died at the end of the following year.

In the autumn of 1765 Goethe, who had just completed

his sixteenth year, travelic to Leipsic in the company of a bookseller, Fleischer, and his wife, who were on their way to attend the fair. On the 19th of October he was admitted as a student of the Bavarian nation, one of the four into which the university was divided. For his | lodging he had two neat little rooms in the Feuerkugel, the Fire Ball, looking into the long court-yard which leads from the old market to the new. When we remember that his three years at Leipsic, about which so much has been written, correspond with the last three years of an English boy at a public school, we can form some idea of the singular individuality of his character and the maturity and ripeness of his genius. He was sent to Leipsic to study law, in order that he might return to Frankfort fitted for the regular course of municipal distinction. For this purpose he carried with him a letter to Professor Böhme, who taught history and imperial law in the university, but had no other distinction to recommend him. He told Professor Böhme that he intended to devote himself not to law but to belles lettres, or, to use the word which I'. A. Wolf had invented, philology. Böhme did his best to dissuade him, and in this was assisted by his wife. The effect of their advice was rather to disgust Goethe with modern German literature, to make him despiso what he had already written, and to drive him into the distractions of society, which wasted both his time and his money. He did, however, attend some lectures. He heard Ernesti on Cicero's Orator, but he dealt rather with questions of grammar than of taste. He attended Gellert's lectures on literature, and even joined his private class. Gellert held a high position among German men of letters, which was due quite as much to his character as to his genius. He advised Goethe to desert poetry for prose, and to take to authorship only as an employment subordinate to the serious occupations of his life. Goethe tells us that in his lectures upon taste he never heard Gellert mention the names of Klopstock, Kleist, Wieland, Gessner, Gleim, or Lessing. He also attended the lectures of another literary professor, Clodius, a young u an about ten years older than himself. Clodius corrected Goethe's writings with red ink, and pointed out the faults without showing the way to mend them. Goethe had written a poem of congratulation for the marriage of his uncle Textor (February 17, 1766), which, according to the fashion of the time, was full of gods and goddesses and other mythological apparatus. Clodius was unsparingly hard upon this production, and Goethe then perceived that his critic was just as faulty as himself in the use of abstractions and strange outlandish words to give weight and authority to his verse. He satirized Clodius in a poem in praise of the cakes of the confectioner Händel, and by a parody of his drama Medon. His position towards the professors of his university was not an enviable one. His real university education was derived from intercourse with his friends First among these was J. G. Schlosser, who afterwards married his sister. Goethe used to dine with him at a table d'hôte kept by a wine-dealer, Schönkopf, in the Bruhl (No. 79), in a house which still exists. Schlosser, who was at this time private secretary to the duke of Würtemberg and tutor to his children, was ten years older than Goethe. He had a great influence upon him, chiefly in introducing him to a wider circle of German, French, English, and Italian poetry. At the table of Professor Ludwig, where Goethe had previously dined, the conversation had generally turned on medical and scientific subjects. Another friend of Goethe's was Behrisch, tutor to the young Count Lindenau. He was a man in middle life, and he combined originality of character and clearness of literary judgment with a dry and caustic wit, and an everabiding sense of humour, much in the same proportions as

were found in Merck, who exercised at a later period an important influence over Goethe's career. His friendship with Goethe was not at first of advantage to him. He was deprived of his tutorship from a suspicion that he did not always keep the most select society, and his successor was forbidden to allow his charge to associate with the young poet. This is supposed to have been caused by Goethe's disrespect ful behaviour to Professor Clodius. Gellert obtained for Behrisch an 'educational post at the court of Dessau, and Goethe kept up a constant correspondence with him till his death in 1809. Behrisch would not allow Goethe to print his poems, but copied them out instead in a beautiful hand. He probably had a considerable effect in producing the simplicity and naturalness of Goethe's early style. Deser. But the person who had the strongest effect on Goethe's mental development was Adam Frederick Oeser, at this time director of the academy of arts in Leipsic. Goethe took lessons from him in drawing, and, not content with this, tried his hand at etching. A little device of his for a book-plate or a bill-head is extant, in which a slab with the name C. G. Schönkopf is represented with three bottles above and a wreath of flowers below. Oeser had been a friend of Winckelmann's, and exercised great influence over his views of art. This was a source of considerable reputation to him, and Winckelmann's tragic death, the news of which reached Leipsic whilst Goethe was there, must have brought the relation between them into stronger relief. Goethe always spoke of Oeser's influence with the greatest affection and respect. He writes-"Oeser's discoveries have given me a fresh opportunity of blessing myself that I had him for my instructor. He entered into our very souls, and we must indeed have been without souls not to have derived benefit from him. His lessons will produce their effects through all the rest of my existence. He taught me that the ideal of beauty is simplicity and repose." We find Goethe at Weimar continually consulting Oeser for designs for furniture and for theatrical entertainments.

thchen

pt.

Goethe from his earliest years was never without a passion, and at Leipsic his passion was Kitty Schönkopf, the Aennchen of the autobiography, the daughter of the host at whose house he dined. She often teased him with her inconstant ways, and to this experience is due his first drama Die Laune des Verliebten, "Lovers' Quarrels," as it may be styled. It is a mere trifle, a pastoral in one act, written in alexandrines in the French style. Two happy and two unhappy lovers are contrasted. The only interest of the piece is that it is a fragment from Goethe's own life. A deeper chord is struck in Die Mitschuldigen (The Fellow Sinners), which forms a dismal and forbidding picture both of the time and of the experiences of the youth who wrote it. The daughter of an innkeeper has made an unhappy marriage, and is visited by a former lover who is in good circumstances. An assignation is arranged, and the interview is witnessed by the husband, who has come to steal the stranger's purse. The father comes in to read one of the stranger's letters. He is surprised, and is with his daughter suspected of the theft. The real culprit is discovered, but defends himself by accusing the stranger of his conduct to his wife. So they are all guilty. This play was first written in one act. It was afterwards enlarged to three acts, and published in 1787. The manuscript, which still exists, was given to Frederike | Brion of Sesenheim. Besides these plays Goethe wrote at Leipsic twenty little songs of an erotic chararacter, which were set to music by his young friend Breitkopf. He describes them as moral-sensuous, but they are more sensuous than moral. They have the aerit of a musical easy flow of expression, various moods of passion, with a happy readiness and elegance. Only a few of them were included in his collected works, and those very much altered. They show the influence of Wieland, but by one side of

Wieland Goethe was never affected. He was never led to mingle classical ideas and emblems with the unrestrained and sensual frivolity which was disseminated from France. He never imitated Agathon or Musarion. Whatever may have been the bitterness of his experience of life, or the waywardness of his excited fancy, he conceived a true idea of the real nature of classical art. In this Winckelmann and Lessing were his teachers, and he was never untrue to the lessons which they inculcated. This was the most valuable possession he brought back from Leipsic. He had an opportunity of establishing his principles of taste during a short visit to Dresden, in which he devoted himself to the pictures and the antiques. The end of Goethe's stay at Leipsic was saddened by illness. One morning at the beginning of the summer he was awakened by a violent hemorrhage. For several days he hung between life and death, and after that his recovery was slow, although he was tended with the greatest anxiety by his friends. He finally left Leipsic far from well on August 28, 1768, his nineteenth birthday.

Goethe made an enforced stay of a year and a Frankhalf in his native town. It was perhaps the least happy fort. part of his life. He was in bad health. His cure proceeded slowly, and he had several relapses, and the weakness of the lungs, which was his first complaint, was succeeded by a weakness of the digestion, which was yet more troublesome and painful. The society of Frankfort seemed to him far less agreeable than that of Leipsic; he contrasted the cold, stiff, formal, old-fashioned life of the imperial city with the freshness, geniality, and intellectual activity of the Saxon university. His family relations were not pleasant. His grandfather Textor was struck with paralysis; his father showed but little sympathy, with his aspirations for universal culture, and could imagine no career for him but that of a successful jurist. His sister had grown somewhat harsh and cold during his absence, and was possessed by a morbid self-consciousness, which she committed to the confidential pages of a secret diary. The tone of this diary, partly the result of family temperament, partly of the character of the age, throws an interesting light on the despair of Werther. Goethe's mother was always the same to him, a bright, genial, sympathetic friend. But her love could not ward off the pressure of circumstances, or supply a substitute for a wider and more unfettered life. Goethe, during his illness, received great attention from Fräulein von Klettenberg, a friend of his mother's, a pietist of the Moravian school. She initiated him into the mystical writings of those abstracted saints, and she engaged him in the study of alchemy, which served at once to prepare him for the conception of Faust and for the scientific researches of his later days. During his stay at Frankfort he wrote very little. It may be that the two Leipsic dramas received here their completed form. A farce in memory of his Leipsic life, a poetical letter to Frederike Oeser, the daughter of his teacher, a few songs, some of them religious, make up the tale of his produc tions, as far as we know them.

He arrived at Strasburg April 2, 1770. It was intended Stras that after a sojourn in the university of that place he should burg visit Paris, the centre of refinement. Goethe stayed in Strasburg till August 28, 1771, his twenty-second birthday, and these sixteen months are perhaps the most important of his life. During them he came into active contact with most of those impulses of which his after life was a development. If we would understand his mental growth, we must ask who were his friends. He took his meals at the house of the Fräulein Lauth in the Krämergasse. The table was mainly filled with medical students. At the head of it sat Salz mann, a grave man of fifty years of age. His experience and his refined taste were very attractive to Goethe, who