Goethe and the NovelOnly superlatives will do for Werther. For Thomas Mann, for instance, it remains 'ein Meisterwerk'. 1 For this and other modern masters of the theme of death such a reaction might come more from literary mediation than through direct access. For earlier generations, however, it came straight from the experience of the heart. Werther concentrates many of the aspirations and strivings of the Sturm und Drang ('Storm and Stress') and is its finest literary expression. It is the textbook from which the German Romantics learn their Weltschmerz ('melancholy'). Their European counterparts in mal du siècle can create Adolphe, René, Ortis or Manfred 2 because Werther has shown the way. At home, a succession of tragic heroes, Bonaventura, Roquairol and Danton, 3 can pronounce on the futility of existence with an eloquence lent by the earlier model. Yet against such specific literary influence one must set the sheer importance of the text for the whole of German literature -and for Johann Wolfgang Goethe himself as its representative. It is the first 1 'A masterpiece'. For a selection of modern reactions to Werther see Johann Wolfgang Goethe, Die Leiden des jungen Werther. Ein unklassischer Klassiker. Neu herausgegeben und mit Dokumenten und Materialien, Wertheriana und Wertheriaden, ed. by Hans