Asian literature as a tool for cultural identity creation in Europe. Goethe’s Hafiz

By the eighteenth century the colonial powers in Europe already had well-defined images and self-images, crystalised from their native cultures, their significance within Europe, and their mercantile and political relations with other continents. Yet Germany, which would have no prospect of a unified polity till late in the following century, remained severely challenged in all these respects. From the mid eighteenth century, however, Germany’s greatest minds sought to mould for it a cultural identity, and as a vital step in this, the poet, statesman and scientist Goethe, a man indebted to a form of patronage which peculiarly qualified him to undertake such experiments, conducted a series of literary encounters with the great traditions of Asia. Their purpose was to situate Germany within the wider world culture, for one can only be a cultural force within a world to which one has some cultural relation. Goethe’s forays into the worlds of Persian, Indian and Chinese literature were attempts at creative imitation, cultural absorption and public confrontation, but their culture-building and appropriative character was also a form of vicarious imperialism, a new-world enterprise conducted by means of old-world patronage. Goethe’s carefully nuanced representations in the West-Eastern Divan indicate the advocacy of a secular cosmopolitanism, the popular impact of which has been hitherto underestimated.