this general way of thinking he was confirmed by the study of
Spinoza's _Ethics_, a book which, as he said long afterwards, quieted
his passions and gave him a large and free outlook over the world. In
this process of quieting the passions some influence must be ascribed
to Charlotte von Stein, a woman in whom, for some twelve years of his
life, he found his muse and his madonna. His letters often address her
in terms of idolatrous endearment. She was a wife and a mother, but
Weimar society regarded her relation to Goethe as a platonic
attachment not to be condemned.

The artistic expression of the new life in Weimar is found in various
short poems, notably _Wanderer's Nightsong_, _Ilmenau_, _The Divine_,
and _The Mysteries_; also in a number of plays which were written for
the amateur stage of the court circle. The Weimarians were very fond
of play-acting, and Goethe became their purveyor of dramatic supplies.
It was to meet this demand that he wrote _Brother and Sister (Die
Geschwister), The Triumph of Sentimentalism, The Fisher-maid, The
Birds_, and other pieces. Much more important than any of these
bagatelles, which were often hastily composed for a birthday
celebration or some other festive occasion, are the two fine poetic
dramas, _Iphigenie_ and _Tasso_. The former was first written rather
rapidly in stately rhythmic prose and played by the amateurs, with
Goethe himself in the rôle of Orestes, in the spring of 1779. Eight
years later, the author being then in Italy, it was recast with great
care in mellifluous blank verse. _Iphigenie_ is essentially a drama of
the soul, there being little in it of what is commonly called action.
A youth who is the prey of morbid illusions, so that his life has
become a burden, is cured by finding a noble-minded sister, whose
whole being radiates peace and self-possession. The entire power of
Goethe's chastened art is here lavished on the figure of his heroine