Abstract
This study sketches the continued relevance for 19th and 20th century writers of Goethe's symbol/allegory distinction. Beginning with Maximen und Reflexionen, where Goethe expresses his preference for the symbol because in it “Idee” and “Bild” are intrinsically linked with each other, the essay traces Goethe's Symbol through its manifestations in Anglo‐American Romanticism, French Surrealism, and 20th century literary criticism. It describes how writers as diverse as Ralph Waldo Emerson, André Breton, and Stanley Fish have drawn on Goethe's suggestive theory to define their own disparate epistemologies.
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