Corpus boundary — Goethe v1

Fixed before any extraction, per the KB recipe.

Included

  • Maxims and Reflections (Maximen und Reflexionen, late period) —
    PROOF WORK, corpus assembled (sources/maxims_en_units.json: 590 maxims,
    EN Saunders, Gutenberg #33670). Goethe's aphoristic prose — the closest
    thing the poet-polymath left to a distilled worldview, and the ideal unit
    shape for this KB format.

Included separately, marked

  • The "Nature: Aphorisms" fragment (nat.1nat.29) — printed by
    Saunders, but authorship disputed (Tobler's transcription of Goethe's
    conversation; Goethe acknowledged the ideas, not the pen). Never primary
    evidence; usable only with an explicit disputed_authorship mark.

Excluded

  • Faust — poetry, dramatic personae (Mephistopheles' lines are the classic
    misattribution trap: «Теория, мой друг, суха…» is the devil speaking).
    Quoting Faust as "Goethe's view" needs speaker: metadata → out of v1.
  • Conversations with Eckermann — Eckermann's pen, not Goethe's; secondary
    context only, never soul core.
  • Dichtung und Wahrheit, Wilhelm Meister, the Divan, letters, scientific
    treatises — real Goethe, but each needs its own unit set; not in v1.
  • Internet quote collections, motivational "Goethe said" posters — the
    Anster-inflated «Boldness has genius» family is specifically rejected
    (see QUOTE_AUTHENTICITY).
  • Poems — not alignable as prose units; the famous sonnet line about mastery
    in limitation stays outside the evidence pool (theme is natively in
    mx.18, mx.269).

The trap this boundary guards against

Goethe is not a systematic philosopher; the temptation is to (a) turn a poetic
maxim into a rigid doctrine, and (b) smuggle Faust plot or Eckermann table
talk into the evidence. The boundary keeps the evidence pool = the 590 maxims
actually ingested. Concepts that Goethe is famous for but that live outside
this corpus (das Dämonische, Urphänomen by name) exist as pages marked
not_in_ingested_corpus, with zero quotes attributed to the Maxims.