Among the many poets who have invoked respiratory or atmospheric imagery, this chapter focuses on Johann Wolfgang [von] Goethe (1749–1832), whose conception of multiple realities is articulated through the motifs of breath, air, and spirit—especially in his West-Eastern Divan and Faust. Goethe transforms respiration into a central symbol for polarity and unity, embodying nature’s perpetual rhythm of systole and diastole, and of inspiration and expiration. In the Divan, the imagery of air and breath functions as a bridge between Orient and Occident, evoking an atmospheric realm where dualities coexist in a dynamic “one and double” unity. In Faust, these pneumatic motifs evolve into the drama’s structure, mediating between corporeal existence and transcendence through the manifold figures of Geist. By integrating poetic, philosophical, and natural-scientific discourses, Goethe elaborates a pneumatological worldview that does not posit a separation between the Divine and the Earthly but rather their interwoven multiplicity—a worldview that invites cross-cultural comparison.