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Literary production is conventionally imagined as a process leading from a more or less private moment of literary composition to the public presentation of the text to an audience or readership, but each of these moments can be a drawn-out process involving several stages toward the text's publication— in the broader sense of being made public. In the case of Goethe's poem “Nähe des Geliebten” (Nearness of the Beloved) the moment of composition is well documented and belongs to the compendium of anecdotes surrounding Goethe's legendary creativity, but the process by which the poem was then made available to the public is complicated, more complicated than editions of Goethe's works suggest.

At some date between March 12 and May 2, 1795, Goethe was invited to the Hufeland household, where for the first time he heard a number of songs by Carl Friedrich Zelter, presented by Zelter's friend Johann Friedrich La Trobe. In particular he heard a song that set a text by Friederike Brun beginning with the words, “Ich denke dein, wenn sich im Blütenregen / Der Frühling malt” (I think of you when spring paints itself in showers of blossoms). Goethe was so struck by this song that he then constructed his own text to fit Zelter's music, taking over a number of phrases and metrical devices from Brun's original version. Goethe's text, which begins “Ich denke dein, wenn mir der Sonne Schimmer / Vom Meere strahlt” (I think of you when I see the shimmer of the sun gleaming from the sea), is therefore a kind of contrafact of Brun's and stands in a complex relationship to it: Goethe's version pays homage to it, parodies it, and uses it as a stepping-stone to something higher. Above all, though, it seems to have been Zelter's melody that affected Goethe. He wrote to Friederike Helene Unger over a year later, on June 13, 1796, relating his first encounter with Zelter's work: